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This chapter proposes a brief history of kinetic poetry as a transmedia and cross-artistic form. It connects the most relevant threads of a possible historiographic narrative of how kinetic poetry has been evolving since the beginning of the twentieth century at the intersection of literature, visual arts, cinema, animation, and technology, across various media. It argues for a transmedia approach because it does not place kinetic poetry at the heart of computational media and as a digital literature-specific genre, but rather as a temporal form that is media and language-specific, but also culturally and politically situated. Kinetic poetry is a form of poetry that relies on spatiotemporal transitions with expressive literary, visual and aural layers. Throughout the twentieth century, authors composed kinetic poems with varied media, such as motorized sculptures, celluloid film, video, holography, and computers. As it is unveiled, the origins of kinetic art and kinetic poetry can be traced back to the Constructivists' Realisticheskii Manifest and the Dadaists' praxis. When Marcel Duchamp staged puns via rotoreliefs in the 35 mm film Anémic Cinéma (1926), he opened up the way for hybrid works that can be experienced through the lenses of cinema, textual art in motion, and kinetic poetry. Later on, language went from projection to interaction, first with the investigations by the experimental poets in the 1950s-80s and then with the explorations by the digital poets from the 1980s onwards. Therefore, the discussion of kinetic poetry's cultural and technological history goes back to early abstract films, mechanical poetry, film poetry, videopoetry, holopoetry, to finally present algorithmically programmed animation. Because this narrative is heavily Euro- and American-centric, this chapter invites readers to contest the following historiographic version of kinetic poetry's trajectory, and to share knowledge about works created in other latitudes, especially by women and non-white authors.

The derivation of the Boltzmann function f(r, c, t) from the Liouville density DN is shown to be equivalent to a transition from Γ space to µ space. In this formulation, the collision is left in all its generality. This enables one to define a most probable distribution function even when the collision term is not set to zero.

Balkans Overview -- Kosovo: Cradle of Conflict, 1389 to 1999 -- Crisis in Kosovo -- Clash of the Damned: UCKS and MUPS in the Land of Kos, 1998 -- In NATO's Vanguard: KFOR and the Canadian Commitment -- Into the Breach, Dear Friends: KFOR Enters Kosovo -- Canada and KFOR Operations -- Warrior Politics: Multi-National Brigade (Centre) Operations -- The Coyote Howls: Recce Squadron Operations -- As the KRWAU Flies: Canadian Griffons over Kosovo -- Finger on the Pulse: Battle Group Operations, Part I -- Come on Feel the Noise: Battle Group Operations, Part II -- Wait for the Wagon, Jimmy: Supporting Operation Kinetic

The objective of this work was to test the hypothesis that weathering-resistant surface layers found in intensively hammered petroglyphs at many sites worldwide and on other heavily battered metamorphosed rocks are the result of kinetic energy-induced tribological reactions. The methods of material testing included extensive fieldwork and in-situ studies at an Indian site that had been subjected to fluvial battery in the distant geological past; the removal of numerous surface and subsurface samples; and their analysis by several laboratory methods. These included binocular light microscopy, scanning electron microscopy, thin sectioning and elemental composition determination of crucial sites. It was confirmed that samples show evidence of crystallization by ductility of formerly amorphous silica cement in quartzite, yielding a tectonite of fully crystalline quartz. This finding confirms that the surficial application of very high levels of kinetic energy to certain rock types that are susceptible to metamorphosis can yield exceptionally weathering-resistant surface layers. This phenomenon has not been described before. Although it was first observed in rock art it is now thought to occur much more widely in numerous geological contexts, such as at fault mirrors, in the form of what has been regarded as glacial polish and on ventifacts.

