Contributions to uncertainty reduction in the estimation of PV plants performance

Esta tesis doctoral presenta un procedimiento integral de control de calidad en centrales fotovoltaicas, que comprende desde la fase inicial de estimación de las expectativas de producción hasta la vigilancia del funcionamiento de la instalación una vez en operación, y que permite reducir la incertidumbre asociada su comportamiento y aumentar su fiabilidad a largo plazo, optimizando su funcionamiento. La coyuntura de la tecnología fotovoltaica ha evolucionado enormemente en los últimos años, haciendo que las centrales fotovoltaicas sean capaces de producir energía a unos precios totalmente competitivos en relación con otras fuentes de energía. Esto hace que aumente la exigencia sobre el funcionamiento y la fiabilidad de estas instalaciones. Para cumplir con dicha exigencia, es necesaria la adecuación de los procedimientos de control de calidad aplicados, así como el desarrollo de nuevos métodos que deriven en un conocimiento más completo del estado de las centrales, y que permitan mantener la vigilancia sobre las mismas a lo largo del tiempo. Además, los ajustados márgenes de explotación actuales requieren que durante la fase de diseño se disponga de métodos de estimación de la producción que comporten la menor incertidumbre posible. La propuesta de control de calidad presentada en este trabajo parte de protocolos anteriores orientados a la fase de puesta en marcha de una instalación fotovoltaica, y las complementa con métodos aplicables a la fase de operación, prestando especial atención a los principales problemas que aparecen en las centrales a lo largo de su vida útil (puntos calientes, impacto de la suciedad, envejecimiento…). Además, incorpora un protocolo de vigilancia y análisis del funcionamiento de las instalaciones a partir de sus datos de monitorización, que incluye desde la comprobación de la validez de los propios datos registrados hasta la detección y el diagnóstico de fallos, y que permite un conocimiento automatizado y detallado de las plantas. Dicho procedimiento está orientado a facilitar las tareas de operación y mantenimiento, de manera que se garantice una alta disponibilidad de funcionamiento de la instalación. De vuelta a la fase inicial de cálculo de las expectativas de producción, se utilizan los datos registrados en las centrales para llevar a cabo una mejora de los métodos de estimación de la radiación, que es la componente que más incertidumbre añade al proceso de modelado. El desarrollo y la aplicación de este procedimiento de control de calidad se han llevado a cabo en 39 grandes centrales fotovoltaicas, que totalizan una potencia de 250 MW, distribuidas por varios países de Europa y América Latina. ABSTRACT This thesis presents a comprehensive quality control procedure to be applied in photovoltaic plants, which covers from the initial phase of energy production estimation to the monitoring of the installation performance, once it is in operation. This protocol allows reducing the uncertainty associated to the photovoltaic plants behaviour and increases their long term reliability, therefore optimizing their performance. The situation of photovoltaic technology has drastically evolved in recent years, making photovoltaic plants capable of producing energy at fully competitive prices, in relation to other energy sources. This fact increases the requirements on the performance and reliability of these facilities. To meet this demand, it is necessary to adapt the quality control procedures and to develop new methods able to provide a more complete knowledge of the state of health of the plants, and able to maintain surveillance on them over time. In addition, the current meagre margins in which these installations operate require procedures capable of estimating energy production with the lower possible uncertainty during the design phase. The quality control procedure presented in this work starts from previous protocols oriented to the commissioning phase of a photovoltaic system, and complete them with procedures for the operation phase, paying particular attention to the major problems that arise in photovoltaic plants during their lifetime (hot spots, dust impact, ageing...). It also incorporates a protocol to control and analyse the installation performance directly from its monitoring data, which comprises from checking the validity of the recorded data itself to the detection and diagnosis of failures, and which allows an automated and detailed knowledge of the PV plant performance that can be oriented to facilitate the operation and maintenance of the installation, so as to ensure a high operation availability of the system. Back to the initial stage of calculating production expectations, the data recorded in the photovoltaic plants is used to improved methods for estimating the incident irradiation, which is the component that adds more uncertainty to the modelling process. The development and implementation of the presented quality control procedure has been carried out in 39 large photovoltaic plants, with a total power of 250 MW, located in different European and Latin-American countries.

Three sides to every story; Ernesto Love + Eve Roleston + Ernest Olove = 3SUM/3DUM

This was another in the project of using my three pseudonyms to investigate the strategic potential of the fictocritical as an approach to making visual art. It was large scale single artwork that took place over 21 days and combined 2D, 3D, Time-based elements and performance in an attempt to construct a Gesamtkunstwerk. Over the course of the exhibition I critically and creatively engaged with political, social, economic and cultural issues thorugh opening up a range of rhetorical modes such as the lyrical, the elegiac, the rhapsodic, the humorous, the parodic and the satirical.

