Modeling of the solid rotor induction motor

Conventionally the rotors of cage type induction motors are laminated. There is also the possibility of using a solid rotor made from magnetic steel. This option offers advantages associated with ease of construction and reduced material costs. There are two main versions of solid rotor construction. The simpler version is essentially a steel cylinder without a cage or end-rings. A solid steel rotor with an embedded aluminum or copper cage constitutes the other version. There has been very little published work on the first version and, to the author's knowledge, there has not been anything reported on the second version. In this paper an equivalent circuit model is developed for the solid rotor induction motor. The model allows analysis of both rotor versions. It highlights the operational advantages and disadvantages of solid rotor construction

Curvature-related eddy-current losses in laminated axial flux machine cores

In this paper we present an axiperiodic quasi-static model to evaluate the magnetic flux density distribution and power loss due to curvature related radial flux in the laminated core of axial flux machines. It is shown that the relatively low effective permeability in the radial direction and the shielding effect of induced eddy currents result in negligible radial flux density compared to the peak flux densities in the axial and circumferential directions. This justifies the assumption of zero radial flux which simplifies electromagnetic modelling of axial flux machine cores. The model predicts that power loss due to curvature related radial flux is insignificant compared to normal eddy current loss if the core permeability, core conductivity and number of poles are sufficiently high. A laboratory technique is proposed for the practical detection of power loss due to curvature related radial flux

Art, its publics and an agenda of impact: the UK case

This text considers UK ‘third way’ cultural policy and its agenda of impact that seeks to directly connect with processes of social and economic change via the commissioning of art and culture. I claim that publicly funded art commissioned as part of ‘impact policy’ is increasingly instrumentalized and this process has become complicit with and functional for an agenda of privatization and marketization. Here I use theories of the public sphere as a critical framework with which to interrogate this agenda for art in third way cultural policy. I propose that third way cultural policy produces debased public spheres. In order to understand how this occurs and in what ways the state utilizes art practice I present three forms of rhetoric common to third way cultural policy and public art commissioning. This articulation allows us to comprehend how cultural policy is a steering medium that promotes ideas of economics and ways of living that are increasingly informed by neoliberal values and that further undermine public interest, social justice, and democratic debate. Instead of a third way agenda for art we must consider the potential of the arts and their institutions as spaces where politics, difference, and futures can be expressed and debated

Depoliticization, participation and social art practice: On the function of social art practice for politicization

The purpose of this article is to explore how the process of depoliticization occurs in neoliberal governance, with the aim of identifying approaches to counter its control over the way we live together. Depoliticization is a process of neoliberal political and social organization that undermines democracy. An instance of how depoliticization happens is through a lack of accountability in the way that government devolves responsibility through non-governmental agencies or quangos. Arts Council England is a quango with an increasingly instrumental policy agenda. Arts-based participation is being fostered through policy agendas; art projects that are funded in this arrangement are expected to promote social inclusion or audience engagement. While this is superficially laudable, a reduced gap between state policy objectives and commissioned artistic outcomes sees artworks utilized as interpretive publicity for policy objectives. In this way, the funding of the arts can be considered as part of the wider process of depoliticization. Yet, we argue, contra much of the depoliticization literature with its formalist understandings of power, that politics is not limited to the actions and non-actions of the state alone and can be radically understood as an everyday process. In this conception of politics, we conclude that certain forms of art practice, those that employ social praxis and critical citizenship through critical pedagogical and participatory methods, can perform a politicizing function and thus potentially reshape democracy in more emancipatory ways

The "Business-As-Usual" growth of global primary energy use and carbon dioxide emissions – historical trends and near-term forecasts

We analyse the global primary energy use and total CO2 emissions time series since 1850 and show that their relative growth rates appear to exhibit periodicity with a fundamental timescale of ~60 years and with significant harmonic behaviour. Quantifying the inertia inherent in these dynamics allows forecasting of future "business as usual" energy needs and their associated CO2 emissions. Our best estimates for 2020 are 800 EJ yr−1 for global energy use and 14 Gt yr−1 for global CO2 emissions, with both being above almost all other published forecasts. This suggests the energy and total CO2 emissions landscape in 2020 may be significantly more challenging than currently envisaged

National Museum of Gallery Visitors and Museum Workers

A new manifesto 'National Museum of Gallery Visitors and Museum Workers' was developed for the summer programme at Middlesbrough Institute of Modern Art. The work was commissioned to accompany the 'Wilderness Way' exhibition that takes as its departure point Margaret Thatcher’s visit to Teesside in 1987 to reflect on a decade that transformed the way we live. The manifesto operates as mini-dictionarium which describes key phrases that connect art and politics. The manifesto choir was performed collectively at Mima during teh exhibition. The manifesto choir is designed as a mechanism for the action of agreeing or disagreeing. Participants are requested to read the given text and make their own minds up about what part of it they subscribe to. When present at the group reading, the participants only read out the words of the manifesto they agree with

Droplet size classification of air induction flat fan nozzles

Measurements were made of the droplet size for a series of air induction flat fan nozzles produced by Marian Mikołajczak Agro Technology (MMAT) and Coorstek. The MMAT nozzles, according to International Organization for Standardization (ISO) standard sizes, are typical single jet (long body, 37 mm) with 025, 03, and 04 orifice sizes; (short body, 21 mm) with 02, 025, 03 and 04 orifice sizes; and twin jet (short body, 21 mm) with 03 and 04 orifice sizes. Ceramic air induction flat fan nozzles of the Albuz AVI series (Coorstek, France) with the orifice size 01, 02 and 03 were tested. The sprays were described using the following droplet size parameters: D, D , D, relative span (RS), spray volume (%) in size fractions < 100 μm and 100÷200 μm. The sprays were also classified according to American Society of Agricultural Engineers (ASAE) standard S572.1 (ASAE 2009)