Protection of wind energy systems against the indirect effects of lightning

This paper is concerned with the protection of wind energy systems against the indirect effects of lightning. As wind energy is gaining increasing importance throughout the world, lightning damages involving wind energy systems have come to be regarded with more attention. Nevertheless, there are still very few studies in Portugal regarding lightning protection of wind energy systems using models of the Electro-Magnetic Transients Program (EMTP). Hence, a new case study is presented in this paper, based on a wind turbine with an interconnecting transformer, considering that lightning strikes the soil near the tower at a distance such that galvanic coupling occurs through the grounding electrode. Computer simulations obtained by using EMTP-RV are presented and conclusions are duly drawn. (C) 2011 Elsevier Ltd. All rights reserved.

The Portuguese transition to democracy

On 25 April 1974 the Armed Forces Movement (MFA – Movimento das Forças Armadas) rose against the dictatorial regime that had governed Portugal for 48 years. This event was the beginning of a turbulent transition process that was to culminate in the approval of a new constitution in April 1976 and in the instauration of a Western style pluralist democracy. There are many political scientists and historians who note the original and unexpected nature of this transition; however, there are very many different interpretations with respect to the roles played by each of the actors in the process: the armed forces, the parties and political movements and the social forces/movements. The aim of this paper is to clarify this matter through an examination of the principal events of the revolution.

The optical and scopic urges viewed from a phenomenological perspective

Taking as starting points the books The Address of the Eye: A Phenomenology of Film Experience, by Vivian Sobchak, and Les quatre concepts fondamentaux de la psychanalyse, by Jacques Lacan, this article proposes to look at two well renowned film objects – Rear Window (Alfred Hitchcock, 1954, USA) and Peeping Tom (Michael Powell, 1960, UK) – in order to equate two forms of perception that, all things considered, come together as one: the perception of the mechanical apparatuses that record and project film and the optical and mental apparatuses that operate on the human filmmakers as well as their intradiegetic protagonists. In fact, these two films not only explore the characteristics and limits of vision and affection in their diegetic world, that is part of the filmmaker’s world itself, but reveals just how much the human lives through the eye and the expression of the machine itself. Film ontology is foremost a matter of (re)production rather than creation.