Improved model of an electric calciner for carbon materials

Teknova have 2D steady-state models of the calciner but wish, in the long term, to have a 3D model that can also cover unsteady conditions, and can can model the loss of axisymmetry that someties occurs. Teknova also wish to understand the processes happening around the tip of the upper electrode, in particular the formation of a lip on it and the the shape of the empty region below it. The Study Group proposed potential models for the degree of graphitization, and for the granular flow. Also the Study Group considered the upper electrode in detail. The proposed model for the lip formation is by sublimation of carbon from the hottest parts of the furnace with redeposition in the region around the electrode, which may stick particles onto the electrode surface. In this model the region below the electrode would be a void, roughly a vertex-down conical cavity. The electric field near the lower rim of the electrode will then have a singularity and so the most intense heating of the charge will be around the rim. We conjecture that the reason why the lower electrode lasts so much longer than the upper is that it is not adjacent to a cavity like this, and therefore does not have a singularity in the field.

Atmospheric electrical field measurements near a fresh water reservoir and the formation of the lake breeze

In order to access the effect of the lakes in the atmospheric electrical field, measurements have been carried out near a large man-made lake in southern Portugal, the Alqueva reservoir, during the ALqueva hydro-meteorological EXperiment 2014. The purpose of these conjoint experiments was to study the impact of the Alqueva reservoir on the atmosphere, in particular on the local atmospheric electric environment by comparing measurements taken in the proximity of the lake. Two stations 10 km apart were used, as they were located up- and down-wind of the lake (Amieira and Parque Solar, respectively), in reference to the dominant northwestern wind direction. The up-wind station shows lower atmospheric electric potential gradient (PG) values than the ones observed in the down-wind station between 12 and 20 UTC. The difference in the atmospheric electric PG between the up-wind and the down-wind station is ~30 V/m during the day. This differential occurs mainly during the development of a lake breeze, between 10 and 18 UTC, as a consequence of the surface temperature gradient between the surrounding land and the lake water. In the analysis presented, a correlation is found between the atmospheric electric PG differences and both wind speed and temperature gradients over the lake, thus supporting the influence of the lake breeze over the observed PG variation in the two stations. Two hypotheses are provided to explain this observation: (1) The air that flows from the lake into the land station is likely to increase the local electric conductivity through the removal of ground dust and the transport of cleaner air from higher altitudes with significant light ion concentrations. With such an increase in conductivity, it is expected to see a reduction of the atmospheric electric PG; (2) the resulting air flow over the land station carries negative ions formed by wave splashing in the lake's water surface, as a result of the so-called balloelectric effect. These negative ions will form a space-charge density (SCD) that can reduce the atmospheric electric PG. A formulation is derived here in order to estimate the local SCD.

Double bass and electric bass: the case study of John Patitucci

The electric bass and double bass are two different instruments sharing a common function: they link harmony with rhythm, especially when talking about jazz music. The capacity of a bassist to fully support an ensemble is something that can be achieved individually playing electric or double bass. However there are some bassists who, despite of the technical differences between these two instruments, choose to play both. Some of these performers are true masters using and switching electric and double bass according to the different musical settings. It is possible to define similarities and differences between the electric and double bass, but is it viable to use similar approaches too? In order to investigate this field, I focus my research on one exemplar player who combines all the qualities needed to both play electric than double bass: John Patitucci, an inspiration for bassists of all generations and a musician who synthesizes all the fundamental characteristics of an ideal bass player. This dissertation is inspired by Patitucci’s example and by the urge to fill a gap in the specialized literature concerning the history and application of different left and right hand techniques on the electric and double bass. The main purpose of this study is to create the backbone of a bass program for teaching both instruments using John Patitucci as example. His technical approach on both instruments and his soloing vocabulary are points of departure of this dissertation. I begin my study with the historical origins of Patitucci’s techniques ending with the development of exercises created in order to teach his techniques and vocabulary to those who aspire to play electric and double bass; RESUMO: Baixo elétrico e contrabaixo, dois instrumentos distintos que partilham uma função comum: a possibilidade de produzir um conjunto de notas capazes de interligar uma grelha harmonia a uma base rítmica, criando uma coesão estética e musical, sobretudo na música jazz. A capacidade de um baixista de conseguir alcançar de forma eficiente esta ligação como sólido suporte para um “ensemble” musical está na base de uma sua eventual afirmação profissional. Há músicos que apesar das diferencias técnicas entre estes dois instrumentos, decidiram tocar ambos; alguns deles conseguiram destacarse, usando e trocando o baixo elétrico e o contrabaixo para servir melhor diferentes situações musicais. O contrabaixo e baixo elétrico têm características em comum mas ao mesmo tempo diferem por apresentar algumas diferenças técnica substanciais; será por isso possível abordar, explorar e aprender ambos utilizando uma mesma base metodológica? Com o intuito de explorar esta possibilidade direcionei a minha pesquisa para o estudo de um músico que no curso da sua longa carreira consegui grande destaque em quanto baixista elétrico e contrabaixista. John Patitucci é a síntese desta tipologia de músico, sendo uma fonte de inspiração para baixistas de todas as gerações. Esta dissertação é inspirada no seu exemplo e no desejo de colmatar o vazio presente na literatura musical comum aos dois instrumentos sobre a história e aplicação das técnicas da mão esquerda e direita. O foco principal é a criação de uma base sólida para o futuro desenvolvimento de um programa de ensino comum para o baixo eléctrico e o contrabaixo, utilizando o vocabulário técnico e improvisativo de Patitucci como ponto de partida. A dissertação aborda as origens históricas das técnicas utilizadas por Patitucci desenvolvendo, numa fase sucessiva, exercícios criados com a função de ensinar as suas técnicas aos que desejarem aprofundar a prática do baixo elétrico e do contrabaixo.