Journal articles on the topic 'Injected parts quality'

The DVR is a series connected FACTS controller used to compensate voltage disturbance in distribution systems. The main purpose of the DVR is to examine the load voltage waveform regularly if any disorder happens, the equilibrium or excess voltage is injected to the load voltage. The most important advantage of the DVR is observance the users all the time on-line with high quality stable voltage maintaining the permanence of production. In this dissertation, a Photovoltaic voltage injected with an ANN control method for DVR that protects a sensitive load, to counter voltage sag under uneven loading conditions (linear, non-linear) is presented. DVR along with other parts of the distribution system are simulated using MATLAB/ SIMULINK.

The increasing demand for small and cheap parts is boosting the development of reliable micro-system technologies. Fabrication process capabilities should expand to encompass a wider range of materials and geometric forms, which can satisfy the specific requirements of new emerging micro-products, and ensure the compatibility of new materials and processing technologies. Polymeric composites are very promising materials, since they offer new combinations of properties not available in traditional homogeneous materials. Because of their advantageous light weight, high strength, fatigue life, and corrosion resistance, they are forecast to replace conventional materials in several applications. Among the plastic process technologies, injection moulding is one of the key technologies for manufacturing miniaturised components due to its mass production capability and relatively low production cost. Micro-injection moulding allows to transfer micron and even submicron precision features to small products. Since final product properties strongly depend on materials and production processes and parameters, the process conditions of compounding as well as of product manufacturing have to be carefully studied and controlled. This is particularly important for the manufacturing of micro-products, since, at the micro-scale, some phenomena negligible at the macro-scale (as hesitation effect or capillarity forces for examples) can become important. However, only few studies concern the micro-injection of nanocomposites. Therefore, in this paper the micro-injection of two composites made of polyoxymethylene and carbon nanotubes has been studied. First, the electrical properties of the compounds have been measured; the fillers are dispersed in the matrix and form a network that dramatically increases the conductivity of the composites in comparison with the pristine resin. Then the compounds have been injected using a micro-injection machine and the components have been analysed. The mechanical analysis, based on tensile tests and dynamic-mechanical experiments on miniaturised dog-bone specimens, shows a slight reinforcing effect of the filler; however, the ductility is considerably reduced. This is likely due to a scarce adhesion of the carbon nanotubes and the polymer and the presence of some agglomerates. Moreover, as expected, the mould temperature affects the mechanical properties of the specimens, probably due to its effect on the internal structure of the solidified materials. The dimensional analyses carried out on micro-rib specimens show that replication capability is increased by the presence of the filler and using high values of the process parameters. Finally, microscopic analyses have been done in order to verify the dispersion and orientation of the fillers in the compounds. These effects have been observed only when high shear rates are involved.

Processing by injection is the technological process by that the thermoplastics material is injected, under pressure, in the cavity of a mould, where it cools down and solidifies. This process is the most common method for obtaining plastic materials. Injection moulding of thermoplastics has emerged as the premier vehicle for delivering high quality, value added commercial products. Continued global competitiveness has increased standards for product capability and quality while requiring reduced product development time and unit cost. Despite advanced design methods and new process technologies, it is becoming apparent that the injection moulding process is neither flexible nor robust. This paper presents a set of experiments that focused on particular processing conditions of injection through narrow section, thin-wall injection and microinjection. In these cases, the ultrasonic activation does not play an important role as single influence factor but could amplify or strengthen the influence of classical setting parameters of the process: mould temperature, injection pressure and temperature

Injection moulding is a major used technology in mass production of high-quality plastic and composite parts. Once the initial costs have been paid the price per produced part is extremely low and part is then created up to million times. On the other hand, the product development process is time-consuming and costly due to preparation time. Therefore, the efficiency and similarity to real production are essential. Injection moulding into polymer injection mould cavity inserts appears to be an appropriate step in the product development process in particular concerning quickly developing additive manufacturing technologies. Though polymers are thermal insulators, therefore, cooling time is longer compared to injection into fully metal moulds. The impact of different cooling conditions is a change in the crystallization of injected material causing different mechanical properties of products. Removable injection mould cavity inserts were made from PET (Polyethylene terephthalate), PEEK (Polyether ether ketone), PSU (Polysulfone) and PTFE (Polytetrafluoroethylene). The main goal was to compare crystallization and thermo‑mechanical properties of injected PP (Polypropylen) parts into polymer cavity inserts to those injected into a steel mould.

Processing by injection is the technological process by that the thermoplastics material is injected, under pressure, in the cavity of a mould, where it cools down and solidifies. This process is the most common method for obtaining plastic materials. Injection moulding of thermoplastics has emerged as the premier vehicle for delivering high quality, value added commercial products. Continued global competitiveness has increased standards for product capability and quality while requiring reduced product development time and unit cost. Despite advanced design methods and new process technologies, it is becoming apparent that the injection moulding process is neither flexible nor robust. This paper presents a design process using CAD-CAM software applied to an injection mould for manufacturing a plastic component that is used in the automotive industry. The component was analyzed, measured and subjected to simulations that will certify the quality of the final product.

This paper explores the possibility of using different 3d printing methods and materials in the production of polymer molds for injection molding applications. A mold producing a cube was designed using a commercial software. Following the standard 3d printing process, injection molds which could produce a cube were printed using different 3d printing materials and 3d printing technologies. The 3d printing technologies used were Stereolithography (SLA), Polyjet and Fused Filament Fabrication (FFF). A bench-top injection molding machine was used to inject polylactic acid (PLA) in these molds. The quality of the injected parts in terms of dimensional accuracy has been investigated. In some cases, the damage mechanism of the polymer molds has also been observed.

For obtaining small parts with complex shape, for which a finishing operation cannot be applied easily, injection forming can be used. For a successful applying of this procedure not only the conditions of the injection process deployment must be taken into consideration, but also the conditions of the binder removal. These conditions impose, in a big measure, the feedstock characteristics, especially the ones of the binder used. The characteristics of the binder mixed with powder influence the injection process, the debinding process and the quality of the injected and sintered parts. Regarding that the binders used are formed from many components, it is very important to know the measure that each of them determines the rheological characteristics of the mixture. In the research made, a binder was used formed from polyethylene, paraffin and stearic acid, a binder which is often used to obtain mixtures for injection. It was watched how these components influence the binder characteristics, the injection process deployment and the effect they have on the quality of the debinded parts.

There are many technical parameters influencing on the coating quality in plasma spray forming which has become an important technology in materials processing. In this study, the relationships between the melting state, in-flight property of particles injected into plasma jet and the forming quality have been investigated. The experimental results show that the temperature field distributions of plasma jet are mainly affected by plasma generator power though CCD imaging and gray-scale processing. The velocity of in-flight particle is directly determined by the flow rate of work gas, and the surface temperature of in-flight particle is obviously affected by assisted gas rate. It is clear that the energy coupling and momentum transferring between plasma and particle have a significant influence on deposition efficiency, porosity, microhardness and microstructure of spray-formed parts, and it also provides a good idea to control the forming quality on-line.

Recent developments in the field of tissue engineering recommend the 3D printing to obtain the complex shape of the final alloplastic grafts (for soft or hard tissues). The medium pressure injection moulding (MEDPIM) technology could be a cost-effective alternative to 3D printing. This paper presents the first studies for the MEDPIM applicability in the case of some alloplastic bone grafts manufacturing. Two biocomposite feedstocks have been researched in order to obtain the injected parts (herein after named green parts). The Ti6Al4V respectively TiH2, both as powder particles, were mixed with hydroxyapatite (HAP) powders in the W 50 EHT measuring mixer. Both powder mixtures contain NaCl as foaming agent as well as some wax-based binders. The MEDPIM process is developed in the laboratory-scale device, designed and manufactured in the frame of the research project BONY. This device replicates, at lab-scale, the MEDPIM process developed by the Goceram MEDPIMOULD equipment, able to work at mass-production scale. The injection moulding tests were performed at the temperature range of 50…110°C, respectively at 30-45 MPa as injection pressure. The green parts quality was evaluated by means of the physical characteristics (dimensional and density measurements) as well as macroscopic evaluation using the stereomicroscope NIKON SMZ 745T. The influence of the biocomposite feedstock type as well as the injection temperature on the green pats quality is studied in this research.

This work aims to study the influence of an oxidant agent on syngas quality. A series of tests using air and steam as oxidant agents have been performed and the results compared with those of a pyrolysis test used as a reference. Tests were carried out at Sapienza University of Rome, using an updraft reactor. The reactor was fed with hazelnut shells, waste biomass commonly available in some parts of Italy. Temperature distribution, syngas composition and heating value, and producible energy were measured. Air and steam gasification tests produced about the same amount of syngas flow, but with a different quality. The energy flow in air gasification had the smallest measurement during the experiments. On the contrary, steam gasification produced a syngas flow with higher quality (13.1 MJ/Nm3), leading to the best values of energy flow (about 5.4 MJ/s vs. 3.3 MJ/s in the case of air gasification). From the cold gas efficiency point of view, steam gasification is still the best solution, even considering the effect of the enthalpy associated with the steam injected within the gasification reactor.

<p>This study was conducted to investigate the utilization and influence of condiments prepared from four fermented legumes; African locust-bean (<em>Parkia</em> <em>biglobosa</em>), melon seeds (<em>Citrullus vulgaris</em>), soybean (<em>Glycine max</em>) and cotton seeds (<em>Malvaceae gossypium</em>). They were processed, dried, milled and 25% solution of each condiment was made using purified water. 200 g fresh beef from the thigh cut of White Fulani bull (<em>Bos indicus</em>) was purchased, divided into 4 parts of 50 g and 20 ml of condiments solution was injected into each beef with a syringe and needle each condiment and 50 g beef constituted a treatment thus; TO = control (No condiment), TI = Beef steak + locust bean condiment, T2 = Beef + melon seeds condiment, T3 = Beef + soybean condiment, T4 = Beef + cotton seeds condiment. The injected beef steaks were wrapped in foil paper and broiled in oven at 170 ºC for 20 mins. Data were collected on physicochemical, microbiological and sensory properties of processed beef and were subjected to analysis of variance (ANOVA) at p = 0.05 in a completely randomized design experiment. The results showed that cooking loss and shear force were lower in TI, while water holding capacity (WHC) and yield were higher. Protein and ash were high in TI followed by T3 while fat and fibre were significantly lower. Aerobic and anaerobic bacteria were significantly the same across the treatments while coliform and fungal counts were lower except in T2 and T4. Treatment1 was adjudged higher in all the eating qualities except colour and was well accepted. It is therefore, recommended that locust bean condiment be used in processing meat followed by soybean condiment. However, further investigation should be carried out on varied levels of locust bean condiment to determine the level that will give better colour which can improve the meat product acceptability and consumption.</p>

The fabrication of metal parts is the backbone of the modern manufacturing industry. Laser forming is combination of five common technologies: lasers, rapid prototyping (RP), computer-aided design (CAD), computer-aided manufacturing (CAM), and powder metallurgy. The resulting process creates part by focusing an industrial laser beam on the surface of processing work piece to create a molten pool of metal. A small stream of powdered alloy is then injected into the molten pool to build up the part gradually. By moving the laser beam back and forth and tracing out a pattern determined by a CAD, the solid metal part is fabricated line by line, one layer at a time. By this method, a material having a very fine microstructure due to rapid solidification process can be produced. In the present work, a type of direct laser deposition process, called Laser Metal Deposition Shaping (LMDS), has been employed and developed to fabricate metal parts. In the LMDS process, the powder delivery system is an important component to perform the powder transport from powder storage box to powder nozzle, which supplies the raw material for the as-deposited metal parts. Consequently, the stability and precision of powder delivery during LMDS is essential to achieve the metal parts with high quality, so it is critical to evaluate the main factors closely related to the stability and precision of powder delivery. The shielding gas flow and the powder feeding rate were ascertained through experimental measure and formula calculation. The results prove that the suitable shielding gas flow and powder feeding rate can promote the stability and precision of powder delivery, which is the basis for the fabrication of as-deposited metal parts with flying colors.

