Resolution proof reduction via local context rewriting - Revision history

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	'''Slow strain rate testing''' (SSRT), also called '''constant extension rate tensile testing''' (CERT), is a standard<ref>Standard ASTM G129-00 (2006), "Standard Practice for Slow Strain Rate Testing to Evaluate the Susceptibility of Metallic Materials to Environmentally Assisted Cracking", [[ASTM International]], 2006.</ref><ref>Standard ISO 7539-7:2005, "Corrosion of metals and alloys -- Stress corrosion testing -- Part 7: Method for slow strain rate testing", [[International Organization for Standardization]].</ref> method of testing of [[Materials science\|materials]], often metals, in which the specimen is subjected to [[Deformation (engineering)\|elongation]] at a constant rate. The load is varied to maintain the constant extension rate. While extended, the material is exposed to an environment (temperature, specific fluid, etc.). The method evaluates the [[corrosion]] behaviour of the material in the given environment, often the [[environmental stress fracture\|environmental effects on the material fracture]] or [[stress-corrosion cracking]] susceptibility.<ref>G. M. Ugiansky, "Stress corrosion cracking: the slow strain-rate technique", ASTM International, 1979. [http://~~books~~.~~google~~.ca/~~books~~?hl=en&lr=&id=~~abXk2AlcNcwC~~&oi=~~fnd~~&pg=~~PA2~~&~~dq=slow+strain+rate+testing&ots~~=~~WSPKT5Gl9P~~&~~sig~~=~~_6O8kipnQdsPEjxAIMnbZ6verGk~~&~~redir_esc=y#v~~=~~onepage~~&q=~~slow%20strain%20rate%20testing~~&f=~~false (Google books)~~]~~</ref>~~		[http://search.Un.org/search?ie=utf8&site=un_org&output=xml_no_dtd&client=UN_Website_en&num=10&lr=lang_en&proxystylesheet=UN_Website_en&oe=utf8&q=Boost+styles&Submit=Go Boost styles] of reducing edge new or made use of vehicles supplemental normally in addition to additional long lasting compared to an specific can determine on the ton. 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	~~== Effect~~ of ~~strain rate ==~~
	~~The important characteristic~~ of ~~these tests is that the [[strain rate]] is low, for example extension rates selected~~ in the ~~range from 10<sup>−8</sup> to 10<sup>−3</sup> s<sup>−1</sup>~~. ~~The selection of~~ the ~~strain rate is very important because~~ the susceptibility to cracking may not be evident from result of tests at too low or too high strain rate.<ref>Parkins, R.N., "Slow Strain Rate Testing - 25 Years Experience". In: R. D. Kane (ed.), "Slow strain rate testing for the ~~evaluation of environmentally induced cracking: research and engineering applications", ASTM International, 1993~~. [http://~~books~~.~~google~~.ca/books?id=Sj-qtrY-sxcC&pg=PA7&lpg=PA7&dq=Slow+strain+rate+testing&source=bl&ots=ym5_eQd8rR&sig=n59tGbZKVIAVTR6JxAWd7I735oU&hl=en&sa=X&ei=21J-T-P4JYne9ASgmaC3Dg&redir_esc=y#v=onepage&q=Slow%20strain%20rate%20testing&f=false (Google books)]~~</ref>~~ For ~~numerous material~~-~~environment systems, strain rates in range 10<sup>−5</sup> - 10<sup>−6</sup> s<sup>−1</sup> are used; however,~~ the ~~observed absence of cracking at a given strain rate should not be taken as a proof~~ of ~~immunity~~ to ~~cracking~~. ~~There are known cases wherein~~ the ~~susceptibility~~ to ~~stress-corrosion cracking only became evident at strain rates as low as 10~~<~~sup~~>−8<~~/sup~~> ~~or 10~~<~~sup~~>−9<~~/sup~~> s<~~sup>−1</sup~~>. ~~The fastest strain rate that will still promote SCC for a given environment-material system is called "critical strain rate"~~, ~~some values are given~~ in ~~the table:<ref>ASM Handbook~~. ~~Volume 13~~, ~~Corrosion. ASM International~~, ~~1997~~.~~</ref>~~

