Avaliação da soldagem GMAW mecanizada e automatizada para união de dutos utilizando fontes convencional e com controle de curto- circuito

Welding is one of the most employed process for joining steel pipes. Although, manual welding is still the most used one, mechanized version and even automatized one have increased its demand. Thus, this work deals with girth welding of API 5L X65 pipes with 8” of nominal diameter and 8.0 mm thickness, beveled with V-30º narrow gap. Torch is moved by a bug carrier (mechanized welding) and further the parameters are controlled as a function of angular position (automatized welding). Welding parameters are presented for filling the joint with two-passes (root and filling/capping passes). Parameters for the root pass were extracted from previous author´s work with weldments carried out in plates, but validated in this work for pipe welding. GMAW processes were assessed with short-circuit metal transfer in both conventional and derivative modes using different technologies (RMD, STT and CMT). After the parameter determination, mechanical testing was performed for welding qualification (uniaxial tension, face and root bending, nick break, Charpy V-notch impact, microhardness and macrograph). The initially obtained results for RMD and CMT were acceptable for all testing and, in a second moment, also for the STT. However, weld beads carried out by using the conventional process failed and revealed the existence of lack of fusion, which required further parametrization. Thus, a Parameter-Variation System for Girth Welding (SVP) was designed and built to allow varying the welding parameters as a function of angular position by using an inclinometer. The parameters were set for each of the three angular positions (flat, vertical downhill and overhead). By using such equipment and approach, the conventional process with parameter variation allowed reducing the welding time for joint accomplishment of the order of 38% for the root pass and 30% for the filling/capping pass.

Conduções cênicas: A “Açon” e o movimento através dos princípios e procedimentos metodológicos de Gilles Gwizdek

The research identifies and describes the principles and methodological procedures of the director Gilles Gaetan Gwizdek on the transposition of the dramatic text to the space of representation through action and movement. Besides that, it presents the results of the experiment in two different labor camps and conducting modes: the no-actor student, inserted into the basic education, and the actor-student, inserted in higher education. Through the scenic paths encountered by the director, the individuals were could find their own ways and verify, through the scenic conductions, how such methodological procedures can achieve a pedagogical thinking about the actor's work. As theoretical referential, were studied the artists-educators: Jacques Copeau, in what sensitizes to the use of dramatic text, and Jacques Lecoq, it approaches of the physical use of the actor's body to the theater. The concepts about theater of the scholars in theater: Constantin Stanislavski, Eugênio Barba, Meyerhold, Eugênio Kusnet, Bertold Brecht go through the theoretical revisions of the thinkers: Odete Aslan, Patrice Pavis, Ney Piacentini, Lúcia Romano, Flávio Desgranges e Anne Bogart, in what affects their practical experiences and conceptual about the text, the action and the movement. It was analyzed also the practical experience based on the principles and methodological procedures of Gilles director, in rehearsals and performances of students in the ninth grade of the primary school the Basic School of the Federal University of Uberlândia - ESEBA, as also, of the students of the sixth, seventh and eighth period, of the Theater Graduation in the same university. From this analysis, it was proposed an interrelation between the theoretical and practical works, done by reading of the artists-educators about movement and Gilles Gwizdek in his work process. The research suggests that, from the movement, the student can build autonomously a character through the experience of small movements of the body. Thus, this student would increase his relationship between stage and audience, and consequently, he would cause a possible state of "seduction" of the spectator to the spectacle.