Search results

The purpose of this paper is to focus on the assembly quality of copier products, specifically, concentrating on the prediction of the operator‐induced assembly defect.

Based on the Shibata model, the design‐based assembly complexity is redesigned. And the Sony Standard Time is replaced by the Fuji Xerox Standard Time in the calculation of the process‐based assembly complexity. Furthermore, different correlation functions are attempted and comparatively studied in the regression analysis. Thereby, a new defect rate prediction model is proposed and validated with three copier assembly cases.

The new proposed model is much more accurate and stable in the human‐induced assembly defect prediction in copier production.

The proposed model can be used to ensure the assembly quality by removing potential defects at the structure and process design stages. Meanwhile, with this model, the interactions between the engineers and designers can be more effective.

This paper presents a novel assembly defect rate prediction model for copier assembly quality management.

One of the standard practices of Communist Parties around the world is to employ art, including music, as a channel to spread political ideologies. This study aims to scrutinize the reception of Beethoven's music, particularly from a political viewpoint, by the Chinese Communist Party (CCP) in the People's Republic of China (PRC) during the early years of its rule, i.e. from 1949–1959. The ambiguity of Beethoven's own political outlook may have provided an opportunity for the CCP to choose the composer and his music in support of its aims.

To understand why and how the CCP could exploit Beethoven and his music to support its political ideologies, a series of Chinese writings on Beethoven between 1949 and 1959 have been studied. Those literatures not only helped the composer gain reputation and popularity in the PRC, but also provided a platform for the CCP to manipulate such candidate and his music. Finally, the reception of the performances of the Ninth Symphony in 1959 in the PRC is singled out for close examination.

During the first ten years of the establishment of the PRC, the quantity and quality of the articles on Beethoven expanded considerably. These writings continued to reflect the reception of Beethoven and his music with the addition of political nuances that could be interpreted in the CCP's favour.

This paper seeks to examine the PRC's artistic policies, with a particular emphasis on the reception of Beethoven and western classical music.