The Experimental and Simulation Study of Selective Catalytic Reduction System in a Single Cylinder Diesel Engine Using NH 3

Selective catalytic reduction (SCR) technology has been widely used in automotive applications in order to meet the stringent limits on emission standards. The maximum NOx conversion efficiency of an SCR depends on temperature and mass flow rate of an exhaust gas. In order to assess the suitability of Cordierite/Pt catalyst for low temperature application, an experimental work is carried out using single cylinder diesel engine for different load conditions by varying ammonia induction rate from 0.2 kg/hr to 0.8 kg/hr. The simulation is carried out using AVL FIRE for the validation of experimental results. From the study, it has been found that for 0.6 kg/hr ammonia induction rate the maximum conversion is achieved, whereas, for 0.8 kg/hr, conversion is reduced due to desorption of ammonia. Also it has been found that, at 75% of load, for all mass flow rates of ammonia the conversion was drastically reduced due to higher exhaust gas temperature and higher emission of unburnt hydrocarbons. More than 55% of NOx conversion was achieved using Cordierite/Pt catalyst at a temperature of 320°C

Accident's need not happen

Accidents Need Not Happen is an exhibition inspired by MACE will take place in the University of Lincoln’s newest gallery space, Project Space Plus. The Media Archive for Central England (MACE) is the screen archive for the Midlands in the UK. Acting as a database, MACE records and collects the data from daily life and social events in central England. The exhibition explored different artist's responses to the the archives; asking "what do we see when viewing these images and videos?" My work is a video portrait of the celluloid-to-digital transfer machine at the MACE archive, it is a celebration of machinery and a lament for a now lost age of celluloid. In a former job as a projectionist I directly witnessed the transition from celluloid to digital projectors in the cinema in which I worked. I still have a huge nostalgia for celluloid film, but work with digital technologies to create films. The machine at MACE perfectly encapsulates this passing point between these two technological landmarks of cinema and my own conflicting relationship with the two