<p>The objective of this study was to investigate the effects of three common food grade organic acids – citric, acetic and ascorbic on quality properties of fresh beef preserved for 14 days. 1 kg of fresh beef (thigh muscle) of White Fulani cow was purchased at Ayetoro market in Yewa North local government Area of Ogun State and was divided into 4 equal parts of 250 g per treatment replicated three times. The acids were purchased at Federal Institute of Industrial Research Oshodi (FIIRO) Lagos. 5% each of the organic acid was prepared and constituted an experimental treatment, freezing was used as control. Thus: T1 = Freezing (control), T2 = Citric acid, T3 = Acetic acid, T4 = Ascorbic acid. 10ml of each organic acid solution was injected into 250 g fresh beef with a needle and syringe and immersed in the same solution in covered plastic containers, stored at room temperature (27 ºC).</p> <p>The results showed that most of the physicochemical properties of the preserved beef were better (P &lt; 0.05) in treatment 3, also. Lipid oxidation and microbial values were lower (P &lt; 0.05) in the same treatment. However, acceptability of beef in treatment3 was lower (P &lt; 0.05) because colour and flavour scores beef were lower (P &lt; 0.05). It was suggested therefore, that lower concentrations of acetic acid be tested in a separate study to ascertain concentration level that will confer higher colour flavour and acceptability scores on beef since acetic acid favoured almost all tested properties and of preserved beef in this study.</p>

Debinding process of injection moulded Ti-6Al-4V feedstock was divided into two parts: solvent debinding process to eliminate palm stearin (PS) and thermal pyrolysis to eliminate polyethylene (PE). Solvent debinding process used heptane at optimum temperature, 60°C to remove PS binder completely as temperature is the only parameter that can be optimized. Thermal pyrolysis parameters for removal of PE binder from the injected 65vol% Ti-6Al-4V feedstock have been optimized by using Taguchi method. Heating rate, temperature and time were the selected factors during experiment to be applied in the L9(34) Taguchi orthogonal array (OA) to find the best set of parameters to produce highest density of brown part. Thermal pyrolysis process was done at optimum parameters: heating rate: 5°C/min; temperature: 510°C; and time: 90 minutes. Analysis of Variance (ANOVA) was employed to find the best signal to noise ratio (S/N) to express the contribution of the factors towards quality characteristic. Based on the results, heating rate has the greatest contribution (54.63%), followed by duration time of thermal pyrolysis (24.40%) and temperature (19.25%).

The problem of improving the environmental safety of the waste management system of chemical processing of biomass of wood is quite acute in every forest producing and timber processing region. Study of the possibility of using to investigate hydrolytic lignin as a modifier of phenol-formaldehyde resin for the production of plywood have been conducted. Used materials: phenol-formaldehyde resin SFZh-3013; technical hydrolyzed lignin. Mathematical models of the process of pressing glued plywood were developed and the optimal parameters for the production of plywood were determined based on the use of SFZh-3013 resin modified with hydrolytic lignin. The optimal mode of pressing is: the amount of injected hydrolytic lignin in the SFZh-3013 resin grade is 5-10 parts by weight; pressing pressure 1.6 MPa, pressing temperature 135 °C and pressing time 9-10 minutes. The introduction of regimes developed using regression equations, with a sufficient degree of accuracy describing the pressing process, will significantly improve the efficiency of plywood production by saving energy and material costs and preserving product quality.

In the present era, competition gets tougher; there is more pressure on manufacturing sectors to improve quality and customer satisfaction while decreasing cost and increasing productivity. These can be achieved by using modern quality management systems and process improvement techniques to reduce the process variability and driven waste within manufacturing process using effective application of statistical tools. Taguchi technique is well known technique to solve industrial problems. This technique is fast and can pinpoint the chief causes and variations. Plastic injection molding is suitable for mass production articles since complex geometries can be obtained in a single production step. The difficulty in setting optimal process conditions may cause defects in parts, such as shrinkage and warpage. In this paper, optimal injection molding conditions for minimum shrinkage were determined by the Taguchi design of experiment (DOE) approach. Polypropylene (PP) was injected in circular shaped specimens under various processing parameters: melt temperature, injection pressure, packing pressure and packing time. S/N ratios were utilized for determining the optimal set of parameters. According to the results, 2400 C of melt temperature, 75 MPa of injection pressure, 50 MPa of packing pressure and 15 sec. of packing time gave minimum shrinkage of 0.951% for PP. Statically the most significant parameter was melt temperature for the PP. Injection pressure had the least effect on the shrinkage. The defect rate was reduced from 14% to 3%.

A thermal vacuum chamber is used to simulate thermal environments of a test satellite in orbits where daily temperature variations range from 80 K to above 400 K. The test facility is complex and consists of expensive parts. Modification of control software is discouraged as the modification may cause unexpected system failure. This paper describes a study that develops a real-time dynamics model of the thermal vacuum chamber that can be used to create control algorithms and simulate electrical inputs and outputs for interface with a programmable logic controller (PLC). The dynamics model is represented by simulation software and exported to a target PC in the Microsoft® Disk Operating System (DOS) mode to exploit the real-time kernel of the DOS software. The model is executed in real-time and communicates with a microprocessor-based input/output (I/O) board via a serial port to emulate electrical inputs and outputs. The target process to model is the gaseous nitrogen (GN2) mode in which GN2 circulates in a closed loop through thermal shrouds encompassing a test object. A blower boosts the GN2. Injected liquid nitrogen (LN2) and an electric heater control the set temperature of the GN2. The realized simulator dynamics are quite similar to those of the thermal vacuum chamber and serve as an appropriate system to verify the control performance of a programmed PLC.

Injection molding is a popular process for the mass production of polymer products, but due to the characteristics of the injection process, there are many factors that will affect the product quality during the long fabrication processes. In this study, an adaptive adjustment system was developed by C++ programming to adjust the V/P switchover point and injection speed during the injection molding process in order to minimize the variation of the product weight. Based on a series of preliminary experiments, it was found that the viscosity index and peak pressure had a strong correlation with the weight of the injection-molded parts. Therefore, the viscosity index and peak pressure are used to guide the adjustment in the presented control system, and only one nozzle pressure sensor is used in the system. The results of the preliminary experiments indicate that the reduction of the packing time and setting enough clamping force can decrease the variation of the injected weight without turning on the adaptive control system; meanwhile, the master pressure curve obtained from the preliminary experiment was used as the control target of the system. With this system, the variation of the product weight and coefficient of variation (CV) of the product weight can be decreased to 0.21 and 0.05%, respectively.

The evaluation of heat transfer and fluid mechanics mechanisms to increase the thermal efficiency and combustion quality in heavy industries, such as power plants, are important and significant issues in the field of engineering sciences, which can lead to significant advances. In this regard, the present paper has been developed with thermodynamic and numerical simulations of the MONTAZER GHAEM Power Plant boiler to study the increase in efficiency and reduce environmental pollution. Also in this research, the results of practical tests have been used to verify the simulations. The thermodynamic simulation results show that the required fuel consumption of the burners in current operating conditions is not 9.1 kg/s, but it is 8.1 kg/s. The low efficiency of the set, which leads to the injection of more than the required amount of fuel to the boiler, cause the non-corresponding power generation for injected fuel, which results in the reduction of the plant thermal efficiency from 36.4% to 33.9%. The results of computational fluid dynamics show that the lightness of natural gas combustion products and, the no-flow accumulation in the lower parts of the furnace, reduce the produced steam, which results in power loss at the exit. Numerical results also show that the highest rate of NOX production occurs near the burners due to the high flame temperature and high oxygen mass fraction and consequently, the non-uniform distribution of heat in the furnace.

The teaching of ideological and political theory courses and daily ideological and political education are two important parts of education for college students. With the iterative update of information technology, the individualized development of students, and the reform and innovation of ideological and political education, higher goals and requirements have been put forward for ideological and political education. Some universities have developed new paths in the teaching model, but they have not considered the evaluation module and paid little attention to their own development. They only paid attention to the fact that it injected fresh blood into the reform of education model and ideological education but ignored the improvement of their own quality. Therefore, with these limitations, the learning effect is not satisfactory. Keeping in view these issues, this article defines the concept of deep learning and ideological and political education of college students as the starting point and then analyzes the new precise and personalized concepts, new forms of intelligent teaching and evaluation, and new models of intelligent learning that deep learning brings to college students’ ideological and political education. This is a new path of intelligent linkage with the subject, object, and mediator. It can deepen the reform of the education and teaching mode of individualization, accuracy, interactivity, and vividness of college students’ ideological and political education and improve the evaluation and management of college students’ ideological and political education. The experimental results of the study showed the effectiveness of the proposed study.

Resin Transfer Molding (RTM) is among the most commonly used fabrication processes for producing high quality and complex composite structural parts. RTM process consists of placing a dry fibrous preform into a mold cavity. A liquid resin is subsequently injected into that cavity. The consolidation of the part is then obtained by crosslinking in case of a thermosetting resin or by crystallization in case of thermoplastic one. Voids can be created in the porous medium during the flow of the resin. Presence of residual voids in the composite part at the end of the filling drastically affect mechanical performances. Even if several authors have contributed to a better understanding and modeling of the mechanisms of formation and transport of voids during injection, few experimental approaches allowed a direct measurement of the saturation curve. The aim of this study is then to identify the saturation of a fibrous preform by a liquid through thermal analysis. To address this issue, an experimental bench that allows the injection of a fluid into a textile preform has been used. This apparatus combines the measurement of temperatures and wall heat flux densities at several locations. A simplified modeling of the filling front has been performed with FEM using Comsol Multiphysics™. The saturation curve is modeled using several geometric parameters. Saturation is taken into account through the evolution of thermophysical properties. Effective thermophysical properties of the dry and completely-saturated porous medium in transverse and longitudinal directions have been measured by several methods, and their results have been then cross-checked and compared with good accuracy. The evolution between these two states has been modeled. A particular attention has been paid for the modeling of the transverse thermal conductivity. This parameter has been modeled using a periodic homogenization method as a function of the micro- and macro-saturation. The saturation curve parameters are determined by minimizing the cost function defined as the square difference between the measured and computed heat flux. The obtained saturation curve is finally compared with the one measured by a conductometric sensor.

