Selective transport of attached particles across the pulp-froth interface

A technique for determining the recovery of attached particles across the froth phase in flotation that relies on measuring the rate at which bubble-particle aggregates enter the froth is used to investigate the selectivity of attached particles across the froth phase. Combining these measurements with those of other techniques for determining the froth recovery of attached particles provides an insight into the different sub-processes of particle rejection in the froth phase. The results of experiments conducted in a 3 m(3) Outokumpu tank cell show that the detachment of particles from aggregates in the froth phase occurs largely at the pulp-froth interface. In particular it is shown that the pulp-froth interface selectively detaches particles from aggregates according to their physical attributes. (C) 2005 Elsevier Ltd. All rights reserved.

Gas dispersion measurements in industrial flotation cells

For nearly 100 years, the flotation plant metallurgist has often wondered what is happening 'beneath the froth'. To assist in unravelling this mystery, new technology has been developed as part of the Australian Mineral Industries Research Association (AMIRA) P9 project, to measure gas dispersion characteristics (such as gas hold-up, superficial gas velocity and bubble size) in industrial flotation cells. These measurements have been conducted in a large number of cells of different types and sizes by researchers from the Julius Kruttschnitt Mineral Research Centre (JKMRC) and JKTech. A large database has been developed and the contents of this database are described in this paper. Typical cell characterization measurements show a wide spread in values, even in the same cell types and sizes performing similar duties. In conventional flotation cells, the typical gas hold-up values range from 3% to 20%, bubble sizes range between I and 2 mm, and superficial gas velocity ranges from 1 to 2.5 cm/s. The ranges of cell characterization measurements given in this paper will enable plant personnel to compare their operation to other similar types of operations from around Australia and the rest of the world, giving opportunities for further improvement to flotation plant operations. (C) 2005 Elsevier Ltd. All rights reserved.

The history of theory

Do you see now why it feels so good to be a critical mind? Why critique, this most ambiguous pharmakon, has become such a potent euphoric drug? You are always right! When naïve believers are clinging forcefully to their objects ... you can turn all of those attachments into so many fetishes and humiliate all the believers by showing that it is nothing but their own projection, that you, yes you alone, can see. But as soon as naïve believers are thus inflated by some belief in their own importance, in their own projective capacity, you strike them by a second uppercut and humiliate them again, this time by showing that, whatever they think, their behavior is entirely determined by the action of powerful causalities coming from objective reality they don't see, but that you, yes you, the never sleeping critic, alone can see. Isn't this fabulous? Isn't it really worth going to graduate school to study critique?

Selective transport of attached particles across the pulp-froth interface

A technique for determining the recovery of attached particles across the froth phase in flotation that relies on measuring the rate at which bubble-particle aggregates enter the froth is used to investigate the selectivity of attached particles across the froth phase. Combining these measurements with those of other techniques for determining the froth recovery of attached particles provides an insight into the different subprocesses of particle rejection in the froth phase. The results of experiments conducted in a 3 m3 Outokumpu tank cell show that the detachment of particles from aggregates in the froth phase occurs largely at the pulp-froth interface. In particular it is shown that the pulp-froth interface selectively detaches particles from aggregates according to their physical attributes.

Gas dispersion measurements in industrial flotation cells

For nearly 100 years, the flotation plant metallurgist has often wondered what is happening ‘beneath the froth’. To assist in unravelling this mystery, new technology has been developed as part of the Australian Mineral Industries Research Association (AMIRA) P9 project, to measure gas dispersion characteristics (such as gas hold-up, superficial gas velocity and bubble size) in industrial flotation cells. These measurements have been conducted in a large number of cells of different types and sizes by researchers from the Julius Kruttschnitt Mineral Research Centre (JKMRC) and JKTech. A large database has been developed and the contents of this database are described in this paper. Typical cell characterisation measurements show a wide spread in values, even in the same cell types and sizes performing similar duties. In conventional flotation cells, the typical gas hold-up values range from 3 - 20 per cent, bubble sizes range between 1 and 2 mm, and superficial gas velocity ranges from 1 to 2.5 cm/s. The ranges of cell characterisation measurements given in this paper will enable plant personnel to compare their operation to other similar types of operations from around Australia and the rest of the world, giving opportunities for further improvement to flotation plant operations.

The effect of residence time and aeration on coal recovery within the high density zone of a flotation machine

The high intensity zone within the Jameson Cell is the downcomer. It is largely external and separated from the flotation tank. This, together with operation of the downcomer under vacuum, rather than at elevated pressure and the absence of moving parts, allows ready access to the high intensity zone for measurement and analysis. Experimentation was conducted allowing measurements of recovery for residence times of between 20 milliseconds and ten seconds within the downcomer of a Jameson Cell. The affect of aeration rate on the recovery of different particle sizes was also studied.

