title: Simulation of the powder forging process for titanium components using a porous metal plasticity model

authors: Velluvakkandi, Navaneeth

subjects: powder forging

abstract: Powder forging is a technique that has been used to produce fully dense near-net parts from metal powders.  Due to a “low cost titanium” product manufacturing initiative, targeting a reduction in the cost of titanium components, a titanium powder forging technique has gained significant interest.  In titanium powder forging, powder consolidation is a key factor that influences successful component manufacture.  Consolidation during titanium powder forging is dependent on the densification and deformation mechanisms involved.
In this study, a finite element method is used to model the densification and deformation behaviour of titanium powder compacts during powder forging.  The research focuses on developing a simulation capability and identifying a suitable constitutive model to simulate the powder forging process that can predict the relative density distribution.  The simulation is carried out in Abaqus software and the results are compared with experimental results.  A gamma particle radiography technique is used to compare the experimental density results with the simulated results.
The Gurson and Gurson-Tvergaard models are used to predict the relative density of porous titanium powder compacts during upset-powder forging and are used to include the effect of hydrostatic stresses and the extent of densification.  Three different modes of densification, related to powder forging were studied i.e. upset forging, hot-repressing and closed die forging.
The simulation results indicate that both models can be used to determine the relative density during powder forging.  By comparing the simulated results with the experimental results, it is found that the density prediction given by the Gurson-Tvergaard model showed closer agreement with the calculated parameters.

text: Simulation of the powder forging process for titanium components using a porous metal plasticity model Powder forging is a technique that has been used to produce fully dense near-net parts from metal powders.  Due to a “low cost titanium” product manufacturing initiative, targeting a reduction in the cost of titanium components, a titanium powder forging technique has gained significant interest.  In titanium powder forging, powder consolidation is a key factor that influences successful component manufacture.  Consolidation during titanium powder forging is dependent on the densification and deformation mechanisms involved.
In this study, a finite element method is used to model the densification and deformation behaviour of titanium powder compacts during powder forging.  The research focuses on developing a simulation capability and identifying a suitable constitutive model to simulate the powder forging process that can predict the relative density distribution.  The simulation is carried out in Abaqus software and the results are compared with experimental results.  A gamma particle radiography technique is used to compare the experimental density results with the simulated results.
The Gurson and Gurson-Tvergaard models are used to predict the relative density of porous titanium powder compacts during upset-powder forging and are used to include the effect of hydrostatic stresses and the extent of densification.  Three different modes of densification, related to powder forging were studied i.e. upset forging, hot-repressing and closed die forging.
The simulation results indicate that both models can be used to determine the relative density during powder forging.  By comparing the simulated results with the experimental results, it is found that the density prediction given by the Gurson-Tvergaard model showed closer agreement with the calculated parameters.

year: 2014

title: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran.

authors: Nourmohammadi, Neda

abstract: Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

text: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran. Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

year: 2019

title: The life story model of identity: A bridge between two spaces

authors: Houkamau, Carla Anne

subjects: Maori

abstract: Two questions which continue to absorb Western social psychological researchers are: What is the ‘self’? And ‘What is identity in relation to self?’ At the NMPPS this year this Dr. Love’s keynote threw these matters into relief prompting us as indigenous psychologists to reflect deeply on the nature of ‘selves’. Many questions arise from her address. Do we have ensembled selves? Are we self contained? Are we a bit of both depending on the situation? How do we work within psychology while honouring Māori perspectives?

text: The life story model of identity: A bridge between two spaces Two questions which continue to absorb Western social psychological researchers are: What is the ‘self’? And ‘What is identity in relation to self?’ At the NMPPS this year this Dr. Love’s keynote threw these matters into relief prompting us as indigenous psychologists to reflect deeply on the nature of ‘selves’. Many questions arise from her address. Do we have ensembled selves? Are we self contained? Are we a bit of both depending on the situation? How do we work within psychology while honouring Māori perspectives?

year: 2008