Objective. To determine in experiment the quality of healing of skin radiation ulcers infected with Staphylococcus aureus (S. aureus) under the photodynamic therapy (PDT) administration and the use of platelet-rich plasma (PRP). Materials and methods. The experiment was performed on 95 male WAG rats of 6 months of age, which were divided into three groups. Group 1 included animals in whom a skin radiation ulcers in the thigh area was simulated, followed by application of a 0.2 ml suspension of reference strain of S. aureus to its surface on the 7th day after irradiation. Group 2 included animals with S. aureus-infected skin radiation ulcers, in whom the PET was administered a day after infection contamination. Group 3 included animals with S. aureus-infected skin radiation ulcers, in whom the PDT was administered a day after infection in the morning, and the PRP was manifold injected in periwound area in the afternoon. The skin with underlying soft tissues from the area of radiation damage were the material for morphological examination. The hematoxylin and eosin, picrofuxin according to van Gizon, Mallory staining were applied to micropreparations. A morphometric study was conducted. Results. In animals with skin radiation ulcers, in whom the PDT was administered upon infection with S. aureus (group 2), compared with animals with simulated infected skin radiation ulcers without treatment (group 1), The activation (i.e. accelerating) of the healing occurred for the period from the 14th to the 52nd day of experiment due to the active processes of wound cleansing from necrotized tissues, less pronounced inflammatory changes in the lesion, and active of appearance and maturation of granulation tissue, less pronounced hemodynamic, ischemic and alternative disorders in the dermis, hypodermis, muscle tissue surrounding the wound cavity, activation of proliferative processes in epithelial layer localized in the marginal parts of the wound. Formation of pathological (hypertrophic or keloid) scar of the skin was the result of healing of skin radiation ulcer infected with S. aureus. In animals with radiation ulcers infected with S. aureus, in the case of PDT and PRP (group 3) the regenerative process was directed not only at accelerating the rate of healing, but also on restoration of original structure of the lost parts of the skin compared with only PDT administration (group 2). Acceleration of the healing of the infected skin radiation ulcer in animals of groups 2 and 3 was due to similar processes. Conclusions. Photodynamic therapy activates and accelerates the healing process of skin radiation ulcers infected with S. aureus and leads to formation of a pathological scar (hypertrophic or keloid). Healing of the infected S. aureus radiation ulcers occurs more actively upon the photodynamic therapy administration in combination with multiple periwound injections of the platelet-enriched plasma, compared with only photodynamic therapy administration, and finishes with an organotypic regeneration and almost complete skin recovery. Key words: photodynamic therapy, platelet-rich plasma, radiation skin ulcer, Staphylococcus aureus, morphology.

Background: Patients with chronic pain usually suffer from cognitive impairment, with memory deterioration being the most common deficit that affects daily functioning and quality of life. The causes for this impairment are not clear despite intensive clinical studies. Few studies have evaluated impaired learning using animal models of persistent pain. Objective: In this study, a new trigeminal neuralgia model induced by cobra venom was adopted to explore effects of chronic pain on spatial learning and memory in rats. Study Design: Controlled animal study. Setting: Department of Anesthesiology, Pain Medicine & Critical Care Medicine, Aviation General Hospital of China Medical University. Methods: Thirty adult male Sprague-Dawley rats were randomly divided into 2 groups (n = 15): NS control group and cobra venom group, 0.9% sterile saline or cobra venom solution was injected into the sheath of the infraorbital nerve (ION), respectively. The development of trigeminal neuralgia was accessed by changes in free behavioral activity 3 days before the surgery and 3, 7, 12, 20, and 30 days after the surgery to identify whether the model was successful or not. Morris water maze test determined the abilities of spatial learning and memory at the time points before the surgery, and 2 weeks and 5 weeks after the surgery. We also observed the ultrastructure of the ION and medulla oblongata of rats following 8 weeks of chronic trigeminal neuropathic pain. Results: Rats with the cobra venom injection displayed significantly more face grooming and fewer exploratory activities compared to the NS control group or baseline (P < 0.01). Both groups improved their latency to reach the platform with the largest difference on the first day (P < 0.01), but without memory deficits in a probe trial for the second water maze protocol. For the third water maze testing, the rats in the cobra venom group experienced decreased abilities of spatial learning and memory, a longer latency with spatial memory deficits during the probe trial (P < 0.05). At the ultrastructural level, we found changes in the medulla oblongata after cobra venom injection resulting in severe demyelination and loss of axons that might be implicated in the causes of cognitive deficits. Limitations: Limitations include partial vision loss in the eye on the lesion side of the rats that might be missed and the absence of evaluating the ultrastructural changes in other parts of the brain. Conclusions: The results of this study suggest that trigeminal neuralgia induced by cobra venom in adult rats can impair spatial learning and memory function over time and results in demonstrable changes in the ultrastructure of the medulla oblongata. This new animal model may be useful for future studies on the effect of chronic pain on learning and cognition. Key words: Cognitive deficits, memory deterioration, cobra venom, trigeminal neuralgia, electron microscopy

Analysis of water quality of Himalayan originated rivers reveals the heavy sediment loading with a major portion of the sediment being hard mineral, quartz. Despite the incorporation of desanders to reduce the sediment content passing through hydro mechanical parts, significant wear is being reported in south-Asian hydroelectric projects. Repeated impact of such solid particles which are harder than the material of mechanical parts (mostly steel) is known to cause the erosion. Flow parameters, impact angle, mechanical properties of wall and particle, particle shape and size are commonly explored variables that affect the erosion of solid by the sediment-laden flow. In order to predict such erosion, starting with Finnie erosion model, several other erosion models considering aforementioned variables are proposed but are mostly case dependent. Application of numerical methods to understand flow problems constitutes the field of Computational Fluid Dynamics (CFD). Due to enclosed flow, reactions turbines took accelerated development in the investigations by CFD modeling. However, free surface jet and complex flow mechanism in buckets have been a major barrier to the application of CFD in case of Pelton turbines. Recent advancements in computational techniques, technological advancements have enabled to investigate flow in Pelton turbine by CFD. However, it is least understood which among the proposed erosion models will predict erosion occurring in Pelton turbine and assembly. This article explores about erosion in Pelton turbine, various erosion models and state of the art in modeling erosion of Pelton turbine injector. It is discussed which among the erosion models shall best predict the erosion occurring in the Pelton turbine injector. A short list of erosion models is then given which can be applied for the case of erosion in Pelton turbine injectors.

Abstract Acoustic emission method (AE) can be used for the diagnosis of machine parts such as, for example: fuel injectors. This paper presents the methodology and research results of 3AL25/30 engine fuel injector. During research was studied one injector in good condition and second with simulated failure involving closing 2 of 9 holes of the injector tip. Research was carried out on a laboratory test stand using a set of acoustic emission Vallen System. This set included: 4 channel signal recorder AMSY 6, two measurement modules ASIP-2/S, preamplifier with a frequency range 20 kHz-1 MHz and the strengthening of 34 dB, AE signal measurement sensor type VS 150M, with a frequency range 100-450 kHz. During the study, the acoustic emission (AE) generated by tested injector was recorded. The following parameters were determined: amplitude, rise time, duration time, total time, number of events – hits, the effective value of the signal (RMS). Analysis of the results showed significantly longer total time of the injection in the case of damaged injector compared to the injector in good conditions. Signal amplitude was higher, however, the RMS signal reached approximately 3-times lower value for the injector with damaged tip. This means lower quality fuel atomization. Laboratory test results were compared with signals recorded on injectors installed in the engine. Analysis of the signals allowed detection damage of the injector installed in the engine during normal operation.

Dynamic Voltage Restorer (DVR) is a series connected power electronics based custom power device that is used to improve voltage disturbances in low voltage electrical power distribution network. Power quality requirement is one of the most important concerns for power system. The parts of the DVR is made up of voltage source inverter, injection/booster transformer, a harmonic filter, an energy storage device and a bypass switch. The DVR is used to inject three phase voltage in series and in synchronism with the network voltages in order to compensate voltage disturbances with a benefit of active /reactive power control. This paper presents a review of the researches on the dynamic voltage restorer application for power quality improvement in low voltage electrical power distribution networks. It describes power quality issues, principle of operation of DVR, basic components of DVR, DVRs control topologies in distribution network, DVR control strategies and compensation techniques.

The custom power park (CPP) is a concept that has been developed for the purpose of dealing with power quality problems. The CPP is powered by two independent feeders and consists of different types of custom power devices for compensation (dynamic voltage restorer, DVR) and reconfiguration (static transfer switch, STS). Normally, the loads are fed by the preferred feeder (PF) through the STS. When a fault occurs in the PF, the STS performs a reconfiguration of the feeders and feeds the load with an alternate feeder. In this paper, a two-input DVR based on the matrix converter is proposed to provide stable voltage to the load. Each of the DVR inputs is connected to a different feeder, and the PF powers the load. Thus, the DVR has an operational behavior like the STS when reconfiguring the energy transfer of the two feeders and injects it into the PF to guarantee a stable voltage in the load. The control algorithm in the DVR is performed in the dq reference frame to have a unit power factor in feeders and load. The modulation schemes are based on space vector modulation and modified carrier based pulse width modulation. The efficiency and multifunctionality of the proposed DVR is corroborated by simulations on the MATLAB/Simulink.

It is not possible to eliminate all the mistakes people make. People are not mistake proofed by their nature. But organization can avoid these mistakes from reaching the customer, which is known as a defect in this case. Mistakes can be stopped as soon as they happen at least. Poka Yoke is very simple concept in nature. The basic concept of this is avoiding the problems by correcting the process. Poka-yoke is a quality assurance technique developed by Japanese manufacturing engineer Shigeo Shingo. The aim of poka-yoke is to eliminate defects in a product by preventing or correcting mistakes as early as possible. Poka-yoke has been used most frequently in manufacturing environments. Japanese industrial engineer Shigeo Shingo developed Poka Yoke [1](to avoid (yokeru) [2] inadvertent errors (poka) ) along with "source inspection" as a means for achieving Zero Quality Control (ZQC). Shingo introduced these ideas in his book Zero Quality Control: Source Inspection and the Poka-yoke System. Poka - Yoke systems reduce the cost of failure dramatically. No defective part will be passed to the next process. So at the end of the process you can trust that you have a good quality parts on your hand. Poka yoke is one of the critical steps in the lean journey. This project implements Poka-Yoke system for Gear assembly. Project system can recognize that the worker has to pick gear as per defined sequence. Even it can recognize the position of the gear when all process is done successfully then signal send to Press to inject gear assembly in engine.