A posztmodern marketing rózsaszirmai

UTÓSZÓ „A lényeg az, hogy mi belül vagyunk a posztmodernizmus kultúráján, oly mértékben, hogy felszínes és semmitmondó elutasítása éppoly lehetetlen, mint amennyire önelégült és romlott, hasonlóképpen felszínes és semmitmondó ünneplése.” (Jameson, 1997:18) A posztmodern filozófia úgy tűnik, nem túlságosan érintette meg a magyar marketing szakmát. Fojtik (1999) cikke után nem igazán lehet azt mondani, hogy elburjánzottak volna a posztmodern ihletésű munkák. Könnyed intellektuális hóbort vagy valami sokkal lényegesebb, amiről a szakma nem vett tudomást? A hazai menedzsmenttudományokban (lásd pl. Bokor, 1994; Gelei, 2002) valamivel jelentősebb nyomot hagyó posztmodern irányzat a magyarországi marketingirodalomban méltatlanul feledésbe merült. Radácsi (2003) a Vezetéstudományban is kiemeli, hogy a hazai menedzsmentkutatások távolról sem mutatják azt az elméleti és gyakorlati sokszínűséget, ami a nemzetközi szakirodalomban már évtizedek óta megfigyelhető. Ez azért is különös, mivel a fogyasztói társadalom, a vásárlás, a reklámok, az üzletek / bevásárló központok, pozicionálás, a modern marketing teljes eszköztára a posztmodern jelenség létrehozója. (Brown, 1995). A posztmodern szerzők meglehetősen sokat példálóznak a modern marketing eredményeivel, vagyis a posztmodern fogyasztókkal, akik posztmodern reklámokat néznek, posztmodern bevásárlóközpontokba járnak, és Brown (1993) szavaival: „vásárolnak, tehát vannak”. Ráadásul a posztmodern gondolatok segíthetnek máshogy megközelíteni egy-egy problémát vagy fejleszthetik bizonyos kritikai kézségek kialakulását. Ebben a cikkben bemutattjuk a posztmodern szókészletet, valamint marketing talaján gyökeret vert posztmodern gondolatokat. A gyakran a filozófiai homály ködébe vesző értelmezések helyett és mellett utánajártunk a kérdés pszichológiai hátterének. Ez mindenképpen egy olyan adalékanyaggal szolgál, amelyre sok esetben nem kerül sor, amikor posztmodern gondolatokról olvasunk. Cikkünkkel szerettünk volna segíteni a tájékozódást a posztmodern irodalom rendkívül terjengős és ingoványos talaján. Fogásokat kerestünk rajta, de nem azért, hogy birkózó módjára magunk alá gyűrjük, sokkal inkább azért, hogy megismerjük. Utólag szeretnénk felhívni olvasóink figyelmét, hogy a tanulmányban sok a definíció. Vállaltuk azt, hogy wittgensteini értelemben „nyelvi játékokat játszottunk”, egy definíció használata ugyanis mindig egy nyelvjáték része. Ez egy posztmodernről szóló cikk, de alapvetően modern stílusjegyekkel: használtunk táblázatot, bekezdéseket, logikus vagy annak látszó szerkezeti megoldásokat. És nincsenek benne befejezetlen monda… Egy kiránduláson vettünk részt, ahol önfeledten bontogattuk ki a posztmodern marketing rózsaszirmait, feltárva a szirmok sokszínűségét és végtelen kavalkádját. Közben azt sem vettük zokon, ha időnként megcsípte orrunkat a méhecske.

O teatro de Elias Canetti em diálogo com a pós-modernidade

The purpose of this dissertation is to analyse the dramaturgic work of the Bulgarian author Elias Canetti, composed by the plays The Wedding, Comedy of Vanity and Their Days are Numbered, seeking to comprehend how the contemporary critic theories act on his trilogy, making a dialogue with theoretical references which may justify its approaching to the postmodernism. In this perspective, the theories by Jean-François Lyotard, Fredric Jameson and Jürgen Habermas contribute for a better comprehension of the postmodernity phenomenon. Undertaking Canetti’s notes and theatre with the philosophical concepts of Adorno’s negative aesthetics, we realise there is a space to reflect upon the theories which befell, like Foucault’s power relations in Micro-physics of Power and the discourses of resistance and deterritorialisation developed by Deleuze and Guattari in A Thousand Plateau and Anti-Oedipus. Even though Canetti’s plays were written between 1932 and 1956, all of them show a strong critic against modernism, and their characteristics did not help their recognition by the critics, which resulted in a rediscovery of Canetti’s plays after the author won the Nobel Prize in 1981.