	~~{{Table \|type=class="wikitable sortable" \|title=Critical strain rates~~
	~~\|hdrs=Metal-environment system!!Critical strain rate~~, ~~s<sup>-1</sup>~~
	~~\|row1=Aluminium alloys - aqueous chloride solutions{{!!}}10<sup>-4</sup>~~ to ~~10<sup>~~-~~7</sup> \|row2=Copper alloys - ammonia/nitrite solutions {{!!}}10<sup>-6</sup>~~
	~~\|row3=Titanium alloys - chloride solutions {{!!}}10<sup>-5</sup>~~
	~~\|row4=Steels - solutions~~ of ~~carbonates, hydroxides, or nitrates, or liquid ammonia{{!!}}10~~<~~sup~~>-6<~~/sup~~>
	~~\|row5=Magnesium alloys~~ - ~~chromate/chloride solutions {{!!}}10<sup>-5</sup>~~
	~~\|row6=Stainless steel - chloride solutions {{!!}}10<sup>-6</sup>~~
	~~\|row7=Stainless steel - high temperature water solutions {{!!}}10<sup>-7</sup>~~
	}}

	~~Nevertheless~~, ~~the method is~~ very ~~suitable~~ for ~~mechanistic studies, as well as~~ for ~~relative ranking of susceptibility~~ to ~~cracking of different alloys~~, ~~or aggressiveness of environments~~.<~~ref name=raja/~~>

	~~== The evaluation~~ of ~~the results ==~~
	~~The evaluated parameters~~ are~~:<ref name=raja>V~~.S. ~~Raja~~ and ~~Tetsuo Shoji~~, ~~"Stress corrosion cracking. Theory and practice."~~, ~~Woodhead Publishing Ltd~~, ~~2011.</ref>~~
	* time ~~to specimen failure (e.g~~., ~~breakage~~, ~~or from other "failure" criteria)~~
	* [[ductility]] (by elongation to fracture or the ~~reduction of~~ the ~~area)~~
	* [[ultimate tensile strength]] (from the maximum load)
	* area under the elongation - load curve (which represents the fracture energy)
	* percent of ductile/brittle fracture on the fracture surface
	* threshold stress for ~~cracking (e~~.g.~~, by potential drop technique<ref>"Use~~ of the ~~Potential Drop Technique to Monitor Stress Corrosion Cracking~~. ~~A short Applications Note." MATELECT application note STE01. Matelect Ltd. 33 Bedford Gardens~~, ~~London, W8 7EF~~, UK, ~~undated.~~ [http://~~www~~.~~matelect~~.~~com/files/Download/StressApp~~.~~pdf (pdf)]</ref>)~~.

	~~The results~~ of the ~~SSRT tests are evaluated using~~ the ~~ratio~~:

	<~~math~~>~~\left[ \frac {\text{result from specimen in test environment}} {\text{result from specimen in inert environment}} \right]~~<~~/math~~>

	~~The departure of~~ the ~~ratio below unity quantifies the increased susceptibility to cracking~~.

	~~== See also ==~~
	* [[Environmental stress cracking]]
	* [[Rsl testing]]
	* [[Tensile testing]]

	~~== References ==~~
	~~{{Reflist}}~~

	~~[[Category:Corrosion]]~~
	~~[[Category:Fracture mechanics]]~~
	~~[[Category:Materials testing]]~~

en>Rjwilmsi: Typo fixing, typos fixed: a equivalent → an equivalent (4) using AWB (8906)

2013-02-12T19:26:44Z

Typo fixing, typos fixed: a equivalent → an equivalent (4) using AWB (8906)

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en>Chris the speller: Typo fixing using AWB (8046)

2012-04-13T16:44:48Z

Typo fixing using AWB (8046)

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Opulence. Maybe there's something in the air of Paris that inspires it. 

There's the proliferation of palais (petit or grand) for designers to show their collections in, the galleries filled with florid, lurid art, and the haute couture, of course, opulence cubed and then wrapped in duchesse satin for good measure. They all do something to designers, no matter how minimally minded. It's certainly done something to Marc Jacobs. Compare and contrast the first Louis Vuitton collection he presented oh-so-quietly 16 years ago with the ball-busting extravaganza unveiled last Wednesday, part �Turn Back Time� video, part Paul Verhoeven's Showgirls 
It was an indulgent farewell to a house that has helped redefine the meaning of luxury goods in the 21st century. Indulgent for Jacobs, but also for the audience, a funereal feast for the eyes, Jacobs' all-black swansong. The Stephen Jones headdresses were inspired by Ziegfeld Follies and Cher's 1986 Oscars outfit 
Says it all 
Jacobs declared that the collection was obsessed with �pure adornment�, reasoning that �connecting with something on a superficial level is as honest as connecting with it on an intellectual level�. That's an interesting conceit. Contemporary fashion, like contemporary art, tends to be overthoug 

