Face chronicles the development of artist Valentin Popov’s traveling exhibition of the same name—a suite of 100 uniformly-sized portraits surveying a social subset of selected friends, acquaintances, and celebrities. Popov explores the mystique of the face not only as the primary organ of human individuation and the immediate modulus of interpersonal recognition, but with respect to such intriguing intangibles as the eternal dialectic between objectivity and subjectivity and the face’s ambiguity as both mirror and mask. Popov has explored a wide variety of subject matter and media in his art, and all of his works feature the skilled technique and formal ability for which he has become known. His pieces speak to the lineage of art history, yet sometimes vacillate between homage and parody, often laced with a sense of humor, irony, or Pop. In his latest series, Popov revisits an idea once put forth by Andy Warhol who documented the faces of his friends and acquaintances through photographs and silk screen paintings, many of which were produced at a uniform scale of 40 x 40 inches. Warhol once spoke of mounting an exhibition of these portraits in which the walls would be filled from top to bottom with faces. Face re-examines the portraiture tradition and frames it in postmodern perspective. Featuring lush, full-color plates and insightful text by Peter Selz and other noted critics, curators, and commentators, this exquisite volume is sure to delight the eye and take pride of place among contemporaneous chronicles of cutting-edge portraiture.

This application-oriented book introduces readers to the associations and relationships between contact mechanics and friction, providing them with a deeper understanding of tribology. It addresses the related phenomena of contacts, adhesion, capillary forces, friction, lubrication, and wear from a consistent point of view. The author presents (1) methods for rough estimates of tribological quantities, (2) simple and general methods for analytical calculations, and (3) the crossover into numerical simulation methods, the goal being to convey a consistent view of tribological processes at various scales of magnitude (from nanotribology to earthquake research). The book also explores the system dynamic aspects of tribological systems, such as squeal and its suppression, as well as other types of instabilities and spatial patterns. It includes problems and worked-out solutions for the respective chapters, giving readers ample opportunity to apply the theory to practical situations and to deepen their understanding of the material discussed. The second edition has been extended with a more detailed exposition of elastohydrodynamic lubrication, an updated chapter on numerical simulation methods in contact mechanics, a new section on fretting in the chapter on wear, as well as numerous new exercises and examples, which help to make the book an excellent reference guide.

The English edition of “Contact Mechanics and Friction” lying before you is, for st the most part, the text of the 1 German edition (Springer Publishing, 2009). The book was expanded by the addition of a chapter on frictional problems in ear- quake research. Additionally, Chapter 15 was supplemented by a section on elasto-hydrodynamics. The problem sections of several chapters were enriched by the addition of new examples. This book would not have been possible without the active support of J. Gray, who translated it from the German edition. I would like to thank Prof. G. G. - charyan and Prof. S. Sobolev for discussions and critical comments on the chapter over earthquake dynamics. Dr. R. Heise made significant contributions to the - velopment and correction of new problems. I would like to convey my affecti- ate thanks to Dr. J. Starcevic for her complete support during the composition of this book. I want to thank Ms. Ch. Koll for her patience in creating figures and Dr. R. Heise, M. Popov, M. Heß, S. Kürscher, and B. Grzemba for their help in pro- reading. Berlin, November 2009 V.L. Popov Preface to the German Edition

This open access book contains a structured collection of the complete solutions of all essential axisymmetric contact problems. Based on a systematic distinction regarding the type of contact, the regime of friction and the contact geometry, a multitude of technically relevant contact problems from mechanical engineering, the automotive industry and medical engineering are discussed. In addition to contact problems between isotropic elastic and viscoelastic media, contact problems between transversal-isotropic elastic materials and functionally graded materials are addressed, too. The optimization of the latter is a focus of current research especially in the fields of actuator technology and biomechanics. The book takes into account adhesive effects which allow access to contact-mechanical questions about micro- and nano-electromechanical systems. Solutions of the contact problems include both the relationships between the macroscopic force, displacement and contact length, as well as the stress and displacement fields at the surface and, if appropriate, within the half-space medium. Solutions are always obtained with the simplest available method - usually with the method of dimensionality reduction (MDR) or approaches which use the solution of the non-adhesive normal contact problem to solve the respective contact problem.

Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.