Orbits design for Leo space based solar power satellite system

Space Based Solar Power satellites use solar arrays to generate clean, green, and renewable electricity in space and transmit it to earth via microwave, radiowave or laser beams to corresponding receivers (ground stations). These traditionally are large structures orbiting around earth at the geo-synchronous altitude. This thesis introduces a new architecture for a Space Based Solar Power satellite constellation. The proposed concept reduces the high cost involved in the construction of the space satellite and in the multiple launches to the geo-synchronous altitude. The proposed concept is a constellation of Low Earth Orbit satellites that are smaller in size than the conventional system. For this application a Repeated Sun-Synchronous Track Circular Orbit is considered (RSSTO). In these orbits, the spacecraft re-visits the same locations on earth periodically every given desired number of days with the line of nodes of the spacecraft’s orbit fixed relative to the Sun. A wide range of solutions are studied, and, in this thesis, a two-orbit constellation design is chosen and simulated. The number of satellites is chosen based on the electric power demands in a given set of global cities. The orbits of the satellites are designed such that their ground tracks visit a maximum number of ground stations during the revisit period. In the simulation, the locations of the ground stations are chosen close to big cities, in USA and worldwide, so that the space power constellation beams down power directly to locations of high electric power demands. The j2 perturbations are included in the mathematical model used in orbit design. The Coverage time of each spacecraft over a ground site and the gap time between two consecutive spacecrafts visiting a ground site are simulated in order to evaluate the coverage continuity of the proposed solar power constellation. It has been observed from simulations that there always periods in which s spacecraft does not communicate with any ground station. For this reason, it is suggested that each satellite in the constellation be equipped with power storage components so that it can store power for later transmission. This thesis presents a method for designing the solar power constellation orbits such that the number of ground stations visited during the given revisit period is maximized. This leads to maximizing the power transmission to ground stations.

ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC

The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which “Soothes the savage breast,” as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence—the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music—and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer’s rhetorical situation, by offering the idea of “openings” to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.