The production of polyunsaturated fatty acids (PUFAs) concentrates by enzymatic catalysis has gained interest due to their stereospecificity and the milder conditions employed compared to the use of inorganic catalysts. The enzymatic glycerolysis of sardine oil by Lipozyme 435 to get PUFA concentrates in the forms of di‐ and monoacylglycerols (DAGs, MAGs) in an optimized amount of tert‐butanol as the organic solvent was studied. First, mass transfer limitation of the reaction system was analyzed. The effects of different operating variables such as lipase loading, temperature and feed composition were investigated. A semi‐empirical kinetic model based on the reversible elementary reactions of glycerolysis and hydrolysis of the glycerides was employed to correlate the experimental kinetic data. A molar ratio glycerol:oil of 3:1 was the optimum, which produced more than 84 wt% of MAG at 323 K. A comparison with other glycerolysis systems was performed using MAG yield, reaction rate and significance of kinetic parameters. ; Spanish Government through MINECO (CTQ2012‐39131‐C02‐01)

Abstract
In this paper, the possible impact effects of orbital bombardment systems and their feasibility are studied. These effects are the projectile penetration into concrete and steel targets and seismic effects. The equations of motion for the re-entry of a projectile and the penetration were solved numerically. The projectile penetration is modelled using the Alekseevskii–Tate model. By varying the altitude (h), projectile length (L), manoeuvre velocity (ΔV) and the target properties, the flight time (t), earthquake magnitude (M) and penetration depth (P) are calculated. The calculations show that the impact of a tungsten alloy rod with a length of 8 m and a 0.4 m diameter results in an earthquake with a seismic magnitude of only 2.5 on the Richter scale. For concrete, the optimal result is obtained for a projectile with a length of 0.56 m. It penetrates 1.79 m with a minimal ΔV trajectory. These results show that a kinetic orbital bombardment system is not feasible without major technological developments, the impact angle being a bottleneck of the concept. Moreover, one has to accept very high costs. Without any means to change the attitude of the projectile, using ICBMs or bombers shows a better penetration performance than re-entry.

Highlights


Weapons in orbit may provide a strategic advantage. However, they are restricted by international space laws.


Impact angle of the projectile is a bottleneck for kinetic orbital bombardment.


Larger impact angles can be achieved, but at the expense of a larger mass-to-orbit.


A hypersonic drag device may be used to optimise the impact angle and thus improve the system.


Alternative projectile delivery methods (Bomber, Intercontinental Ballistic Missile (ICBM)) show better performance for both steel and concrete targets.


Essentially, only penetration phenomena matter because the seismic effects are not significant. Therefore, orbital bombardment systems don't even resemble weapons of mass destruction (WMD).


Given their limited effect, destroying a particular target requires a guidance and flight control system, which, given the high velocities, may not be feasible.

The European Union created a European Green Deal Program (EGDP). This program aims at a sustainable economy through the transformation of the challenges related to climate and the environment. The main goal of EGDP is climate neutrality by 2050. The increase of alternative biomass residues utilization from various food processing industries and cooperation in the energy and waste management sector is required to meet these expectations. Nut shells are one of the lesser-known, yet promising, materials that can be used as an alternative fuel or a pre-treated product to further applications. However, from a thermal conversion point of view, it is important to know the energy properties and kinetic parameters of the considered biowaste. In this study, the energy and kinetic parameters of walnut, hazelnut, peanut, and pistachio shells were investigated. The results showed that raw nut shells are characterized by useful properties such as higher heating value (HHV) at 17.8–19.7 MJ∙kg−1 and moisture content of 4.32–9.56%. After the thermal treatment of nut shells (torrefaction, pyrolysis), the HHV significantly increased up to ca. 30 MJ∙kg−1. The thermogravimetric analysis (TGA) applying three different heating rates (β; 5, 10, and 20 °C∙min−1) was performed. The kinetic parameters were determined using the isothermal model-fitting method developed by Coats–Redfern. The activation energy (Ea) estimated for β = 5 °C∙min−1, was, e.g., 60.3 kJ∙mol−1∙K−1 for walnut, 59.3 kJ∙mol−1∙K−1 for hazelnut, 53.4 kJ∙mol−1∙K−1 for peanut, and 103.8 kJ∙mol−1∙K−1 for pistachio, respectively. Moreover, the increase in the Ea of nut shells was observed with increasing the β. In addition, significant differences in the kinetic parameters of the biomass residues from the same waste group were observed. Thus, characterization of specific nut shell residues is recommended for improved modeling of thermal processes and designing of bioreactors for thermal waste treatment.

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.