100 futures now : designing sustainable futures

This presentation tells the story of an initiative in middle schooling at Kelvin Grove State College that begins in the Art studios, but reaches out to other disciplines and approaches, and to community and industry partners. It is inspired by the potential of 'future thinking' to become a compelling focus in contemporary art and design. Ethically it espouses a simple premise": every student in our classrooms now has a stake in creating livable, democratic and creative futures. Every student has the potential to be an active force in making that future. "100 Futures Now" is a project that envisages creative and imaginative students working in collaboration with artists and designers to visualize amazing futures and communicate their vision through art and design. "100 Futures Now" is one in a series of innovative curriculum initiatives at Kelvin Grove State College designed to build sustainable practice in arts education with the support of partners in industry and universities and with resident artists and designers. The model blends elements of art and design methodology to focus on the critical and creative thinking skills prioritised in ACARA and 21st century curriculum. The organisers are developing a sustainable model for working with resident artists that goes beyond a single arts intervention or extension/enrichment experience. In this model artists and designers are collaborators in the design of learning experiences that support future programs. This model also looks to transfer the benefits of residencies to the wider school community (in this case to middle schooling curriculum) and to teachers in other curriculum areas, and not exclusively to the immediate target group. In "100 Futures Now", story-making is the engine that powers the creative process. For this reason the program uses a series of imaginative scenarios, including those of speculative fiction and science, as departure points for inquiry, and applies the methodologies of arts and design practice to explore and express student story telling and story making. The story-making responses of student teams will naturally be expressed multimodally through visual art, design artifacts, installation, performance and digital works. The project’s focus on narratives and its modes of communication (performance/installation) are inspired by the work of experimental contemporary design practices and the speculative scenarios of U.K. based designers Anthony Dunne and Fiona Raby. Thanks to the support of an Arts Queensland Artist-in -Residence grant in 2014, resident artists and designers who work with a diversity of ideas and approaches ranging over science, bio-ethics, biodiversity, behavior and ethics, ambient sound, urbanism, food, and wearable design, will work with middle school students as catalysts for deeper thinking and creative action. All these rich fields for future speculation will become triggers for team inquiry into the deeper connections between the past, the present, and future challenges such as climate, waste, energy, sustainability and resilience. These imagined futures will form the platform for a critical, sustainability/design futures approach that will involve questioning assumptions and empowering students as agents rather than consumers of change.

Collective coverings, communal skin

Collective Coverings, Communal Skin is a large-scale site-specific installation that grows with community contributions created for the 2012 Liverpool Biennial. The work involves transforming objects used in conflict (second hand hunting and camouflage t-shirts) into objects of comfort (hula hoop rag mats) . Many of the shirts were either donated or purchased from thrift stores in Los Angeles and Liverpool. With the massive help of the Liverpool community we transformed individual t-shirts through weaving them into a communal skin that covers the existing internal architecture. There was a workshop space with instruction video, inside the installation where visitors could sit and work on patchwork body-pillows. During structured workshops I talked with the community about meditating while they weave so as to contemplate the spiritual and conceptual dimension of the project. The hula-hoop weavings grew throughout the space for the duration of the 10-week Biennial. The community contributed 770 weavings. This project was funded by the Australia Council for the Arts and FACT.

Tandem

This catalogue essay was written to accompany Parallel Park's 2016 exhibition at Cut Thumb, Brisbane, 'Tandem'. It discusses the collaboration of Holly Bates and Tayla Haggarty, and their exploration of relationship dynamics alongside the role of documentation in performance art. The essay provides a critical framework for the exhibition that utilises installation, performance and moving image to highlight the potential for subjective experience to become a critical tool for engagement.

Sistemas fotovoltaicos este-oeste con capacidad de almacenamiento en la industria

El objetivo de este proyecto fin de carrera es ajustar el perfil generado por un sistema fotovoltaico con orientación este-oeste que dispone de una batería al perfil de demanda de distintas industrias en Alemania. Se ha puesto especial énfasis a los siguientes paquetes de trabajo: • Comparación de la eficiencia de un sistema fotovoltaico este-oeste frente a los resultados obtenidos con la típica orientación sur • Simulación de una instalación fotovoltaica este-oeste con una batería en una industria, basada en el software MATLAB / Simulink • Optimización económica. Los resultados obtenidos muestran que nunca es económico instalar un campo fotovoltaico este-oeste en vez de una instalación con orientación sur, en caso de que la única ventaja esperada sea el ensanche de la curva de generación de potencia.