If not by designers, then certainly by critics. After all, we have to [http://Search.huffingtonpost.com/search?q=justify&s_it=header_form_v1 justify] our presence there. And the Air Miles we rack .
Marco Zanini also showed his final collection for the house of Rochas. He's moving to Schiaparelli. Like Jacobs, he was obsessed with surface, with dumb, straightforward beauty. His was sugary sweet, in pastels that made your teeth ache, dedicated to Tennessee Williams' [http://www.pcs-systems.co.uk/Images/celinebag.aspx Celine Bag Online] The Glass Menager .
Banish thoughts of tormented southern belles. Zanini focused on the crystalline beauty of said ornaments, bonding devor� velvet to organza and freckling iridescent fabrics with Swarovski g 

Maria Grazia Chiuri and Pier Paolo Piccioli took a precious approach, too. Their Valentino collection was inspired by the Rome Opera, apparently. In actual fact, it was all about the heavily embellished surfaces of lace and tulle. Lawn shirts seemed included purely as foil for all that decoration, a palette clean 

It would have made it easier to enjoy Hedi Slimane's latest Saint Laurent collection if you could take it at face value. Look! Sequinned lips! Flames! Lurex pop-socks! Removed from the heritage of Saint Laurent, it had a pop, pap appeal. If you stopped looking for a hidden depth, the soul-searching that Yves Saint Laurent made an intrinsic part of his fashion, Slimane ticked bo 

Girls who want to look like that will love to dress in t s.
Karl Lagerfeld has always been about surface. His toying with the hallmarks of Chanel - tweeds, camellias, pearls, chains, those two-tone shoes - has always been about ironic appropriation, post-modern reinterpretation. It's the fashion equivalent of Jeff Ko 

He showed his latest Chanel collection in an art gallery. At least, it was on the surface. It was all fake, only the clothes were real. And they were pure Chanel, the art-house backdrop just that. I kept thinking of something Dinos Chapman once said to me: �I think that the art world and the high-end fashion world� are the same peop .�

People wanted to buy the Chanel works of art as surely as they wanted to buy the Chanel clothes. They both became post-modern commod ies.
That's looking below the surface, though, behind the opulence of Chanel's specially woven, artfully unravelling tweeds that resembled rag-rugs, the canvas bags with a 2.55 fa�ade painted on the front, the graffitied art-student backpacks. They were just great, covetable fashion, brilliant pro s.

That brings us, inevitably, to Phoebe Philo. She's known for great products - photography is banned in the C�line showroom for fear of rampant copying. And rightfully so. Still, that oft-imitated C�line hallmark is an ascetic aesthetic. Philo is the last designer one imagines inclined to opu e.

But her riotously messy spring C�line collection felt fresh and energetic, pleated skirts bouncing below an elongated torso, fringe swaying on latticed leather bags, mashed-up metal formed into enamelled bracelets and els.
Couture, of course, breeds opulence. Riccardo Tisci halted his made-to-measure line this year, but the handicraft of couture infected his spring collection, from the crystal-encrusted masks, to feather-embroidered bodices, to a series of sequinned, sinuous multi-pleat evening s.

Those were old-school opulent. For modern couture, and a contemporary opulence, fashion turns to Raf Simons. His last Dior haute-couture collection met mixed reviews, but has inspired many a designer. The throbbing mood of Africa that beat through the collections, albeit slightly hackneyed, can be traced to S ons.
This time, he pushed his aesthetic further still. It felt a collection in flux, [http://Imageshack.us/photos/sitting+halfway sitting halfway] between Dior past and Simons future, a cross-pollination. The inspiration was flowers, a theme at the very root of Dior. But the best summary was the least ostentatious: Simons' shirtdresses, twisted takes on the white cotton coats of workers corkscrewing around the body in a fascinating surface of complex s.

So, French fashion is all about surface. Where does that leave Rei Kawakubo and Junya Watanabe, or Hussein Chalayan? The visual is just a fragment of what they offer, thinking clothes for the thinking woman. Jacobs may be in love with �beauty for beauty's sake�, but this trio of talents begs for somethin more.
They all had a stellar, cerebral season: Watanabe creating an idiosyncratic ode to the spaghetti Western, Chalayan a paean to the windswept beach, while Kawakubo presented 23 non-outfits that challenged our perceptions of what fashion actually represents. She stated that she had no new ideas, so didn't create c es.

If only other designers could follow her lead and thin out th herd.
The surface of this deep-thinking threesome's clothing was universally impressive, but it's what lies beneath that really interests. Opulent intelligence? Their clothes beg dissection and discussion. To intellectualise a fashion show isn't automatically to over- intellectual it.

Ultimately, that's what fashion is about. Surface is all well and good. But you have to get someone inside the damn clothes for it to all make se.

It's ideological, as well as physical. At least, it is when it's really great.