Abstract. Atmospheric simulation chambers are exploratory platforms used to study various atmospheric processes at realistic but controlled conditions. We describe here a new facility specifically designed for the research on atmospheric bio-aerosol as well as the protocols to produce, inject, expose and collect bio-aerosols. ChAMBRe (Chamber for Aerosol Modelling and Bio-aerosol Research) is installed at the Physics Department of the University of Genoa, Italy, and it is a node of the EUROCHAMP-2020 consortium. The chamber is made of stainless steel with a total volume of about 2.2 m3. The lifetime of aerosol particle with dimension from a few hundreds of nanometres to a few microns varies from about 2 to 10 h. Characteristic parts of the facility are the equipment and the procedures to grow, inject, and extract bacterial strains in the chamber volume while preserving their viability. Bacteria are part of the atmospheric ecosystem and have impact on several levels as: health related issues, cloud formation, and geochemistry. ChAMBRe will host experiments to study the bacterial viability vs. the air quality level, i.e. the atmospheric concentration of gaseous and aerosol pollutants. In this article, we report the results of the characterization tests as well as of the first experiments performed on two bacterial strains belonging to the Gram-positive and Gram-negative groups. A reproducibility at the 10 % level has been obtained in repeated injections and collection runs with a clean atmosphere, assessing this way the chamber sensitivity for systematic studies on bacterial viability vs. environmental conditions.

A power system suffers from different losses, which can cause tragic consequences. Reactive power presence in the power system increases system losses delivered power quality and distorts the voltage. As a result, many researches are concerned with reactive power compensation. Moreover, reactive power should not be transmitted through a transmission line to a longer distance. Thus, Flexible AC Transmission Systems (FACTS) devices such as static synchronous compensator (STATCOM), static volt-ampere compensator (SVC), and unified power flow controller (UPFC) are utilized to overcome these issues. The necessity of balancing resistive power generation and absorption throughout a power system becomes a big concern in the electrical systems for reactive power compensation. Static synchronous compensator STATCOM is a shunt device used for the generation or absorption of reactive power as desired. STATCOM provides smooth and fast compensation and power factor correction. In this thesis, a solar Static synchronous compensator takes the DC input from the solar panel and inverted utilizing an H-bridge inverter. This topology is used for reactive power compensation and power factor correction at the load side. The simulation was done using MATLAB Simulink simulation tools. The system model was built using a single solar array for DC input and controlled using perturbation and observe method to maximize its power output. The STATCOM model was built using for high power MOSFETs to perform H- bridge inverter. The STATCOM was controlled using a hysteresis band current control using a PI controller to inject the current into the system. A hardware prototype of STATCOM was built and controlled using an Arduino microcontroller. The simulation results have demonstrated the STATCOM model of reactive power compensation and correcting the power factor under different loads of conditions. It also highlighted the proportional relation between reactive power presence and the increased cost of electricity bills. The proposed smart meter of STATCOM gives accurate reading and measurement. Overall, the simulated results showed a satisfactory level of compensation of reactive power and power factor correction. The system contained three significant parts; solar array, H- bridge inverter, and the PI controller. The smart meter circuit was capable of displaying readings regarding input solar voltage, current, and power factor on the LCD screen.

Abstract This paper presents parts of the work performed in order to develop and qualify a Polymer Assisted Surfactant Flooding (PASF) system for economical use in the Gullfaks Field. The paper addresses experimental work done in the laboratory, numerical simulation of PASF, and the evaluation of the potential for PASF in full field scale. The experimental part comprises core flooding experiments at different temperatures, pressures, and gas-oil ratios in order to optimise the PASF system for the Gullfaks Brent formation conditions. The surfactant in the PASF system is a branched sulphonate (5000 ppm) and xanthan (500 ppm). The surfactant-polymer slug is followed by a slug of xanthan (500 ppm) for mobility control. No cosolvent is used. In coreflood experiments more than 70 percent of the waterflood residual oil was recovered. By using reservoir simulation a suitable pilot area was found in the Brent reservoir. Additional results from simulations were the amount of chemicals, the time needed for the pilot test, and additional oil recovery. Much effort was put into estimating the full field PASF potential. Firstly, the areas of the field where PASF possibly could be used were selected. Key factors were existing and planned well locations, production data, and long term production forecasts. Then the amount of chemicals needed and the expected technical efficiency for each area were calculated. To verify these calculations, an area of the field containing two possible injection wells, and three producers, was selected for a simulation study. This area was considered as the most promising area for PASF. The main conclusion from this work is that, with the present crude oil price and chemical costs, the PASF process is not economical attractive for use in the Gullfaks field, mainly because the residual oil was considerable lower than believed at project start. Introduction The Gullfaks field is located in the north-eastern part of block 34/10 in the Norwegian sector of the North Sea. The oil production started in December 1986 and the cumulative oil production to date is 168 mill. Sm3 or 59 % of recoverable reserves. Water injection is the current drive mechanism, aiming at maintaining reservoir pressure above the bubble point. At the project start in 1989, the Gullfaks field was from a technical standpoint a prime target for enhanced oil recovery . The residual oil saturation after waterflooding was believed to be about 0.35, which indicated a high technical potential for surfactant flooding. Most of the reservoir characteristics are favourable for PASF, i. e. multidarcy sands, low oil viscosity (1.5 cP), relatively low reservoir temperature (70 C) and low salinity of the formation water (42000 ppm) and moderate low clay content (5-10 %). A single well injection test with surfactant alone was performed during the first half of 1992. The surfactant was successfully injected without any special treatment of the injection water, and the test confirmed that residual oil was mobilised by the surfactant. Exxon conducted a series of five pilot tests in the Loudon field from 1980 to 1989. The test sizes ranged from a single pattern of 2800 m2 to multi-pattern tests with pilot areas of 161600 m2 and 323200 m2 areas, respectively. For the 2800 m2 pilot, recovery was 68 % of the waterflood residual oil. In the larger multi-pattern floods, oil recovery dropped to 26.9 % in the 161600 m2 and 33.4 % in the 323200 m2 project. The tests showed that the use of polymer in the injection water is crucial for obtaining a successful surfactant flooding. An other observation in these field tests was that the surfactant retention was less than half of that measured in conventional laboratory coreflood experiments. This was explained by a change of wettability from aerobic, oxidising conditions, in the laboratory, to the anaerobic, reducing conditions, in the reservoir.

ABSTRACT The injection molding process is the most widely used processing technique for polymers. The analysis of residual stresses generated during this process is crucial for the part quality assessment. The present study evaluates the residual stresses in a tensile strength specimen using the simulation software Moldex3D for two polymers, polypropylene and polycarbonate. The residual stresses obtained under a simulated design of experiment were modeled using a robust multivariable regression technique. The results shown that residual stresses could be successfully modeled with a quadratic polynomial fit. For both materials, the lowest level of residual stresses was found at the highest mold temperature and the lowest melting temperature.

Rapid electrical heating cycle injection molding (ERHCM) technology is a promising green manufacturing technology for plastic parts. By using this technology, the defects that usually appear on the surface of conventionally injected parts, such as weld and flow marks, can be avoided effectively. This paper studies rapid electrical heating cycle injection molding technology and its mold structure design techniques. Temperature distribution uniformity and heating efficiency on the mold cavity surface are considered as the major influencing factors on product quality and production efficiency. A multi-objective optimization model for the heating rods layout in the mold cavity plate is formulated to optimize temperature distribution uniformity and heating efficiency with respect to the heating rods layout. An application to a liquid crystal display TV panel is implemented successfully using a genetic algorithm.

Abstract Objective The jugular foramen is one of the most challenging surgical regions in skull base surgery. With the development of endoscopic techniques, the endoscopic endonasal approach (EEA) has been undertaken to treat some lesions in this area independently or combined with open approaches. The purpose of the current study is to describe the anatomical steps and landmarks for the EEA to the jugular foramen and to compare it with the degree of exposure obtained with the lateral infratemporal fossa approach. Materials and Methods A total of 15 osseous structures related to the jugular foramen were measured in 33 adult dry skulls. Three silicone-injected adult cadaveric heads (six sides) were dissected for EEA and three heads (six sides) were used for a lateral infratemporal fossa approach (Fisch type A). The jugular foramen was exposed, relevant landmarks were demonstrated, and the distances between relevant landmarks and the jugular foramen were obtained. High-quality pictures were obtained. Results The jugular foramen was accessed in all dissections by using either approach. Important anatomical landmarks for EEA include internal carotid artery (ICA), petroclival fissure, inferior petrosal sinus, jugular tubercle, and hypoglossal canal. The EEA exposed the anterior and medial parts of the jugular foramen, while the lateral infratemporal fossa approach (Fisch type A) exposed the lateral and posterior parts of the jugular foramen. With EEA, dissection and transposition of the facial nerve was avoided, but the upper parapharyngeal and paraclival ICA may need to be mobilized to adequately expose the jugular foramen. Conclusion The EEA to the jugular foramen is anatomically feasible but requires mobilization of the ICA to provide access to the anterior and medial aspects of the jugular foramen. The lateral infratemporal approach requires facial nerve transposition to provide access to the lateral and posterior parts of the jugular foramen. A deep understanding of the complex anatomy of this region is paramount for safe and effective surgery of the jugular foramen. Both techniques may be complementary considering the different regions of the jugular foramen accessed with each approach.

