Wire-cylinder corona discharge with the wire at positive potential studies of iron oxides

A wire-cylinder corona discharge was studied in nitrogen and dry air in crossed electric and magnetic fields for values of magnetic field ranging from 0 to 3000 G with the wire at positive potential. In the absence of a magnetic field pre-onset streamers and pulses were observed in nitrogen. In both nitrogen and dry air breakdown streamers were observed just before spark breakdown of the gap. Furthermore, experiments in dry air at atmospheric pressure in an electric field indicate regular pre-onset streamers appearing at time intervals of 19.5 µs. The appearance of regular pre-onset streamers suggests that it is not possible for negative ions to form a sheath close to the anode as postulated by Hermstein (1960) for the formation of steady or glow corona in a point-plane gap.

Wire-cylinder corona discharge with the wire at positive potential

A wire-cylinder corona discharge was studied in nitrogen and dry air in crossed electric and magnetic fields for values of magnetic field ranging from 0 to 3000 G with the wire at positive potential. In the absence of a magnetic field pre-onset streamers and pulses were observed in nitrogen. In both nitrogen and dry air breakdown streamers were observed just before spark breakdown of the gap. Furthermore, experiments in dry air at atmospheric pressure in an electric field indicate regular pre-onset streamers appearing at time intervals of 19.5 µs. The appearance of regular pre-onset streamers suggests that it is not possible for negative ions to form a sheath close to the anode as postulated by Hermstein (1960) for the formation of steady or glow corona in a point-plane gap.

Through the Wire: Relations of Power and Relations of Violence

Edkins, J. and Pin-Fat, V. (2005). Through the Wire: Relations of Power and Relations of Violence. Millennium - Journal of International Studies. 34(1), pp.1-24 RAE2008

Scientism and instrumentalism After the Bomb: Dr Strangelove, End Zone, Crash and The Wire

This thesis argues that through the prism of America’s Cold War, scientism has emerged as the metanarrative of the postnuclear age. The advent of the bomb brought about a new primacy for mechanical and hyperrational thinking in the corridors of power not just in terms of managing the bomb itself but diffusing this ideology throughout the culture in social sciences, economics and other such institutional systems. The human need to mitigate or ameliorate against the chaos of the universe lies at the heart of not just religious faith but in the desire for perfect control. Thus there has been a transference of power from religious faith to the apparent material power of science and technology and the terra firma these supposedly objective means supply. The Cold War, however was a highly ideologically charged opposition between the two superpowers, and the scientific methodology that sprang forth to manage the Cold War and the bomb, in the United States, was not an objective scientific system divorced from the paranoia and dogma but a system that assumed a radically fundamentalist idea of capitalism. This is apparent in the widespread diffusion of game theory throughout Western postindustrial institutions. The inquiry of the thesis thus examines the texts that engage and criticise American Cold War methodology, beginning with the nuclear moment, so to speak, and Dr Strangelove’s incisive satire of moral abdication to machine processes. Moving on chronologically, the thesis examines the diffusion of particular kinds of masculinity and sexuality in postnuclear culture in Crash and End Zone and finishing up its analysis with the ethnographic portrayal of a modern American city in The Wire. More than anything else, the thesis wishes to reveal to what extent this technocratic consciousness puts pressure on language and on binding narratives.

Lessons from 'The Wire': Epistemological Reflections on the Practice of Sociological Research

Recent debates and controversies have highlighted several issues surrounding sociological research, which relate to the general conditions under which it is undertaken and how this is changing. There is a pressing need to respond to these issues as a whole, in particular by examining what they tell us about research practices. This article argues that a consideration of themes raised by the American television drama The Wire is useful for facilitating such a response, since it may be read as a discussion of working conditions within neoliberal societies. The following themes are pertinent here: the need to reflect upon the terms by which research is framed by funders, to take adequate time to conduct and complete research, and to encourage critical debate within research. Whilst these relate to influential epistemological discussions by Pierre Bourdieu and Michael Burawoy, this reading of The Wire is particularly helpful for highlighting the practical and inter-relational situations in which sociological research is carried out but which tend not to receive the systematic attention they deserve.

