Iron Man Research Articles

"Iron man" suits are coming to factory floors

What's the most important thing for people to know about the full-body exoskeleton from Sarcos Robotics, which can turn an assembly-line worker into a superhero? We're taking orders, says Sarcos CEO Ben Wolff.

Marvel Universe Live

Reviewed by: Marvel Universe Live Eero Laine MARVEL UNIVERSE LIVE. Feld Entertainment. NYCB LIVE, Nassau Veterans Memorial Coliseum, Uniondale, NY. March 23, 2018. The stage was an oblong area marked off by a low barricade in the basin of the stadium. After a first act populated by space aliens and featuring pyrotechnics, lasers, and a flying anthropomorphic racoon, it was time for intermission. Time to fill up on stadium food and peruse the souvenir tables. Returning from the poured concrete concourse, clutching Avengers-themed plastic cups, cotton candy, and tepid hot dogs, we saw a single performer in the middle of the playing space. Wearing dark slacks, a button-up shirt, and a vest, he was dressed as a stadium vendor and indeed there was no reason to believe he was not one. The man had Captain America–branded boomerangs, which he would throw and catch, each throw arcing outward and upward and returning to waiting hands. As the intermission wore on, he would launch more of the boomerangs into the air at once, attempting to catch them all as they returned in rapid succession. Two seemed like no problem, three took a bit of effort, four was difficult, and when he tossed additional boomerangs into the air he had to try a few times to catch them, eventfully getting to the point where adding even one more seemed impossible. Could he do it? The audience was held in rapt attention. And then the second half of the production started, and the gray stadium was transformed into Asgard, home of the Norse gods Thor and Loki, who are also Marvel comic book characters. The projected view of a palace and the multicolored stripes of the rainbow bridge set the stage for the heroes to continue their hunt for the Wand of Watoomb, an object capable of vast destruction and also a useful Mc-Guffin for characters to chase in their madcap dash across the galaxy and in and out of various Marvel comic book worlds. Most of the characters are well known, and part of the appeal of the show is to see them all together, a live-action crossover event that plays to the already pervasive, multimedia storytelling of contemporary comics. Spiderman, Black Panther, Iron Man, the Hulk, Thor, Black Widow, Dr. Strange, the Guardians of the Galaxy, and others all make appearances to shout their catch phrases and show off their super powers. The production reminds us that stadiums are built for spectators and spectacles, and I wish more theatre was like this. Marvel Universe Liveis one of the best examples of what I call "stadium theatre." The term describes those performances that are at home in the large open spaces of an arena: Cirque du Soleil, Blue Man Group, professional wrestling, and others. The company is granted a license for Disney properties (Disney owns Marvel) and was its de facto theatrical wing before Disney produced Beauty and the Beaston Broadway. The company notes on its website that it has performed for millions of audience members and toured to over seventy-five countries in every continent but Antarctica—a reach that few theatrical companies can match. The production is all rather spectacular. Iron Man flies as rocket flames shoot out of his feet, Spiderman, Black Panther, the Wasp, and Black Widow flip and leap and cartwheel across the stage and through the air, Groot, the talking walking tree, both talks and walks. In a fantastic sequence of motorbike jumps and stunts, Captain America and Spiderman combat multiple villains, revving motorcycle engines and flying off steep ramps just in front of us, live, with no editing. The performers take on the superhero costumes, but seem superhuman themselves. Green Goblin floats through the air, throwing fireballs that launch the other characters off their feet. The Hulk appears by breaking through a portion of the set. The sequence would be funny for its absurdity if it was not embedded in a gripping final battle that flexed its over-the-top theatricality. Indeed, it is a neat bit of theatre to see a character of the size of the Hulk (and he is quite large) move across a stadium floor...

In-Equivalent English–Indonesian Translation of Commissive Utterances in Some American Popular Films

This research attempts to investigate the in-equivalent English into Indonesian translation of commissive utterances in eight American Popular Films. The data used in this research are 34 English commissive utterances and its Indonesian in-equivalent subtitle collected from Easy A, Frozen, Iron Man 2, Black Swan, The Hunger Games, The Dark Knight Rises, Crazy Stupid Love, and Pitch Perfect. In particular, it aims to analyze the in-equivalent English-Indonesian translation of commissive utterances found in the films and to propose the equivalent Indonesian translation.The 12 data representatives chosen are classified into four types of speech acts: direct, indirect, literal, and non-literal. Each of the data is analyzed qualitatively based on the context, Grice’s maxims of cooperative principle: quantity, quality, relevance, and manner, and Brown and Levinson’s politeness strategies: positive and negative. Then, the equivalent translation is proposed with concerning the style of the conversation too.Based on the findings, the main problem that causes in-equivalent translation is because the cultural differences between country of source language and target language that affect the translation product that can produce pragmatically in-equivalent translation product.

