To explore hostile extraterrestrial landforms and construct an engineering prototype,this paper presents the task-oriented topology system synthesis of reconfigurable legged mobile lander(ReLML)with three operation mo...To explore hostile extraterrestrial landforms and construct an engineering prototype,this paper presents the task-oriented topology system synthesis of reconfigurable legged mobile lander(ReLML)with three operation modes from adjusting,landing,to roving.Compared with our preceding works,the adjusting mode with three rotations(3R)provides a totally novel exploration approach to geometrically matching and securely arriving at complex terrains dangerous to visit currently;the landing mode is redefined by two rotations one translation(2R1T),identical with the tried-and-tested Apollo and Chang'E landers to enhance survivability via reasonable touchdown buffering motion;roving mode also utilizes 2R1T motion for good motion and force properties.The reconfigurable mechanism theory is first brought into synthesizing legged mobile lander integrating active and passive metamorphoses,composed of two types of metamorphic joints and metamorphic execution and transmission mechanisms.To reveal metamorphic principles with multiple finite motions,the finite screw theory is developed to present the procedure from unified mathematical representation,modes and source phase derivations,metamorphic joint and limb design,to final structure assembly.To identify the prototype topology,the 3D optimal selection matrix method is proposed considering three operation modes,five evaluation criteria,and two topological subsystems.Finally,simulation verifies the whole task implementation process to ensure the reasonability of design.展开更多
To solve the philosophical question of what is the human being's essence, Nietzsche gives his answer in late 19 th century that the essence of human being is self-transcendence. Human being is a bridge. One side i...To solve the philosophical question of what is the human being's essence, Nietzsche gives his answer in late 19 th century that the essence of human being is self-transcendence. Human being is a bridge. One side is animal, and the other side is the higher level spices—superman. Nietzsche points out that people should finish their self-transcendence through the process of three metamorphoses of spirit and then to superman stage. During this process, Nietzsche compares three metamorphoses of spirit to camel, lion, and child. Child is the sign of arrival of superman. Superman is the symbol of ideal life, for which Nietzsche pursuits.展开更多
During the last months of 1888 the populous quarter of Whitechapel, London, was stained with the blood of five women, all booked prostitutes and chronic alcoholics, worthy representatives of the diseases/vices of the ...During the last months of 1888 the populous quarter of Whitechapel, London, was stained with the blood of five women, all booked prostitutes and chronic alcoholics, worthy representatives of the diseases/vices of the Victorian East End. The shrewd and sanguinary Monster who realized these violent murders called himself ＂Jack the Ripper＂, signing with his ＂trade name＂ the letters he sent to the Central News Agency and through the press he soon became a myth, the most famous ＂serial killer＂ of all time. As a matter of fact, his legend survived, and his evil figure still haunts the pages of books and---of course--the frames of many films; among the most famous From Hell （2001） by Albert and Allen Hughes, taken from the graphic novel of the same name by Moore and Campbell; Jack the Ripper （1976） by Jess Franco, with a disturbing Klaus Kinski, but also the TV movie directed by David Wickes in 1998 entitled Jack The Ripper; more obliquely, Jack appears also in The Lodger （1913） and Frenzy （1972） by Alfred Hitchcock. But can these movies be defined as true biopics of Jack？ Strangely enough, it seems, these biographies contribute to build the mythic ＂anonymity＂ of the Ripper, encouraging （and fascinating） fear and nightmares.展开更多
The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at ...The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.展开更多
基金Supported by National Natural Science Foundation of China(Grant No.51735009)State Key Lab of Mechanical System and Vibration Project of China(Grant No.MSVZD202008)National Aerospace Science Foundation of China(040102).
文摘To explore hostile extraterrestrial landforms and construct an engineering prototype,this paper presents the task-oriented topology system synthesis of reconfigurable legged mobile lander(ReLML)with three operation modes from adjusting,landing,to roving.Compared with our preceding works,the adjusting mode with three rotations(3R)provides a totally novel exploration approach to geometrically matching and securely arriving at complex terrains dangerous to visit currently;the landing mode is redefined by two rotations one translation(2R1T),identical with the tried-and-tested Apollo and Chang'E landers to enhance survivability via reasonable touchdown buffering motion;roving mode also utilizes 2R1T motion for good motion and force properties.The reconfigurable mechanism theory is first brought into synthesizing legged mobile lander integrating active and passive metamorphoses,composed of two types of metamorphic joints and metamorphic execution and transmission mechanisms.To reveal metamorphic principles with multiple finite motions,the finite screw theory is developed to present the procedure from unified mathematical representation,modes and source phase derivations,metamorphic joint and limb design,to final structure assembly.To identify the prototype topology,the 3D optimal selection matrix method is proposed considering three operation modes,five evaluation criteria,and two topological subsystems.Finally,simulation verifies the whole task implementation process to ensure the reasonability of design.
文摘To solve the philosophical question of what is the human being's essence, Nietzsche gives his answer in late 19 th century that the essence of human being is self-transcendence. Human being is a bridge. One side is animal, and the other side is the higher level spices—superman. Nietzsche points out that people should finish their self-transcendence through the process of three metamorphoses of spirit and then to superman stage. During this process, Nietzsche compares three metamorphoses of spirit to camel, lion, and child. Child is the sign of arrival of superman. Superman is the symbol of ideal life, for which Nietzsche pursuits.
文摘During the last months of 1888 the populous quarter of Whitechapel, London, was stained with the blood of five women, all booked prostitutes and chronic alcoholics, worthy representatives of the diseases/vices of the Victorian East End. The shrewd and sanguinary Monster who realized these violent murders called himself ＂Jack the Ripper＂, signing with his ＂trade name＂ the letters he sent to the Central News Agency and through the press he soon became a myth, the most famous ＂serial killer＂ of all time. As a matter of fact, his legend survived, and his evil figure still haunts the pages of books and---of course--the frames of many films; among the most famous From Hell （2001） by Albert and Allen Hughes, taken from the graphic novel of the same name by Moore and Campbell; Jack the Ripper （1976） by Jess Franco, with a disturbing Klaus Kinski, but also the TV movie directed by David Wickes in 1998 entitled Jack The Ripper; more obliquely, Jack appears also in The Lodger （1913） and Frenzy （1972） by Alfred Hitchcock. But can these movies be defined as true biopics of Jack？ Strangely enough, it seems, these biographies contribute to build the mythic ＂anonymity＂ of the Ripper, encouraging （and fascinating） fear and nightmares.
文摘The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.