“The Wire”: O que a série de TV diz sobre os #baltimoreriots

Não é raro que o universo da ficção se misture com a realidade nas redes sociais – sobretudo quando a ficção ajuda a entender e explicar acontecimentos da política ou da economia, por exemplo. Foi o que ocorreu esta semana nos Estados Unidos, em virtude da mobilização popular em Baltimore em protestos pela morte do jovem negro Freddie Gray sob custódia da polícia em 19 de abril. A prestigiada série de TV americana “The Wire”, produzida pela HBO de 2002 a 2008 e que aborda diversos prismas sociopolíticos de Baltimore, vem sendo lembrada com frequência no contexto dos protestos.

Cuando la ciudad habla : Pensando el capitalismo tardío, el crimen y lo urbano a través de The Wire

The Wire, la serie concebida por David Simon a comienzo de la década pasada y emitida por HBO, es una de las pocas que puede presumir de ser llamada la mejor ficción creada para la televisión. Pero más allá de sus bondades artísticas, o precisamente por ellas, la mirada expansiva y total que realiza el programa sobre Baltimore, Maryland, en vísperas de nuestro siglo invita a que la utilicemos como punto de acceso para pensar el capitalismo, el crimen y la cuestión urbana en la actualidad. Pero por sobre todo, elaborar cómo estos términos interactúan en relaciones dialécticas que, en definitiva, producen la ciudad contemporánea

Cuando la ciudad habla : Pensando el capitalismo tardío, el crimen y lo urbano a través de The Wire

The Wire, la serie concebida por David Simon a comienzo de la década pasada y emitida por HBO, es una de las pocas que puede presumir de ser llamada la mejor ficción creada para la televisión. Pero más allá de sus bondades artísticas, o precisamente por ellas, la mirada expansiva y total que realiza el programa sobre Baltimore, Maryland, en vísperas de nuestro siglo invita a que la utilicemos como punto de acceso para pensar el capitalismo, el crimen y la cuestión urbana en la actualidad. Pero por sobre todo, elaborar cómo estos términos interactúan en relaciones dialécticas que, en definitiva, producen la ciudad contemporánea

Cuando la ciudad habla : Pensando el capitalismo tardío, el crimen y lo urbano a través de The Wire

The Wire, la serie concebida por David Simon a comienzo de la década pasada y emitida por HBO, es una de las pocas que puede presumir de ser llamada la mejor ficción creada para la televisión. Pero más allá de sus bondades artísticas, o precisamente por ellas, la mirada expansiva y total que realiza el programa sobre Baltimore, Maryland, en vísperas de nuestro siglo invita a que la utilicemos como punto de acceso para pensar el capitalismo, el crimen y la cuestión urbana en la actualidad. Pero por sobre todo, elaborar cómo estos términos interactúan en relaciones dialécticas que, en definitiva, producen la ciudad contemporánea

Cuando la ciudad habla : Pensando el capitalismo tardío, el crimen y lo urbano a través de The Wire

The Wire, la serie concebida por David Simon a comienzo de la década pasada y emitida por HBO, es una de las pocas que puede presumir de ser llamada la mejor ficción creada para la televisión. Pero más allá de sus bondades artísticas, o precisamente por ellas, la mirada expansiva y total que realiza el programa sobre Baltimore, Maryland, en vísperas de nuestro siglo invita a que la utilicemos como punto de acceso para pensar el capitalismo, el crimen y la cuestión urbana en la actualidad. Pero por sobre todo, elaborar cómo estos términos interactúan en relaciones dialécticas que, en definitiva, producen la ciudad contemporánea

The wire rope & its applications,

Mode of access: Internet.