ANALISIS PEMILIHAN KARAKTER SUPERHERO SEBAGAI LISENSI PRODUK PADA MINUMAN SUSU FRISIAN FLAG (MILKY, FRUITY, DAN MUT MUT) DALAM MENARIK MINAT BELI KONSUMEN

This research is an analysis that aimed to see the suitability between super hero character (Iron Man, Spiderman, Thor, Captain America) chosen by Frisian Flag Indonesia as a license on Milky, Fruity and Mut mut products toward information allotted in the packaging. Besides, it also explored the interest of kids to the character. It was multi method research. It involved desktop-research and survey which enabled respondents to bring out their perception. The results of this study was Iron Man considered to be a very appropriate character, reflected from the survey and comparison toward the nutrition. Thus, from this research, it is a suggestion for Frisian Flag to focus Iron Man character as one of the steps to increase sales and consumer buying interest.

Case report: Auxiliary device for recreational use in a child with upper limb malformation, made by additive manufacture (3D printing)

Patients with a deficiency in any member of body have difficulties in day-to-day activities, such as practicing recreational physical activities and, in case of children, play. Therefore, the aim of this project was to create a low cost and water resistant device that would help children with disabilities of the upper limb to have greater freedom and comfort when it comes to playing. Another important point, with customization that refers to characters of movies and comics, is to promote a significant improvement in self-esteem and in the relationship with other children, especially in school environment, reducing bulling and shame episodes. For this, a prototype mechanical device was created by additive manufacture (3D printing), customized with characteristics of "Iron Man" character of Marvel®.

BIOBOARD

ASIA-PACIFIC – First AI research center among Hong Kong universities ASIA-PACIFIC – IRON MAN to the rescue ASIA-PACIFIC – Breakthrough mouse model for diabetic kidney disease ASIA-PACIFIC – Marmosets as in vivo models for developing immune-based therapies REST OF THE WORLD – Using big data to reduce the risk of stroke REST OF THE WORLD – New partnership to improve rare cancer patient care

Iron Man’s and Captain Marvel’s Anxieties and Defense Mechanisms in “Civil War II”

This thesis deals with the anxieties experienced by the leaders of superhero teams in Civil War II, Iron Man and Captain Marvel. Through their anxieties in Civil War II, I tried to reveal the causes of their anxieties and their ways to reduce these uneasy feelings. To analyze the causes of these two characters’ anxieties, I used two of the theory of anxiety, reality and moral anxiety. I found that there are two causes that make Iron Man feel anxieties which are the reaction of Captain Marvel towards Ulysses’ prophecies and his responsibility both as a superhero and as a leader to protect people from the outcome of Ulysses’ prophecies. On the other hand, Captain Marvel also feels anxieties from the blame of Iron Man and her responsibility both as a superhero and as a public officer to protect people from dystopian future. Iron Man uses two defense mechanisms, which are splitting and rationalization. On the other hand, Captain Marvel also uses two defense mechanism, which are idealization and rationalization. These defense mechanisms are used by both, Iron Man and Captain Marvel to ease their reality and moral anxiety.

Machina ex homine, homo ex machina

AbstractIn this article, I identify and describe multimodal hybrid metaphors—the conceptual representation of two elements represented as merged into a new single ‘gestalt’—represented by themachineandhuman bodydomains in “Tetsuo: The Iron Man” (鉄男: Tetsuo), a Japanese avant-garde film. Since “Tetsuo: The Iron Man” portrays the genesis of a man whose body becomes a human-machine hybrid, I explore to what extent this film can act as an example of how hybrid metaphors are conveyed. In line with the ideological function of metaphors, where the use of alternative metaphors may produce different meanings and potentially have different effects on the recipient, I also try to interpret how these hybrid metaphors reveal information about the contemporary Japanese society. Specifically, the ideological analysis considers how the notion of ‘artificial’ and the social phenomena of misogyny, homophobia and social deviance are held to characterise the post-World War II Japanese culture.

IRON MAN is a ubiquitous family of peptides that control iron transport in plants.

