Evaluation of direct light processing for the fabrication of bioactive ceramic scaffolds: Effect of pore/strut size on manufacturability and mechanical performance

Bioactive ceramic scaffolds for bone regeneration consisting of a three-dimensional mesh of interpenetrating struts with square section were fabricated via Digital Light Processing (DLP). The ability of the technique to manufacture 3D porous structures from β-tricalcium phosphate (β-TCP) powders with different dimensions of struts and pores was evaluated, identifying the possibilities and limitations of the manufacturing process. Small pore sizes were found to seriously complicate the elimination of excess slurry from the scaffold’s innermost pores. The effect of the strut/pore size on the mechanical performance of the scaffolds under compressive stresses was also evaluated, but no significant influence was found. Under compressive stresses, the structures resulted weaker when tested perpendicularly to the printing plane due to interlayer shear failure. Interlayer superficial grooves are proposed as potential failure-controlling defects, which could also explain the lack of a Weibull size effect on the mechanical strength of the fabricated DLP scaffolds.     

QoS metrics-in-the-loop for endowing runtime self-adaptation to robotic software architectures

Multimedia Tools and Applications - The design of robots capable of operating autonomously in changing and unstructured environments, requires using complex software architectures in which,...     

Novel pearl millet couscous process for West African markets using a low-cost single-screw extruder

Traditional West African pearl millet couscous products are popular; however, their preparation is laborious, time-consuming and energy-demanding, involving agglomeration, steaming, drying and sieving steps. In this study, a process was developed to produce millet couscous using a high pressure, high temperature and low-cost single-screw extruder. The innovation was to directly process the cooked low-moisture extrudate to a couscous product by drying and milling to the appropriate particle size (ranging between 1 and 2 mm). Throughput for the traditional process as prepared for commercial sale is 50 kg per day, but with the same amount of labour, the extrusion process yields ~350 kg per day. A consumer sensory study held in Niamey (Niger) showed that the extruded millet couscous was comparable to traditional couscous, though this was dependent on selection of the proper millet variety. This novel extrusion process could stimulate small- to medium-scale manufacturing of couscous and couscous-type products in West Africa.     

Physicochemical and technological properties of beef burger as influenced by the addition of pea fibre

This study aimed to evaluate the physicochemical characteristics and sensory attributes of beef burgers with the addition of pea fibre as a partial substitute of meat or fat. Three formulations were prepared: control (CON) – similar to the commercial formulation; fibre/less meat (FLM)—5% meat reduction and addition of 1% pea fibre; fibre/less fat (FLF)—7% fat reduction and addition of 1% pea fibre. Non-significant differences were obtained for pH, colour parameters (L* and b*), texture profile, cooking loss and size reduction among formulations. Moreover, sensory analysis with consumers of beef burgers did not indicate differences among the formulations for all the analysed attributes. Therefore, pea fibre is a promising partial replacer for meat and fat in beef burgers due to the preservation of technological parameters and sensory acceptance.     

The Photomontage Activity of Postmodernism

For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular. This article recovers the debates that led critics such as Crimp, Abigail Solomon-Godeau, Christopher Phillips, Benjamin Buchloh and others to turn to photomontage as one of their principal objects of concern in what became known as the postmodern critique of photography. Why was montage tasked to perform this critical function, particularly by people around the journal October who had not otherwise devoted the balance of their writing to photography’s history? The article suggests that these men and women, along with the contemporary artists they foregrounded, manifested what Mary Anne Doane has called a ‘desire for signification’, a reaction in the late 1970s against the mute theatricality of minimalist and conceptual art. Photomontage reintroduced representation to contemporary art and to the canon of art history. But unlike the reemerging illusionism in painting that also manifested this desire, montage guarded against an uncomplicated realism by highlighting and critiquing operations of representation in a manner that painting no longer could.