Background: Interscalene block is the most commonly used nerve block for shoulder surgery, and superior trunk block has been investigated as a phrenic-sparing alternative. This randomized controlled trial compared ultrasound-guided interscalene block and superior trunk block as anesthesia for arthroscopic shoulder surgery. Objectives: Our aims were to determine the superiority of anesthesia quality and compare the risk of hemidiaphragmatic paralysis between these 2 blocks. Study Design: A randomized, controlled trial. Setting: Department of Anesthesiology and Pain Medicine, Korea University Anam Hospital. Methods: Forty-eight patients undergoing elective arthroscopic shoulder surgery under an ultrasound guided brachial plexus block were randomized to receive either an interscalene block (ISB group, n = 24) or a superior trunk block (STB group, n = 24) for surgery. Ten milliliters of 2% lidocaine and 10 mL of 0.75% ropivacaine were used as local anesthesia in both brachial plexus block groups (total 20 mL). In the ISB group, the local anesthesia was injected between the C5–C6 root and at the upper part of C5 with equally divided doses. In the STB group, the local anesthesia was injected into the anterior and posterior parts of the superior trunk with equally divided doses. Sensory blockade of each trocar’s insulting site (supraclavicular, axillary, and suprascapular nerve areas) and motor blockade of the axillary nerve (shoulder abduction) and the suprascapular nerve (shoulder external rotation) were assessed by a blinded observer at 5-minute intervals for 30 minutes after the block. Anesthesia quality was assessed using 3 grades (excellent/insufficient/failure). The blinded investigator also assessed the grade of hemidiaphragmatic paralysis (normal/partial/complete) by comparing pre- and postoperative chest radiographs. Primary outcome variables were anesthesia grade and rate of hemidiaphragmatic paralysis. Secondary outcome variables were performance time and anesthesia onset time. Results: The anesthetic grade was significantly different between the 2 groups (22/2/0 in the ISB group vs. 16/3/5 in the STB group, P = 0.046). Both groups displayed equivalent incidence of hemidiaphragmatic paralysis (12/6/6 in the ISB group vs. 7/14/3 in the STB group, P = 0.063). No intergroup differences were found in terms of performance time and anesthesia onset time. Limitations: Our sensory and motor function test was not applied to the subscapular nerve, which serves internal rotation of the humeral head so may be difficult to evaluate in patients with rotator cuff tears. We assessed the diaphragmatic movement by chest radiographs instead of by ultrasound. Conclusions: The superior trunk block provided lower quality of surgical anesthesia than the interscalene block and did not effectively decrease the risk of hemidiaphragmatic paralysis during arthroscopic shoulder surgery for rotator cuff syndrome. Key words: Brachial plexus block, hemidiaphragmatic paralysis, interscalene block, superior trunk block, ultrasound

Among the multiple stages of the resin transfer molding (RTM) processes, flow and mold filling of injected resin correspond to the most complex and crucial stage. During the latter, air bubble agglomeration must be avoided and complete wetting of fibers must be achieved in order to ensure the maximum quality of the parts at the lowest possible manufacturing time. Focusing on these manufacturing issues, a mathematical model and a numerical resolution are presented to predict the resin flow throughout the fiber reinforcement inside the mold cavity. The methodology employs conventional finite element techniques for solving the flow problem through a porous medium governed by Darcy’s law and mass conservation. Simultaneously, a state of the art numerical scheme known as the discontinuous Galerkin method is implemented to determine the location and shape of the advancing flow fronts ruled by a hyperbolic transport equation. These two schemes are implemented to work with a two-dimensional domain, handling diverse geometries with multiple injection and ventilation ports. The results for key process parameters, such as filling time and position of the advancing flow fronts, show a good agreement with results from analytical solutions for particular cases and from empirical data. When several simulated results are taken into account in the design process of RTM cavities, the overall process could be enhanced.

Color is an important indicator of the aesthetic evaluation of the quality of materials and products for various purposes. The visual perception of the color by the human eye is subjective. For achromatic colors, the human eye responds better to a change in brightness (lightness) of dark colors than light ones, since the relative increment of lightness is higher in the first case than in the second. Gray is an achromatic color, which is the result of a mixture of classic colors — black and white. Depending on the lightness, the shade of gray changes from black (lightness 0%) to white (lightness 100%). In combination with other colors, it decorates any interior, emphasizes its dignity. Gray color is in great demand in the manufacture of steel enamelled household articles. To obtain a light gray color, the basic sodium borosilicate system (Na2O-B2O3-SiO2) was chosen. For the experimental enamels, physicochemical properties were determined, and for glass coatings – lightness and brilliance. In order to improve these properties, the components in the composition of enamels were varied. Leachability of the best enamel was 0.11 cm3/g, temperature coefficient of linear expansion – 94.2 · 10-7 degrees-1, spreadability – 24.3 mm, gloss of the glass layer – 76%, lightness – 57%, the coating withstood the effect of 4%th acetic acid for 5 minutes without losing gloss. On this enamel, the dependence of lightness and tint of the glass layer on the amount (0.067-0.6 parts by weight) of coloring oxides (CuO, NiO, CoO), which were injected in excess of 100.0% by weight, was studied. The optimum content of the coloring components was determined. Non-pigmented glass coatings of light gray color with a delicate blue tint and lightness (60-70%) have been developed, which can be used for enameling kitchen and tableware, as well as for other types of steel articles for household use.

The injection molding is a process that has been emerging in the industry, due to the technical and economic benefits obtained with reference to other processing of materials. Currently, parts with specific requirements found in this process the best solution, displacing traditional materials (bronze, aluminum, gray cast iron or steel, etc.) in industrial applications. The level of complexity, the quality of materials and the number of cavities affect the cost of the mold. In order to establish an appropriate relationship between production costs and the mold must be defined well, figure to be injected, the number of parts and the cost of the mold. This article aims to make an approximation of the theoretical and economic calculations applied to mold plastic injection process. Finally, it was found that the mold, not only has a strong impact to the profitability of the process, but its proper design depends on the competitive position of the plastics factories. La inyección de plásticos es un proceso que se ha venido abriendo paso en la industria, debido a los beneficios técnicos y económicos obtenidos en referencia a otros procesos de transformación de materiales. Actualmente, piezas con requerimientos específicos han encontrado en este proceso la mejor solución, desplazando a materiales tradicionales (bronce, aluminio, fundición de hierro gris o de acero, etc.) en aplicaciones industriales. El nivel de complejidad, la calidad de los materiales y el número de cavidades inciden en el costo del molde. Para poder establecer una relación adecuada entre costos de producción y el molde se deben definir bien, la figura a inyectar, el número de piezas y el costo del molde. Este artículo pretende realizar una aproximación de los cálculos teóricos y económicos aplicados al molde del proceso de inyección de plástico. Finalmente, se encontró que el molde, no solo presenta una fuerte incidencia con la rentabilidad del proceso, sino que de su adecuado diseño depende la posición competitiva de las fábricas de plásticos.Injeção de plástico é um processo que tem vindo a surgir na indústria, devido aos benefícios técnicos e econômicos em referência a outro processamento de materiais. Atualmente, as peças com requisitos específicos encontrados neste processo a melhor solução, deslocando materiais tradicionais (bronze, alumínio, ferro fundido cinzento ou aço, etc.) em aplicações industriais. O nível de complexidade, a qualidade dos materiais e o número de cavidades afetar o custo do molde. A fim de estabelecer uma relação adequada entre os custos de produção e o molde deve ser bem definida, a figura a ser injetado, o número de peças e o custo do molde. Este artigo tem como objetivo fazer uma aproximação dos cálculos teóricos e econômicas aplicadas para moldar processo de injeção de plástico. Finalmente, verificou-se que o molde, não só tem um forte impacto para a rentabilidade do processo, mas o seu design adequado depende da posição competitiva das fábricas de plástico.

As there are increasing demands for efficiency and quality in airframe assembly, automation integration is required to replace manual operation. This paper presents a design of a robotic riveting cell for wedge part riveting, which is used on the trailing edge of airfoil. To complete the continuous riveting in a row of rivets at the trailing edge, a robotic riveting cell is designed to realize a set of process actions including rivet feeding/injection/cutting and press riveting. Based on the visual compensation of the hole position, a forceless feedback spiral track rivet injection compensation method is proposed. The stress feedback-based riveting process control method is introduced after rivet injection and cutting. The proposed approach is applied to the robotic riveting cell and the rivet injector works stably. No indentation has been detected using the force-controlled riveting method. The prototype can achieve the riveting task well on the wedge part. The proposed design and approach can be applied on both wedge parts and flat parts. This will give a new way to solve the automation integration problem in airframe assembly. A robotic riveting cell is designed to realize a set of process actions. A forceless feedback spiral track rivet injection compensation method is proposed. The stress feedback-based riveting process control method is employed after rivet injection and cutting.

The objective of this study is to develop a theoretical basis for scalability considerations and design of a large-scale combustor utilizing flow blurring (FB) atomization. FB atomization is a recently discovered twin-fluid atomization concept, reported to produce fine spray of liquids with wide range of viscosities. Previously, we have developed and investigated a small-scale swirl-stabilized combustor of 7-kWth capacity. Spray measurements have shown that the FB injector's atomization capability is superior when compared to other techniques, such as air blast atomization. However, despite these favorable results, scalability of the FB injector and associated combustor design has never been explored for large capacity; for example, for gas turbine applications. In this study, a number of dimensionless scaling parameters that affect the processes of atomization, fuel–air mixing, and combustion are analyzed, and scaling criteria for the different components of the combustion system are selected. Constant velocity criterion is used to scale key geometric components of the system. Scaling of the nonlinear dimensions and complex geometries, such as swirler vanes and internal parts of the injector is undertaken through phenomenological analysis of the flow processes associated with the scaled component. A scaled-up 60-kWth capacity combustor with FB injector is developed and investigated for combustion performance using diesel and vegetable oil (VO) (soybean oil) as fuels. Results show that the scaled-up injector's performance is comparable to the smaller scale system in terms of flame quality, emission levels, and static flame stability. Visual flame images at different atomizing air-to-liquid ratio by mass (ALR) show mainly blue flames, especially for ALR > 2.8. Emission measurements show a general trend of lower CO and NOx levels at higher ALRs, replicating the performance of the small-scale combustion system. Flame liftoff height at different ALRs is similar for both scales. The scaled-up combustor with FB injector preformed robustly with uncompromised stability for the range of firing rates (FRs) above 50% of the design capacity. Experimental results corroborate with the scaling methodology developed in this research.

Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. They demonstrate that users are quite selective: they are not satisfied with weak elements. The question that this paper cannot answer is: was GoT a first experience? Will they persevere in the future? Yet, in this preliminary research, we have seen that studying ordinary users’ weak involvement (series viewers or gamers) is an interesting path in elaborating a theory of transmedia user’s activities, which takes the public’s diversity into account.ReferencesBerry, Vincent. L’Expérience Virtuelle: Jouer, Vivre, Apprendre Dans un Jeu Video. Rennes: UP Rennes, 2012.Boellstorff, Tom. “A Typology of Ethnographic Scales for Virtual Worlds.” Online Worlds: Convergence of the Real and the Virtual. Ed. William Sim Bainbridge. London: Springer, 2009.Bourdaa, Mélanie. “Taking a Break from All Your Worries: Battlestar Galactica et Les Nouvelles Pratiques Télévisuelles des Fans.” Questions de Communication 22 (2012) 2014. <http://journals.openedition.org/questionsdecommunication/6917>.Chen, Mark. Leet Noobs: The Life and Death of An Expert Player Group in World of Warcraft. New York: Peter Lang, 2012.Collective. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf\>.Davis, C.H. “Audience Value and Transmedia Products.” Media Innovations. Eds. T. Storsul and A. Krumsvik. Gothenburg: Nordicom, 2013. 179-190.Gambarato, Renira. “How to Analyze Transmedia Narratives?” Conference New Media: Changing Media Landscapes. Saint Petersburg, 2012. 2017 <http://prezi.com/fovz0jrlfsn0/how-to-analyze-transmedia-narratives>.Gambarato, Renira. “Transmedia Storytelling.” Serious Science, 2016. 2017 <https://www.youtube.com/watch?v=thZnd_K8Vfs>.Jenkins, Henry. Convergence Culture. Where Old and New Media Collide. Updated ed. New York: New York UP, 2006.JeuxOnLine. “Game of Thrones Ascent.” 2013. <http://www.jeuxonline.info/jeu/Game_of_Thrones_Ascent>.Peyron, David. Culture Geek. Limoges: FYP Editions, 2013.Philipps, Andrea. A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences across Multiple Platforms. New York: McGraw-Hill Education, 2012.Saint-Gelais, Richard. Fictions Transfuges. La Transfictionnalité et Ses Enjeux. Paris: Seuil, 2011.Sepulchre, S. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf>.———. “La Constellation Transmédiatique de Breaking Bad: Analyse de la Complémentarité Trouvée entre la Télévision et Internet.” ESSACHESS-Journal for Communication 4.1 (2011). 29 Dec. 2017 <http://www.essachess.com/index.php/jcs/article/view/111>. ———. “Les Constellations Narratives: Que Font les Téléspectateurs des Adaptations Multimédiatiques des Séries Télévisées?” TV/Series 3 (2013). 29 Dec. 2017 <http://journals.openedition.org/tvseries/729>. ———. “Editorial.” Inter Pares: Revue Électronique de Jeunes Chercheurs en Sciences Humains et Sociales 6 (2016). 29 Dec. 2017 <https://epic.univ-lyon2.fr/medias/fichier/inter-pares-6-maquette-v8web_1510576660265-pdf>.Servais, Olivier. “Funerals in the “World of Warcraft”: Religion, Polemic, and Styles of Play in a Videogame Universe.” Social Compass 62.3 (2015): 362-378.Stein, Louisa Ellen, and Kristina Busse. Sherlock and Transmedia Fandom: Essays on the BBC series. Jefferson: McFarland, 2014.

Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic description]) are resisted in the interests of the quiddity and discreteness of art, the space that each work or action creates around itself. – Ihab Hassan Ihab Hassan’s words, published in 1975, continue to resonate today. How should we approach art? Can an artwork ever really fully be described by its critical review, or does its description only lead to an ever multiplying succession of terms? Michel Foucault spoke of the construction of modern sexuality as being seen as the hidden, irresolvable “truth” of our subjectivity, as that secret which we must constantly speak about, and hence as an “incitement to discourse” (Foucault, History of Sexuality). Since the Romantic period, the appreciation of aesthetics has been tied to the subjectivity of the individual and to the degree an art work appeals to the individual’s sense of self: to one’s personal refinement, emotions and so on. Art might be considered part of the truth of our subjectivity which we seem to be endlessly talking about – without, however, actually ever resolving the issue of what a great art work really is (anymore than we have resolved the issue of what natural sexuality is). It is not my aim to explicate the relationship between art and sex but to re-inject a strategic understanding of discourse, as Foucault understood it, back into commonplace, contemporary aesthetic criticism. The problems in rendering into words subjective, emotional experiences and formal aesthetic criteria continue to dog criticism today. The chief hindrances to contemporary criticism remain such institutional factors as the economic function of newspapers. Given their primary function as tools for the selling of advertising space, newspapers are inherently unsuited to sustaining detailed, informed dialogue on any topic – be it international politics or aesthetics. As it is, reviews remain short, quickly written pieces squeezed into already overloaded arts pages. This does not prevent skilled, caring writers and their editorial supporters from ensuring that fine reviews are published. In the meantime, we muddle through as best we can. I argue that criticism, like art, should operate self-consciously as an incitement to discourse, to engagement, and so to further discussion, poetry, et cetera. The possibility of an endless recession of theoretical terms and subjective responses should not dissuade us. Rather, one should provisionally accept the instrumentality of aesthetic discourse provided one is able always to bear in mind the nominalism which is required to prevent the description of art from becoming an instrument of repression. This is to say, aesthetic criticism is clearly authored in order to demonstrate something: to argue a point, to make a fruitful comparison, and so on. This does not mean that criticism should be composed so as to dictate aesthetic taste to the reader. Instead, it should act as an invitation to further responses – much as the art work itself does. Foucault has described discourse – language, terminologies, metaphorical conceits and those logical and poetic structures which underpin them – as a form of technology (Foucault, Archaeology of Knowledge and History of Sexuality). Different discursive forces arise in response to different cultural needs and contexts, including, indeed, those formulated not only by artists, but also by reviewers. As Hassan intimates, what is or is not “postmodernism”, for example, depends less on the art work itself – it is less a matter of an art work’s specific “quiddity” and its internal qualities – but is, rather, fundamentally dependent upon what one is trying to say about the piece. If one is trying to describe something novel in a work, something which relates it to a series of new or unusual forms which have become dominant within society since World War Two, then the term “postmodernism” most usefully applies. This, then, would entail breaking down the “the space that each work … creates around itself” in order to emphasise horizontal “continuities”. If, on the other hand, the critic wishes to describe the work from the perspective of historical developments, so as to trace the common features of various art works across a genealogical pattern running from Romanticism to the present day, one must de-emphasise the quiddity of the work in favour of vertical continuities. In both cases, however, the identification of common themes across various art works so as to aid in the description of wider historical or aesthetic conditions requires a certain “abstraction” of the qualities of the aesthetic works in question. The “postmodernism”, or any other quality, of a single art work thus remains in the eye of the beholder. No art work is definitively “postmodern” as such. It is only “postmodern” inasmuch as this description aids one in understanding a certain aspect of the piece and its relationship to other objects of analysis. In short, the more either an art work or its critical review elides full descriptive explication, the more useful reflections which might be voiced in its wake. What then is the instrumental purpose of the arts review as a genre of writing? For liberal humanist critics such as Matthew Arnold, F.R. Leavis and Harold Bloom, the role of the critic is straight forward and authoritative. Great art is said to be imbued with the spirit of humanity; with the very essence of our common subjectivity itself. Critics in this mode seek the truth of art and once it has been found, they generally construct it as unified, cohesive and of great value to all of humanity. The authors of the various avant-garde manifestoes which arose in Europe from the fin de siècle period onwards significantly complicated this ideal of universal value by arguing that such aesthetic values were necessarily abstract and so were not immediately visible within the content of the work per se. Such values were rather often present in the art work’s form and expression. Surrealism, Futurism, Supremacism, the Bauhaus and the other movements were founded upon the contention that these avant-garde art works revealed fundamental truths about the essence of human subjectivity: the imperious power of the dream at the heart of our emotional and psychic life, the geometric principles of colour and shape which provide the language for all experience of the sublime, and so on. The critic was still obliged to identify greatness and to isolate and disseminate those pieces of art which revealed the hidden truth of our shared human experience. Few influential art movements did not, in fact, have a chief theoretician to promote their ideals to the world, be it Ezra Pound and Leavis as the explicators of the works of T.S. Eliot, Martin Esslin for Beckett, or the artist her or himself, such as choreographers Martha Graham or Merce Cunningham, both of whom described in considerable detail their own methodologies to various scribes. The great challenge presented in the writings of Foucault, Derrida, Hassan and others, however, is to abandon such a sense of universal aesthetic and philosophical value. Like their fellow travellers within the New Left and soixante huit-ièmes (the agitators and cultural critics of 1968 Paris), these critics contend that the idea of a universal human subjectivity is problematic at best, if not a discursive fiction, which has been used to justify repression, colonialism, the unequal institutional hierarchies of bourgeois democratic systems, and so on. Art does not therefore speak of universal human truths. It is rather – like aesthetic criticism itself – a discursive product whose value should be considered instrumentally. The kind of a critical relationship which I am proposing here might provisionally be classified as discursive or archaeological criticism (in the Foucauldian sense of tracing discursive relationships and their distribution within any given cross-section or strata of cultural life). The role of the critic in such a situation is not one of acknowledging great art. Rather, the critic’s function becomes highly strategic, with interpretations and opinions regarding art works acting as invitations to engagement, consideration and, hence, also to rejection. From the point of view of the audience, too, the critic’s role is one of utility. If a critical description prompts useful, interesting or pleasurable reflections in the reader, then the review has been effective. If it has not, it has no role to play. The response to criticism thus becomes as subjective as the response to the art work itself. Similarly, just as Marcel Duchamp’s act of inverting a urinal and calling it art showed that anyone could be an artist provided they adopted a suitably creative vision of the objects which surrounded them, so anyone and everyone is a legitimate critic of any art work addressed to him or her as an audience. The institutional power accorded to critics by merit of the publications to which they are attached should not obfuscate the fact that anyone has the moral right to venture a critical judgement. It is not actually logically possible to be “right” or “wrong” in attributing qualities to an art work (although I have had artists assert the contrary to me). I like noise art, for example, and find much to stimulate my intellect and my affect in the chaotic feedback characteristic of the work of Merzbow and others. Many others however simply find such sounds to constitute unpleasant noise. Neither commentator is “right”. Both views co-exist. What is important is how these ideas are expressed, what propositions are marshalled to support either position, and how internally cohesive are the arguments supplied by supporters of either proposition. The merit of any particular critical intervention is therefore strictly formal or expressive, lying in its rhetorical construction, rather than in the subjective content of the criticism itself, per se. Clearly, such discursive criticism is of little value in describing works devised according to either an unequivocally liberal humanist or modernist avant-garde perspective. Aesthetic criticism authored in this spirit will not identify the universal, timeless truths of the work, nor will it act as an authoritative barometer of aesthetic value. By the same token though, a recognition of pluralism and instrumentality does not necessarily entail the rejection of categories of value altogether. Such a technique of aesthetic analysis functions primarily in the realm of superficial discursive qualities and formal features, rather than subterranean essences. It is in this sense both anti-Romantic and anti-Platonic. Discursive analysis has its own categories of truth and evaluation. Similarities between works, influences amongst artists and generic or affective precedents become the primary objects of analysis. Such a form of criticism is, in this sense, directly in accord with a similarly self-reflexive, historicised approach to art making itself. Where artists are consciously seeking to engage with their predecessors or peers, to find ways of situating their own work through the development of ideas visible in other cultural objects and historic aesthetic works, then the creation of art becomes itself a form of practical criticism or praxis. The distinction between criticism and its object is, therefore, one of formal expression, not one of nature or essence. Both practices engage with similar materials through a process of reflection (Marshall, “Vertigo”). Having described in philosophical and critical terms what constitutes an unfettered, democratic and strategic model of discursive criticism, it is perhaps useful to close with a more pragmatic description of how I myself attempt to proceed in authoring such criticism and, so, offer at least one possible (and, by definition, subjective) model for discursive criticism. Given that discursive analysis itself developed out of linguistic theory and Saussure’s discussion of the structural nature of signification, it is no surprise that the primary methodology underlying discursive analysis remains that of semiotics: namely how systems of representation and meaning mutually reinforce and support each other, and how they fail to do so. As a critic viewing an art work, it is, therefore, always my first goal to attempt to identify what it is that the artist appears to be trying to do in mounting a production. Is the art work intended as a cultural critique, a political protest, an avant-garde statement, a work of pure escapism, or some other kind of project – and hence one which can be judged according to the generic forms and values associated with such a style in comparison with those by other artists who work in this field? Having determined or intuited this, several related but nominally distinct critical reflections follow. Firstly, how effectively is this intent underpinning the art work achieved, how internally consistent are the tools, forms and themes utilised within the production, and do the affective and historic resonances evoked by the materials employed therein cohere into a logical (or a deliberately fragmented) whole? Secondly, how valid or aesthetically interesting is such a project in the first place, irrespective of whether it was successfully achieved or not? In short, how does the artist’s work compare with its own apparent generic rules, precedents and peers, and is the idea behind the work a contextually valid one or not? The questions of value which inevitably come into these judgements must be weighed according to explicit arguments regarding context, history and genre. It is the discursive transparency of the critique which enables readers to mentally contest the author. Implicitly transcendental models of universal emotional or aesthetic responses should not be invoked. Works of art should, therefore, be judged according to their own manifest terms, and, so, according to the values which appear to govern the relationships which organise materials within the art work. They should also, however, be viewed from a position definitively outside the work, placing the overall concept and its implicit, underlying theses within the context of other precedents, cultural values, political considerations and so on. In other words, one should attempt to heed Hassan’s caution that all art works may be seen both from the perspective of historico-genealogical continuities, as well as according to their own unique, self-defining characteristics and intentions. At the same time, the critical framework of the review itself – while remaining potentially dense and complex – should be as apparent to the reader as possible. The kind of criticism which I author is, therefore, based on a combination of art-historical, generic and socio-cultural comparisons. Critics are clearly able to elaborate more parallels between various artistic and cultural activities than many of their peers in the audience simply because it is the profession of the former to be as familiar with as wide a range of art-historical, cultural and political materials as is possible. This does not, however, make the opinions of the critic “correct”, it merely makes them more potentially dense. Other audiences nevertheless make their own connections, while spectators remain free to state that the particular parallels identified by the critic were not, to their minds, as significant as the critic would contend. The quantity of knowledge from which the critic can select does not verify the accuracy of his or her observations. It rather enables the potential richness of the description. In short, it is high time critics gave up all pretensions to closing off discourse by describing aesthetic works. On the contrary, arts reviewing, like arts production itself, should be seen as an invitation to further discourse, as a gift offered to those who might want it, rather than a Leavisite or Bloom-esque bludgeon to instruct the insensitive masses as to what is supposed to subjectively enlighten and uplift them. It is this sense of engagement – between critic, artist and audience – which provides the truly poetic quality to arts criticism, allowing readers to think creatively in their own right through their own interaction with a collaborative process of rumination on aesthetics and culture. In this way, artists, audiences and critics come to occupy the same terrain, exchanging views and constructing a community of shared ideas, debate and ever-multiplying discursive forms. Ideally, written criticism would come to occupy the same level of authority as an argument between an audience member and a critic at the bar following the staging of a production. I admit myself that even my best written compositions rarely achieve the level of playful interaction which such an environment often provokes. I nevertheless continue to strive for such a form of discursive exchange and bibulous poetry. References Apollonio, Umbro, ed. Futurist Manifestos. London: Thames and Hudson, 1973. Arnold, Matthew. Essays in Criticism. London: Macmillan, 1903-27, published as 2 series. Barthes, Roland. Mythologies. Trans. by Annette Lavers. London: Vintage, 1993. Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998. Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Trans. by Edmund Jephcott. New York: Harcourt, 1978. Breton, André. Manifestoes of Surrealism. Trans. by Richard Seaver and Helen Lane. Ann Arbor: Michigan UP, 1972. Eliot, T.S. Collected Poems 1909-1962. London: Faber, 1963. Esslin, Martin. Theatre of the Absurd. Harmondsworth: Penguin, 1968. Foucault, Michel. The Archaeology of Knowledge. Trans. by A.M. Sheridan Smith. London: Tavistock, 1972. ———. The History of Sexuality: Volume I: An Introduction. Trans. by Robert Hurley. London: Penguin, 1990. Fukuyama, Francis. The End of History and the Last Man. London: Penguin, 1992. Graham, Martha. Blood Memory. New York: Doubleday, 1991. Hassan, Ihab. “Joyce, Beckett and the Postmodern Imagination.” Triquarterly 32.4 (1975): 192ff. Jameson, Fredric. “Postmodernism, or the Cultural Dominant of Late Capitalism,” New Left Review 146 (1984): 53-92. Leavis, F.R. F.R. Leavis: Essays and Documents. Eds. Ian MacKillop and Richard Storer. Sheffield: Sheffield Academic Press, 1995. Malevich, Kazimir. In Penny Guggenheim, ed. Art of This Century – Drawings – Photographs – Sculpture – Collages. New York: Art Aid, 1942. Marshall, Jonathan. “Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin,” in Adrian Kiernander, ed. Dance and Physical Theatre, special edition of Australasian Drama Studies 41 (October 2002): 102-33. ———. “Operatic Tradition and Ambivalence in Chamber Made Opera’s Recital (Chesworth, Horton, Noonan),” in Keith Gallasch and Laura Ginters, eds. Music Theatre in Australia, special edition of Australasian Drama Studies 45 (October 2004): 72-96. ———. “Vertigo: Between the Word and the Act,” Independent Performance Forums, series of essays commissioned by Not Yet It’s Difficult theatre company and published in RealTime Australia 35 (2000): 10. Merzbow. Venereology. Audio recording. USA: Relapse, 1994. Richards, Alison, Geoffrey Milne, et al., eds. Pearls before Swine: Australian Theatre Criticism, special edition of Meajin 53.3 (Spring 1994). Tzara, Tristan. Seven Dada Manifestos and Lampisteries. Trans. by Barbara Wright. London: Calder, 1992. Vaughan, David. Merce Cunningham: Fifty Years. Ed. Melissa Harris. New York: Aperture, 1997. Citation reference for this article MLA Style Marshall, Jonathan. "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/08-marshall.php>. APA Style Marshall, J. (Oct. 2005) "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/08-marshall.php>.

IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thrived in Australia’s northern half, but have been under-developed in the south. Each regional happening develops a cultural landscape connected to a long and intimate relationship with the natural environment.The Far South East coast and mountainous hinterland of New South Wales is rich in pristine landscapes that ground the Yuin and Monaro Nations to Country as the Monaroo Bobberrer Gadu (Peoples of the Mountains and the Sea). This article highlights cross-sector interaction between Koori and mainstream organisations in producing the Giiyong (Guy-Yoong/Welcoming) Festival. This, the first large festival to be held within the Yuin Nation, took place on Aboriginal-owned land at Jigamy, via Eden, on 22 September 2018. Emerging regional artists joined national headline acts, most notably No Fixed Address (one of the earliest Aboriginal bands to break into the Australian mainstream music industry), and hip-hop artist Baker Boy (Danzal Baker, Young Australian of the Year 2019). The festival followed five years of sustained community preparation by South East Arts in association with Grow the Music, Twofold Aboriginal Corporation, the Eden Local Aboriginal Land Council, and its Elders. We offer dual understandings of the Giiyong Festival: the viewpoints of a male Yuin Elder wedded to an Australian woman of European descent. We acknowledge, and rely upon, key information, statistics, and photographs provided by the staff of South East Arts including Andrew Gray (General Manager), Jasmin Williams (Aboriginal Creative and Cultural Engagement Officer and Giiyong Festival Project Manager), and Kate Howarth (Screen Industry Development Officer). We are also grateful to Wiradjuri woman Alison Simpson (Program Manager at Twofold Aboriginal Corporation) for valuable feedback. As community leaders from First Nations and non-First Nations backgrounds, Simpson and Williams complement each other’s talents for empowering Indigenous communities. They plan a 2020 follow-up event on the basis of the huge success of the 2018 festival.The case study is informed by our personal involvement with community. Since the general population barely comprehends the number and diversity of Australia’s Indigenous ‘nations’, the burgeoning Indigenous festival movement encourages First Nations and non-First Nations peoples alike to openly and confidently refer to the places they live in according to Indigenous names, practices, histories, and knowledge. Consequently, in the mental image of a map of the island-continent, the straight lines and names of state borders fade as the colours of the Indigenous ‘Countries’ (represented by David Horton’s wall map of 1996) come to the foreground. We reason that, in terms of ‘regionality,’ the festival’s expressions of “the agency of country” (Slater 141) differ vastly from the centre-periphery structure and logic of the Australian colony. There is no fixed centre to the mutual exchange of knowledge, culture, and experience in Aboriginal Australia. The broader implication of this article is that Indigenous cultural festivals allow First Nations peoples cultures—in moments of time—to assume precedence, that is to ‘stitch’ back together the notion of a continent made up of hundreds of countries, as against the exploitative structure of ‘hub and region’ colonial Australia.Festival Concepts and ContextsHoward Becker observed that cultural production results from an interplay between the person of the artist and a multitude of support personnel whose work is not frequently studied: “It is through this network of cooperation that the art work we eventually see or hear comes to be and continues to be” (1). In assisting arts and culture throughout the Bega Valley, Eurobodalla, and Snowy Monaro, South East Arts delivers positive achievements in the Aboriginal arts and cultural sector. Their outcomes are significant in the light of the dispossession, segregation, and discrimination experienced by Aboriginal Australians. Michael Young, assisted by Indigenous authors Ellen Mundy and Debbie Mundy, recorded how Delegate Reserve residents relocating to the coast were faced with having their lives controlled by a Wallaga Lake Reserve manager or with life on the fringes of the towns in shacks (2–3). But as discovered in the records, “their retention of traditional beliefs, values and customs, reveal that the accommodation they were forced to make with the Europeans did not mean they had surrendered. The proof of this is the persistence of their belief in the value of their culture” (3–4). The goal of the Twofold Aboriginal Corporation is to create an inclusive place where Aboriginal people of the Twofold Bay Region can be proud of their heritage, connect with the local economy, and create a real future for their children. When Simpson told Williams of the Twofold Aboriginal Corporation’s and Eden Local Aboriginal Land Council’s dream of housing a large cultural festival at Jigamy, Williams rigorously consulted local Indigenous organisations to build a shared sense of community ownership of the event. She promoted the festival as “a rare opportunity in our region to learn about Aboriginal culture and have access to a huge program of Aboriginal musicians, dancers, visual artists, authors, academics, storytellers, cooks, poets, creative producers, and films” (McKnight).‘Uncle Ossie’ Cruse of Eden envisaged that the welcoming event would enliven the longstanding caring and sharing ethos of the Yuin-Monaro people. Uncle Ossie was instrumental in establishing Jigamy’s majestic Monaroo Bobberrer Gudu Keeping Place with the Eden Local Aboriginal Land Council in 1994. Built brick by brick by Indigenous workers, it is a centre for the teaching and celebration of Aboriginal culture, and for the preservation of artefacts. It represents the local community's determination to find their own solutions for “bridging the gap” by creating education and employment opportunities. The centre is also the gateway to the Bundian Way, the first Aboriginal pathway to be listed on the NSW State Heritage Register. Festival Lead-Up EventsEden’s Indigenous students learn a revived South Coast language at Primary and Secondary School. In 2015, Uncle Ossie vitally informed their input into The Black Ducks, a hip-hop song filmed in Eden by Desert Pea Media. A notable event boosting Koori musical socialisation was a Giiyong Grow the Music spectacle performed at Jigamy on 28 October 2017. Grow the Music—co-founded by Lizzy Rutten and Emily White—specialises in mentoring Indigenous artists in remote areas using digital recording equipment. Eden Marine High School students co-directed the film Scars as part of a programme of events with South East Arts and the Giiyong Festival 2018. The Eden Place Project and Campbell Page also create links between in- and out-of-school activities. Eden’s Indigenous students thus perform confidently at NAIDOC Week celebrations and at various festivals. Preparation and PersonnelAn early decision was made to allow free entry to the Giiyong Festival in order to attract a maximum number of Indigenous families. The prospect necessitated in-kind support from Twofold Aboriginal Corporation staff. They galvanised over 100 volunteers to enhance the unique features of Jigamy, while Uncle Ossie slashed fields of bushes to prepare copious parking space. The festival site was spatially focused around two large stages dedicated to the memory of two strong supporters of cultural creativity: Aunty Doris Kirby, and Aunty Liddy Stewart (Image 1). Image 1: Uncle Ossie Cruse Welcomes Festival-Goers to Country on the Aunty Liddy Stewart Stage. Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts.Cultural festivals are peaceful weapons in a continuing ontological political contest (Slater 144). In a panel discussion, Uncle Ossie explained and defended the Makarrata: the call for a First Nations Voice to be enshrined in the Constitution.Williams also contracted artists with a view to capturing the past and present achievements of Aboriginal music. Apart from her brilliant centrepiece acts No Fixed Address and Baker Boy, she attracted Pitjantjatjara singer Frank Yamma (Image 2), Yorta Yorta singer/songwriter Benny Walker, the Central Desert Docker River Band, and Jessie Lloyd’s nostalgic Mission Songs Project. These stellar acts were joined by Wallaga Lake performers Robbie Bundle, Warren Foster, and Alison Walker as well as Nathan Lygon (Eden), Chelsy Atkins (Pambula), Gabadoo (Bermagui), and Drifting Doolgahls (Nowra). Stage presentations were technologically transformed by the live broadcast of acts on large screens surrounding the platforms. Image 2: Singer-Songwriter Frank Yamma Performs at Giiyong Festival 2018. Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts.Giiyong Music and Dance Music and dance form the staple components of Indigenous festivals: a reflection on the cultural strength of ancient ceremony. Hundreds of Yuin-Monaro people once attended great corroborees on Mumbulla Mountain (Horton 1235), and oral history recorded by Janet Mathews evidences ceremonies at Fishy Flats, Eden, in the 1850s. Today’s highly regarded community musicians and dancers perform the social arrangements of direct communication, sometimes including their children on stage as apprentices. But artists are still negotiating the power structures through which they experience belonging and detachment in the representation of their musical identity.Youth gain positive identities from participating alongside national headline acts—a form of learning that propels talented individuals into performing careers. The One Mob Dreaming Choir of Koori students from three local schools were a popular feature (Image 3), as were Eden Marine student soloists Nikai Stewart, and Nikea Brooks. Grow the Music in particular has enabled these youngsters to exhibit the roots of their culture in a deep and touching way that contributes to their life-long learning and development. Image 3: The One Mob Dreaming Choir, Directed by Corinne Gibbons (L) and Chelsy Atkins (R). Image Credit: David Rogers for South East Arts, Reproduction Courtesy of South East Arts. Brydie-Leigh Bartleet describes how discourses of pride emerge when Indigenous Australian youth participate in hip-hop. At the Giiyong Festival the relationship between musical expression, cultural representation, and political positioning shone through the songs of Baker Boy and Gabadoo (Image 4). Channelling emotions into song, they led young audiences to engage with contemporary themes of Indigeneity. The drones launched above the carpark established a numerical figure close on 6,000 attendees, a third of whom were Indigenous. Extra teenagers arrived in time for Baker Boy’s evening performance (Williams), revealing the typical youthful audience composition associated with the hip-hop craze (Image 5).Image 4: Bermagui Resident Gabadoo Performs Hip-Hop at the Giiyong Festival. Image Credit: David Rogers for South East Arts, Reproduced Courtesy South East Arts.Image 5: A Youthful Audience Enjoys Baker Boy’s Giiyong Festival Performance. Image Credit: David Rogers for South East Arts, Reproduced Courtesy South East Arts.Wallaga Lake’s traditional Gulaga Dancers were joined by Bermagui’s Gadhu Dancers, Eden’s Duurunu Miru Dancers, and Narooma’s Djaadjawan Dancers. Sharon Mason founded Djaadjawan Dancers in 2015. Their cultural practice connects to the environment and Mingagia (Mother Earth). At their festival tent, dancers explained how they gather natural resources from Walbanja Country to hand-make traditional dance outfits, accessories, and craft. They collect nuts, seeds, and bark from the bush, body paint from ancient ochre pits, shells from beaches, and bird feathers from fresh roadkill. Duurunu Miru dancer/didjeriduist Nathan Lygon elaborates on the functions of the Far South East Coast dance performance tradition:Dance provides us with a platform, an opportunity to share our stories, our culture, and our way of being. It demonstrates a beautiful positivity—a feeling of connection, celebration, and inclusion. The community needs it. And our young people need a ‘space’ in which they can grow into the knowledge and practices of their culture. The festival also helped the wider community to learn more about these dimensions. (n.p.)While music and dance were at the heart of the festival, other traditional skills were included, for example the exhibitions mounted inside the Keeping Place featured a large number of visual artists. Traditional bush cooking took place near Lake Pambula, and yarn-ups, poetry, and readings were featured throughout the day. Cultural demonstrations in the Bunaan Ring (the Yuin name for a corroboree circle) included ‘Gum Leaf Playing.’ Robin Ryan explained how the Yuin’s use of cultural elements to entertain settlers (Cameron 79) led to the formation of the Wallaga Lake Gum Leaf Band. As the local custodian of this unique musical practice, Uncle Ossie performed items and conducted a workshop for numerous adults and children. Festival Feedback and Future PlanningThe Giiyong Festival gained huge Indigenous cultural capital. Feedback gleaned from artists, sponsors, supporters, volunteers, and audiences reflected on how—from the moment the day began—the spirit of so many performers and consumers gathered in one place took over. The festival’s success depended on its reception, for as Myers suggests: “It is the audience who create the response to performance and if the right chemistry is achieved the performers react and excel in their presentation” (59). The Bega District News, of 24 September 2018, described the “incredibly beautiful event” (n.p.), while Simpson enthused to the authors:I believe that the amount of people who came through the gates to attend the Giiyong Festival was a testament to the wider need and want for Aboriginal culture. Having almost double the population of Eden attend also highlights that this event was long overdue. (n.p.)Williams reported that the whole festival was “a giant exercise in the breaking down of walls. Some signed contracts for the first time, and all met their contracts professionally. National artists Baker Boy and No Fixed Address now keep in touch with us regularly” (Williams). Williams also expressed her delight that local artists are performing further afield this year, and that an awareness, recognition, and economic impact has been created for Jigamy, the Giiyong Festival, and Eden respectively:We believe that not only celebrating, but elevating these artists and Aboriginal culture, is one of the most important things South East Arts can do for the overall arts sector in the region. This work benefits artists, the economy and cultural tourism of the region. Most importantly it feeds our collective spirit, educates us, and creates a much richer place to live. (Giiyong Festival Report 1)Howarth received 150 responses to her post-event survey. All respondents felt welcome, included, and willing to attend another festival. One commented, “not even one piece of rubbish on the ground.” Vanessa Milton, ABC Open Producer for South East NSW, wrote: “Down to the tiniest detail it was so obvious that you understood the community, the audience, the performers and how to bring everyone together. What a coup to pull off this event, and what a gift to our region” (Giiyong Festival Report 4).The total running cost for the event was $257,533, including $209,606 in government grants from local, state, and federal agencies. Major donor Create NSW Regional Partnerships funded over $100,000, and State Aboriginal Affairs gave $6,000. Key corporate sponsors included Bendigo Bank, Snowy Hydro and Waterway Constructions, Local Land Services Bega, and the Eden Fisherman’s Club. Funding covered artists’ fees, staging, the hiring of toilets, and multiple generators, including delivery costs. South East Arts were satisfied with the funding amount: each time a new donation arrived they were able to invite more performers (Giiyong Festival Report 2; Gray; Williams). South East Arts now need to prove they have the leadership capacity, financial self-sufficiency, and material resources to produce another festival. They are planning 2020 will be similar to 2018, provided Twofold Aboriginal Corporation can provide extra support. Since South East Arts exists to service a wider area of NSW, they envisage that by 2024, they would hand over the festival to Twofold Aboriginal Corporation (Gray; Williams). Forthcoming festivals will not rotate around other venues because the Giiyong concept was developed Indigenously at Jigamy, and “Jigamy has the vibe” (Williams). Uncle Ossie insists that the Yuin-Monaro feel comfortable being connected to Country that once had a traditional campsite on the east side. Evaluation and ConclusionAlthough ostensibly intended for entertainment, large Aboriginal festivals significantly benefit the educational, political, and socio-economic landscape of contemporary Indigenous life. The cultural outpourings and dissemination of knowledges at the 2018 Giiyong Festival testified to the resilience of the Yuin-Monaro people. In contributing to the processes of Reconciliation and Recognition, the event privileged the performing arts as a peaceful—yet powerful truth-telling means—for dealing with the state. Performers representing the cultures of far-flung ancestral lands contributed to the reimagining of a First Nations people’s map representing hundreds of 'Countries.’It would be beneficial for the Far South East region to perpetuate the Giiyong Festival. It energised all those involved. But it took years of preparation and a vast network of cooperating people to create the feeling which made the 2018 festival unique. Uncle Ossie now sees aspects of the old sharing culture of his people springing back to life to mould the quality of life for families. Furthermore, the popular arts cultures are enhancing the quality of life for Eden youth. As the cross-sector efforts of stakeholders and volunteers so amply proved, a family-friendly, drug and alcohol-free event of the magnitude of the Giiyong Festival injects new growth into an Aboriginal arts industry designed for the future creative landscape of the whole South East region. AcknowledgementsMany thanks to Andrew Gray and Jasmin Williams for supplying a copy of the 2018 Giiyong Festival Report. We appreciated prompt responses to queries from Jasmin Williams, and from our editor Rachel Franks. We are humbly indebted to our two reviewers for their expert direction.ReferencesAustralian Government. Showcasing Creativity: Programming and Presenting First Nations Performing Arts. 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