Colonialism, political unconscious and cognitive mapping in the space of the film "Captain Phillips"

The purpose of this article has been made through a Marxist analysis of the US film "Captain Phillips" (PaulGreengrass, 2013), based on a true story. I have found how the evolution of capitalism in the West continuesto consolidate the belief reified in a historical and geographical superiority of the political and socioeconomicwestern models regarding Africa and Asia lowers models. At the same time, through categories like dialecticalmaterialism, criticism of diffusionist theory and application of cognitive mapping to large geopoliticalspaces located in most poor areas of the world, I have realized a remark about currently being articulatingthe political unconscious of working class in rich countries and the poor in poor countries, establishing arelationship between the ideological representation that takes an individual from his historical reality (ona scale that moves from local to global), and how he has developed a mental ability to escape of the responsibilityto make a critical review of what's happening around him in all areas. Finally, through physicalspace captured in the film, I have realized a materialist critique of globalized business process that takesplace through the carriage of goods, outlining spatial and cognitively limits of the mentality of our time, bothamong "winners"as among the "losers", based on the spatial movement of capital.

Aprendizaje a través de las Controversias del Museo Tres ejemplos canadienses

La controversia ha acechado siempre a los museos, en especial, pero desde luego no de forma exclusiva, a aquellos museos de arte que exponen el arte moderno y contemporáneo. Probablemente siempre habrá controversias, ya que son ocasiones en las que el museo ha de enfrentarse directamente a un interrogatorio público sobre sus decisiones y procesos, a menudo demasiado ocultas y con frecuencia mal entendidas. Dado el creciente reconocimiento de que ya no es suficiente para los museos coleccionar, conservar y mostrar, sino más bien que los museos deben ahora comprometerse fundamental y directamente con sus comunidades, ¿cómo pueden los museos gestionar la controversia? ¿Pueden los museos aprender de la controversia para descubrir formas mejores de trabajar con sus públicos? Este artículo examinará tres controversias en los museos canadienses – Los cantos del espíritu, Voz de Fuego y Vanitas o El vestido de carne - en un intento de analizar estas preguntas usando los conceptos ANT de Bruno Latour.

The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Performatividad y arte computacional. Hacia una “DIY society”

El artículo analiza la figura del prosumidor desde los estudios visuales a partir de la combinación de la teoría de los actos de habla y los nuevos medios. El objetivo es evaluar si la distinción entre productores y consumidores, estrategias y tácticas de Michel de Certeau continúa siendo operativa en las interfaces gráficas de la cultura global de la información de Scott Lash. Para ello distingue dos tipos de performatividad de los actos de habla: la performatividad top-down del software, y la bottom-up de los juegos del lenguaje y las formas de vida. Estos tipos se aplican al análisis del discurso de los eslóganes que aparecen en los sitios web de las iniciativas “open” y de economía colaborativa, ya que las primeras están dedicadas a la producción de bienes inmateriales y las segundas a la producción de bienes materiales. El desarrollo muestra cómo los dos tipos de performatividad transforman el análisis textual de los estudios literarios y cinematográficos en una metodología capaz de investigar acciones materiales, humanas y no humanas. Las conclusiones describen el surgimiento de nuevas convenciones narrativas de poder y control ajenas a la ficción que apuntan a una “DIY society”.

«Donde se forman las expediciones definitivas» El hombre perdido y las «novelas de la nebulosa» de Ramón Gómez de la Serna

[es] El presente trabajo analiza las «novelas de la nebulosa» de Ramón Gómez de la Serna y especialmente El hombre perdido (1947) como culminación y cierre de la práctica ramoniana del des/hacer, ejemplificada plenamente a partir de los «libros ultravertebrados» como El Rastro (1914). Por tal práctica entendemos, a partir de Fredric Jameson, la expresión estética del ideologema de la circulación de la mercancía, en tanto que Ramón deshace la realidad, las cosas, para ponerlas de nuevo en circulación a través de sus «precipitados nuevos» de cosas, o greguerías. La nebulosa a la que se retira el protagonista anónimo de El hombre perdido al final de la obra es el no-lugar del cese de la circulación de imágenes, de imágenesmercancías. Ese no-espacio es al mismo tiempo el del fin de la creación artística y el lugar donde abrazar la disolución de la existencia. Como consecuencia de esto último, en un giro rehumanizador de su obra, la «nebulosa» es una solución nihilista a la creciente angustia ante la vida y la muerte del Ramón exiliado en Buenos Aires desde 1936. [en] This article analyses the “novelas de la nebulosa” by Ramón Gómez de la Serna and especially El hombre perdido (1947) as the culmination and end of Ramón’s literary practice of the “des/hacer”, implemented in his “libros ultravertebrados”, of which El Rastro (1914) is the first best example. Following Fredric Jameson, we understand that literary practice as the aesthetic expression of the ideologeme of the circulation of the commodity, since Ramón unleashes reality, dissolves its apparent configuration in order to re-circulate reality under the guise of his “greguerías”, or metaphorical “precipitates” of things. The “nebulosa” to which the protagonist of El hombre perdido retires at the end of the novel is the no-place where the circulation of commodities or image-commodities has ceased. That no-space represents at the same time the end of the artistic creativity and the place for embracing the dissolution of existence. As a consequence, his work takes here a re-humanizing turn that transforms the “nebulosa” in a sort of nihilistic solution to the increasing anguish in front of life and death that is tormenting Ramón since his exile in Argentina after 1936.