Iron (Fe) is an essential mineral nutrient that severely affects the growth, yield and nutritional quality of plants if not supplied in sufficient quantities. Here, we report that a short C-terminal amino-acid sequence consensus motif (IRON MAN; IMA) conserved across numerous, highly diverse peptides in angiosperms is essential for Fe uptake in plants. Overexpression of the IMA sequence in Arabidopsis induced Fe uptake genes in roots, causing accumulation of Fe and manganese in all plant parts including seeds. Silencing of all eight IMA genes harboured in the Arabidopsis genome abolished Fe uptake and caused severe chlorosis; increasing the Fe supply or expressing IMA1 restored the wild-type phenotype. IMA1 is predominantly expressed in the phloem, preferentially in leaves, and reciprocal grafting showed that IMA1 peptides in shoots positively regulate Fe uptake in roots. IMA homologues are highly responsive to the Fe status and functional when heterologously expressed across species. IMA constitutes a novel family of peptides that are critical for the acquisition and cellular homeostasis of Fe across land plants.

IronMan: moving nanomedicine from lab to market

IronMan: moving nanomedicine from lab to market

Szofer Wałęsy

WAŁĘSA’S CHAUFFEURThe article refers to relation between Andrzej Wajda and Lech Wałęsa, especially tells about the image of Wałęsa in Wajda’s movies. It puts forward the story of their direct contact, and then it shows the way of presenting Lech Wałęsa in three films of Wajda. In Man of Iron Wałęsa is shown in archival materials and in two scenes, where he plays himself. We could say that both of two main characters — Maciej Tomczyk and editor Winkiel — were inspired by Wałęsa’s life. In movie etude called Man of Hope the part of Solidarity, solidarity we can observe Wałęsa in a conversation with Wajda, Krystyna Janda and Jerzy Radziwiłowicz. The artists are cheerful, optimistic, content, but Wałęsa is embittered and glum. He knows better, that the myth of “Solidarity” is already dead. The movie Wałęsa. Man of Hope is like a big speech, which in Wajda defends his hero from charges about cooperation with SB. In addition, Wajda’s attitude to Wałęsa can illustrate relation between polish intelligentsia and the “simple people”, including its special variant, which is the alliance between intelligentsia and workers formed in 1980 in Gdańsk Shipyard, where both of them met.

We Are Iron Man: Tony Stark, Iron Man, and American Identity in the Marvel Cinematic Universe's Phase One Films

We Are Iron Man: Tony Stark, Iron Man, and American Identity in the Marvel Cinematic Universe's Phase One Films

Iain Robert Smith, The Hollywood Meme: Transnational Adaptations in World Cinema

When Shane Black’s Iron Man 3 reached mainland Chinese theatres in May 2013, the film looked somewhat different from the version that had opened around the world just days earlier. Showings began with an advertisement for Gu Li Duo, a Yili milk drink sipped by Dr Wu (Wang Xueqi), an ancillary character in the ‘international’ version of the film who features prominently in several scenes added to the Chinese release. In one such scene, a television in Wu’s office shows Iron Man at a Beijing landmark, surrounded by schoolchildren; in another, Wu operates on Iron Man alongside his assistant, Wu Jiaqi (played by mainland actress Fan Bingbing, who would return to Hollywood superheroics in 2014’s X-Men: Days of Future Past). The Hollywood Reporter gauged Chinese bloggers’ ‘mixed reaction’ to the scenes, ‘which they believe are superfluous to the narrative [...] with many complaining about their country being represented on film by a ten-second presence of Wang, and the appearance of TV sets and mobile phones made by the Chinese manufacturers TCL’.1 Viewers outside of mainland China, meanwhile, got their own chance to weigh in when the scenes subsequently appeared as extras on the Blu-ray/DVD release of the movie, and then online, where YouTubers set about translating the sequences between frequent cries of ‘WTF?!’. In a representative example, commenter melediv exclaims, ‘Stop screwing up my movies, China! Leave Hollywood alone’,2 a complaint made all the more pointed by the fact that Iron Man 3 was jointly produced by Disney’s Marvel and Beijing’s DMG Entertainment.

The Aging of Iron Man.

Brain iron is tightly regulated by a multitude of proteins to ensure homeostasis. Iron dyshomeostasis has become a molecular signature associated with aging which is accompanied by progressive decline in cognitive processes. A common theme in neurodegenerative diseases where age is the major risk factor, iron dyshomeostasis coincides with neuroinflammation, abnormal protein aggregation, neurodegeneration, and neurobehavioral deficits. There is a great need to determine the mechanisms governing perturbations in iron metabolism, in particular to distinguish between physiological and pathological aging to generate fruitful therapeutic targets for neurodegenerative diseases. The aim of the present review is to focus on the age-related alterations in brain iron metabolism from a cellular and molecular biology perspective, alongside genetics, and neuroimaging aspects in man and rodent models, with respect to normal aging and neurodegeneration. In particular, the relationship between iron dyshomeostasis and neuroinflammation will be evaluated, as well as the effects of systemic iron overload on the brain. Based on the evidence discussed here, we suggest a synergistic use of iron-chelators and anti-inflammatories as putative anti-brain aging therapies to counteract pathological aging in neurodegenerative diseases.

