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Johan Nilsson
Fracture mechanisms of a thin elastic plastic laminate
Fundamental language differences and its impact on learning
Platsens möjligheter för ungdomar som använder rullstol
Learning to Destroy: Case Studies of Creative Destruction Management in the Baltic Sea Region. keynote
Robustness of a Design Method Based on Assignment of Poles and Zeros
The Rome I regulation on the law applicable to contractual obligations and the choice of law by the parties
A time-domain approach to the extinction paradox for scattering of electromagnetic waves
The extinction paradox states that a perfectly electric conducting target which is large compared to the wavelength removes from the incident radiation exactly twice the amount of power it can intercept by its geometrical cross section area. In this paper, the extinction paradox is generalized to include temporally dispersive material parameters with finite values of the permittivity and the perme
Sounds of Modernity: Bergman and Jazz
Dynamic speed adaptation in adverse conditions
Accident risk in adverse conditions (wet/slippery road, darkness) increases drastically and speed adaptation in these conditions is often inappropriate. The safety potential of more appropriate speeds in these situations is high. Appropriate highest speeds in different conditions are discussed. A system, which limits the maximal speed of the vehicle in the actual situation (on wet/slippery road, a
Emil Bønnelycke
Convex and global optimization for antenna analysis
The Masochistic Reflexive Turn
A virtual vehicle laboratory for computational simulation and design
Particle Formation in Moving Grate Boilers fired with wood fuels
Toward a Value Theory of the Interface
Raphael's Madonna of the Goldfinch, Copies and the Abbey of Vallombrosa Reconsidered, appendix: 1867-70, the Vallombrosa Arguments in Letters and Publications
An investigation concerning a group of paintings sharing a common motif. The motif is the Madonna with the infants Jesus and Saint John, the Infant Jesus holding a goldfinch. Rapahel's version of the painting, in the Uffizi, is discussed in relation to a similar version of the motif that appeared in Sweden in the 1990's.