Digital displacement hydrostatic transmission systems

Digital Displacement pumps and motors are a new type of hydraulic machine, in which fluid commutation and displacement control are achieved by solenoid actuated valves under the command of a microprocessor, rather than mechanical means. The thesis is that radial piston machines, built according to this principle, offer energy efficiency and control advantages over variable stroke axial piston pumps, when applied to hydrostatic vehicle transmissions.Experimental results on the efficiency of prototypes are analysed and compared to published results from swashplate machines, showing an improvement in energy efficiency. Loss models are proposed and compared with experiment.A Digital Displacement motor suitable for propelling a vehicle is described and the design and development of the mechanics, electro-magnetics and embedded software are described. Experimental results are also presented, illustrating the performance of a demonstrator vehicle driven by the motor, in particular demonstrating the closed-loop regulation of vehicle speed using motor displacement control.A demonstrator vehicle is described which features a hydrostatic transmission using both a Digital Displacement pump and an axial piston motor. Experimental results of pump performance are presented with specific focus on vehicle propel. A control technique is described which increases the sensitivity of the pump at low speeds. Results are presented of tests on the prototype transmission system, focussing on the time-domain system dynamics. A computer simulation model of the vehicle is presented and results compared to experiment

Star quality: celebrity casting in London West End theatres

Purpose – The purpose of this paper is to investigate the practice of casting celebrity performers in London West End theatres. The paper uses the literature on celebrity to explore the impact that casting a celebrity has on the London theatre audience. Design/methodology/approach – The pervasiveness of celebrity culture forms the background and starting point for this research. In the first phase, theatre managers, directors and producers were interviewed to explore their views on the practice of celebrity casting. In the second phase, an audience survey was conducted. The approach taken is exploratory and is intended to illuminate the conditions under which a successful celebrity-focused strategy can be constructed. Findings – A distinction between fame and celebrity was drawn by both theatre professionals and audiences, with celebrity status being seen as something that is created by media exposure and being in the public eye. This is in contrast to fame, which is earned by being famous for something, or some achievement. Theatre audiences are more likely to be attracted by celebrities who have theatrical expertise and not by someone known simply through film, television or the all-pervasive gossip columns. Celebrities with a background in theatre and film were seen to strongly draw audiences to the theatre, as opposed to those with a background in reality TV shows, search-for-a-star shows or for being half of a famous couple. Originality/value – The paper is focused on the theatre and makes an original contribution to the current discussion of the power wielded by celebrities. It is the first empirical research on this aspect of the theatre business. Its contribution lies in understanding audience members’ interpretation and understanding of celebrity to ascertain the extent to which they perceive celebrities as credible to perform theatre. This is based on a differentiation between their mediated fame and expertise. It is helpful and useful information for producers when deciding whether or not to cast a celebrity and to which audiences that the celebrity might appeal

The emergence of brand building in the nineteenth century: William Lever and Sunlight Soap (UK, 1884)

The patent and copyright laws of the late nineteenth century, in Europe and the US, made possible for the first time the protection of intellectual and financial capital invested in brands and trademarks. Within this legal context the ‘Napoleon of Soap,’ William Hesketh Lever, brought to market one of the first brands of the modern era. The success of Sunlight Soap was based on product and packaging innovation and a series of marketing activities. Modern brand theory in the work of David Aaker gives us a means of interpreting Lever’s activities. We find that while there was no theoretical structure that Lever was working with, he was nevertheless creating a template for how to build a brand. The philanthropic claim of contributing to the good of society is stamped on the brand at birth and becomes a key brand association. Lever grows and merges his company to become Unilever. The legacy of the Sunlight brand remains intact even while the eponymous bar of soap has virtually disappeared. However the strength of those original brand associations has created the conditions for the later exploitation of these values by contemporary managers. Beginning in 2010 the Sustainable Living Plan was inaugurated as the central pillar of Unilever’s corporate business sustainability strategy. In 2015, for the fifth year in a row, Unilever tops the rankings of corporate sustainability leaders under the banner of Project Sunlight