Using Hawkeye from the Avengers to communicate on the eye.

Superheroes, such as Iron Man, Captain America, Wonder Woman, Batman, and Hawkeye, have appeared in numerous films, displaying their range of incredible superpowers and abilities. Therefore, it is unsurprising that many people would not only wish to attain these powers, but also to learn about scientific accessibility to these powers. Popular culture characters such as superheroes can provide a unique platform for the communication of difficult scientific concepts. In the classroom, these characters can be used to communicate learning objectives to students in an interesting, fun, and accessible manner by taking advantage of student familiarity with the characters. Hawkeye, a member of the Avengers, is one such superhero who can be utilized by educators. His powers can be attributed in part to his advanced eyesight, which has physiological aspects in common with many birds of prey. Hence, Hawkeye can instigate discussion on the physiology of the human eye, while also allowing for comparison with other species, such as birds of prey, and reflection on advancements related to genetic engineering and wearable technologies. In addition, in my experience, Hawkeye has proven to be a highly suitable popular culture character for use in scientific communication and outreach.

Głos prekursora heavymetalowego brzmienia... O autobiografii "Iron man". "Moja podróż przez niebo i piekło z Black Sabbath" Tony’ego Iommiego

The voice of the precursor of heavy metal sound. About the Tony Iommi’s autobiography "Iron man". "My journey through heaven and hell with Black Sabbath" This article focuses on the some aspects of the autobiography of heavy metal music precursor Tony Iommi. Text Iron man. My journey through the sky and hell with Black Sabbath was considered in the context of category of autobiographical memory. Special attention was paid to the main characters of narrative and to the specific and crucial events of the artist’s life.

Building for Oil: Daqing and the Formation of the Chinese Socialist State by Hou Li

Reviewed by: Building for Oil: Daqing and the Formation of the Chinese Socialist State by Hou Li Denise Y. Ho Hou Li. Building for Oil: Daqing and the Formation of the Chinese Socialist State. Harvard-Yenching Institute Monograph Series. Cambridge, MA: Harvard University Asia Center, 2018. 272 pp. $39.95 (cloth). Set in China's Northeast, Hou Li's Building for Oil traces the history of the Daqing (大庆) Oilfield in Heilongjiang Province. The book follows Daqing from its origins as an oil campaign in 1960, to its elevation as a national model in 1963-1964, to its contributions to China's reform and opening up. Daqing Oilfield, Hou argues, "substantially changed the development path of modern China," producing over 50% of China's crude oil and providing its largest single source of revenue (26-27). Daqing demonstrates how China's industrial drive persisted at the height of the Mao-era political campaigns, eventually paving the way for the agricultural revolution in the 1980s. Though we know of the Daqing model from the People's Daily in 1964—"In industry, learn from Daqing; in agriculture, learn from Dazhai"—Hou Li reveals the Daqing model with an urban planner's sensitivity to design and resources and an historian's eye for detail and analysis. The Daqing model, she suggests, adapted urban construction for a rural context, it balanced industry and agriculture, and it relied both on individual self-sacrifice and a flexible labor force that blurred the boundaries between workers and peasants. Building for Oil is a history in three keys. On one level it is a history of the institutions and professions that were devoted to the work of construction and resource extraction. Sections of each chapter outline bureaucratic organization from the center to the locality. At this same level the book details the lives and careers of engineers, geologists, architects, and planners; Hou points out that most such professionals chose to stay behind on the mainland after 1949, a story of legacy and continuity that places Daqing within the twentieth century. On another level Building for Oil contributes to the literature on China's search for modernity; it is an economic history of industrialization, of Five Year Plans, and of China's eventual independence in oil production. Finally, the book is a personal history centered on the life of Zha Binhua (查滨华 1941–), a young woman who arrived at Daqing Oilfield in 1962 as a fresh graduate in urban planning from Shanghai's Tongji University. Hou Li interweaves these three levels across six chapters and an epilogue. Chapter 1 locates the history of oil from the late nineteenth-century Self-strengthening movement up to the beginning of the People's Republic of China (PRC). In chapter 2, Hou Li introduces Zha Binhua, combining her journey to the oilfields with the national-level drive to mobilize human, material, and financial resources to the same end, extending the metaphor of the "battlefield" to the campaign for oil. Chapter 3 examines construction as an industry in the wider context of the planned economy, framing the building of an oil base city as a delicate negotiation between production and consumption, national and local, and industry and agriculture. If chapter 3 is about the economics of construction, chapter 4 is about the politics of construction, describing how Daqing became a national model—especially for Third Front cities—and how Zha Binhua found herself in a political role, representing the "Daqing spirit" at the 1966 Fourth Annual Conference of the Architectural Society of China in Yan'an. Chapter 5 is a social history of how life was experienced in Daqing, organized around types: Iron Men, Iron Girls, dependents, and intellectuals. It also details how the Cultural Revolution disrupted oil production, a [End Page E-23] problem quickly rectified when Daqing became one of the first places where the military restored order. In chapter 6 and the epilogue, Zha Binhua and her husband are liberated from the May Seventh cadre school and are transferred to Langfang in Hebei Province, later continuing their careers as an architect and a planner in the Nanjing City Planning Bureau. The final two decades of their working lives coincide with Daqing...