Tuning fork: Drill Hall

Collaborative (commissioned 40 minute work ) installation-performance work

Tuning fork: Shopfront

The audience of this performance got to view actions and installations building and evolving over time, and a projected time-lapse video.
In this iteration of Tuning Fork, James Cunningham & Joncli Keane continue the development of their two pronged approach to finding the watering hole of stillness and action, collabora tion and orientation.Originating from a showing in the Bell Tower II series, in the Judy's new Shopfrontspaoe, Tuning Fork will Fuks accentuate the durational aspect of movement through time-lapse video, heighten the trans formative potential of objects using three-metre long carbon rods as instruments of sense, sound and support and alter the space through the numerous tape measures which take on a life of their own. James Cunningham and Jondi Keane inhabit the Shopfront from Friday 7 November, eJqJioring, measuring, filming and projecting, in order to fine tune their interactions for the performance season commencing 19 November.

Anthology

This research is a practice led investigation of large-scale site specific performance installation works that respond to local and historical trauma, place making, and belonging for communities and audiences. The research is part of an ongoing PhD which is primarily questioning how layers of history and lived experience manifest or ‘imprint’ upon natural landscapes and urban sites using the driving concepts of landscape, archaeology, and community immersion to inform the practice. The site of the primary research investigation was Anthology www.anthology.net.au- a major site-specific theatrical journey through Westlake, now known as Stirling Park – Ngunawal land, a traditional pathway and the site of one of the camps created to house the workers building the new city of Canberra. Tents and a hall were erected followed by 61 cottages built in 1923, for married tradesmen building the infrastructure for the new Federal Capital of Australia. These families lived at Westlake for 50 years until the 1960’s when the families were relocated, the houses sold and removed. A community demolished. Westlake is now parkland (and prime real estate), nestled between the lake and the Embassies of Yarralumla. The event took place between 26th November and the 6th December 2014. The performance installation was created and produced over a 3-year period with $45,000.00 in funding provided by ArtsACT and the Centenary of Canberra. Anthology alluded to the power of immersive, site-sympathetic performance as a regenerative force for communities right now. What lies in wait for artists in sites, in places…to be uncovered…with its final form revealed through careful excavation? Anthology centralised rituals of remembrance and the importance of place as vital to the restoration and regeneration of community through processing and transcending what has been lost, hidden, suppressed or in the case of Westlake or Stirling Park ‘vanished’.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Dirt Babylon

Construction of a school room installation and immersive performance as part of Dirt Babylon Glebe Park (commissioned by Robyn Archer for the Centenary of Canberra) in collaboration with Rebecca Rutter and ex- Splinters artists, November 2013

Diving horses

Diving Horses was created by second year students studying performance at Deakin University’s School of Communication and Creative Arts (SCCA) to bring to life the ghosts of a bygone era through visual installation and performance. You are invited to enter backstage and interact with the working life behind the spectacle and explore the untold stories and private moments behind the scenes of Wirth’s Circus- ‘the greatest show on earth’. Students have been asked to respond to the rich history of the Arts Centre Melbourne site and undertake research into the lives of the workers that inhabited the site from 1907 until the Wirth’s buildings were destroyed by fire in 1953. Some of the characters you will encounter are based on actual historical figures and others are drawn from archetypical sources as the students explored the fascinating backstage world of Australian circus life.

Construction, installation, and performance of two repacked weighing lysimeters

Weighing lysimeters are the standard method for directly measuring evapotranspiration (ET). This paper discusses the construction, installation, and performance of two (1.52 m × 1.52 m × 2.13-m deep) repacked weighing lysimeters for measuring ET of corn and soybean in West Central Nebraska. The cost of constructing and installing each lysimeter was approximately US $12,500, which could vary depending on the availability and cost of equipment and labor. The resolution of the lysimeters was 0.0001 mV V-1, which was limited by the data processing and storage resolution of the datalogger. This resolution was equivalent to 0.064 and 0.078 mm of ET for the north and south lysimeters, respectively. Since the percent measurement error decreases with the magnitude of the ET measured, this resolution is adequate for measuring ET for daily and longer periods, but not for shorter time steps. This resolution would result in measurement errors of less than 5% for measuring ET values of ≥3 mm, but the percent error rapidly increases for lower ET values. The resolution of the lysimeters could potentially be improved by choosing a datalogger that could process and store data with a higher resolution than the one used in this study.