Considering the stringent regulations, manufacturing of aircraft parts is often quite complex and time consuming. The multi-million components, multi-tier manufacturing systems and the severe constraints surrounding the sector lead to heavy inventory investments to achieve the just-in-time supply of parts often needed to reduce the airplane ground times. Additive manufacturing evolved allowing for the direct production of complex parts based on digital data with no complex tooling or machinery, a messiah of true just in time production. Appropriate integration of additive manufacturing with the aircraft industry could resolve some of the supply chain and inventory hurdles. Significant progress is already evident in these lines, but the lack of quality assurance attributes and certification standards is hampering the progress. The state-of-the-art of the application of additive manufacturing in the aircraft industry is reviewed in this paper. The supply chain configurations of the aircraft industry, the possible roles of additive manufacturing in relaxing the pressures in the system are evaluated. The application areas, enhanced attributes, and certification standards are critically reviewed and classified. The overall growth in the application of additive manufacturing in the aircraft industry, the main hurdles, and the future possibilities are evaluated and presented systematically, clearly portraying the developments.
This article considers the development of cultural policy as part of New Labour’s Third Way governance and identifies three rhetorics of state-funded art: art as a form of cultural democracy; art as an economic driver; and art providing solutions for social amelioration. The text
describes how the liberal conception of art and culture, i.e., having universal benefit as a public good, was extended to function within wider policy directives that were ultimately aimed at driving Third Way conceptions of public good. It provides a critique of the positivist claims for
state-funded art as producing social transformation and instead points to how art commissioned as part of culture-led regeneration was instrumental and complicit with an agenda of privatization and marketization. It suggests that this has had negative consequences for democracy.
The time evolution of electrostatic fields near a Bi2Se3 surface after a mechanical cleave was observed using Second Harmonic Generation. By comparing samples with different bulk doping levels and samples cleaved in different gas environments, these observations indicate multiple contributions to electric field evolution. These include the intrinsic process of Se vacancy diffusion as well as extrinsic processes due to both reactive and nonreactive surface adsorbates.
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