Importance of 3D and Inkjet Printing For Tony Stark and the Iron Man Suit

For decades we have used printers to print superheroes on the pages of comic books but could printing technologies actually be used to print real life superheroes? 3D and functional printing technologies have advanced greatly in recent years and even though these technologies cannot be used to print heroes themselves, they can certainly be used for equipment manufacturing. One character that could or may use 3D printing to rapidly produce prototypes and final versions of new technologies is Tony Stark. As the inventor and primary user of the Iron Man suit, Stark has designed a wearable suit that is not only a weapon but also protects him. However, in battle the suit can become damaged and require urgent repairs. To aid in these repairs, Tony Stark could turn to 3D printing technologies to produce new components for the suit. In this paper we will outline 3D printing technologies and describe their current applications. We will then discuss how 3D printing is being used to print electronics and the ramifications for Tony Stark, his Iron Man suit and the potential use for a real Iron Man suit.

Tworzenie obrazu przeszłości w trylogii robotniczej Andrzeja Wajdy

Observing the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material.

Myocardial Fibrosis in Competitive Triathletes Detected by Contrast-Enhanced CMR Correlates With Exercise-Induced Hypertension and Competition History

ObjectivesThis study analyzed the presence of myocardial fibrosis detected by late gadolinium-enhancement (LGE) cardiac magnetic resonance (CMR) in correlation with the performance of competitive triathletes objectified by an exercise test and individual competition history. BackgroundMyocardial fibrosis detected by LGE CMR has been reported to occur in 0% to 50% of asymptomatic athletes. However, the cause and mechanisms of myocardial fibrosis are unclear. MethodsEighty-three asymptomatic triathletes undergoing >10 training h per week (43 ± 10 years of age; 65% male) and 36 sedentary controls were studied by using LGE and extracellular volume (ECV) CMR. Parameters of physical fitness were measured by spiroergometry. Triathletes reported their lifetime competition results. ResultsLGE CMR revealed focal nonischemic myocardial fibrosis in 9 of 54 (17%) male triathletes (LGE+) but in none of the female triathletes (p < 0.05). LGE+ triathletes had higher peak exercise systolic blood pressure (213 ± 24 mm Hg) than LGE− triathletes (194 ± 26 mm Hg; p < 0.05). Furthermore, left ventricular mass index was higher in LGE+ triathletes (93 ± 7 g/m2) than in LGE− triathletes (84 ± 11 g/m2; p < 0.05). ECV in LGE− myocardium was higher in LGE+ triathletes (26.3 ± 1.8%) than in LGE− triathletes (24.4 ± 2.2%; p < 0.05). LGE+ triathletes completed longer cumulative distances in swimming and cycling races and participated more often in middle and Iron Man distances than LGE− triathletes. A cycling race distance of >1,880 km completed during competition had the highest accuracy to predict LGE, with an area under the curve value of 0.876 (p < 0.0001), resulting in high sensitivity (89%) and specificity (79%). Multivariate analysis identified peak exercise systolic blood pressure (p < 0.05) and the swimming race distance (p < 0.01) as independent predictors of LGE presence. ConclusionsMyocardial fibrosis in asymptomatic triathletes seems to be associated with exercise-induced hypertension and the race distances. There appears to be a safe upper limit, beyond which exercise may result in myocardial fibrosis.