Добірка наукової літератури з теми "FRENETIC code"

The Fast REactor NEutronics/Thermal-hydraulICs (FRENETIC) code has been developed during the last years at Politecnico di Torino, implementing a full-core coupled neutronic/thermal-hydraulics model for steady-state and transient analysis of liquid-metal cooled fast breeder reactor (LMFBR). In the framework of the validation activities for the code, an analysis of the sodium-cooled reactor EBR-II, previously carried out in the frame of a IAEA Coordinated Research Project, is performed with FRENETIC including the most recent physics models. In particular, photon transport and heat deposition are taken into account, a feature which has been proved in previous studies to be relevant to the correct study of the EBR-II core. To this purpose, a set of nuclear data for photons has been generated by means of the Monte Carlo code Serpent-2, and it is demonstrated that the code is able to take into account the photon heat deposition in the EBR-II.

The paper shows the application of the most recent sensitivity techniques implemented in Serpent-2 in order to propagate the uncertainty from the nuclear data to the macroscopic, homogenised cross sections of the ALFRED reactor, which is then simulated with the multi-physics code FRENETIC. The main results are encouraging and define a possible methodology to propagate the nuclear data uncertainties to the main macroscopic parameters computed with FRENETIC, in order to perform thorough safety analyses for the ALFRED reactor.

The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the original, instead bulking up Dubois’ macaronic and archetype-heavy collage with some attempts at psychological depth. Because of its polyglossic complexity and because it has been translated, published, and produced in both English and French, it proves an excellent case study that allows for an in-depth analysis of how multilingual theatrical translation can be carried out. I propose that Kevan’s translation of Dubois’ play exhibits not only textual and performative translation, but that he also translates the linguistically-coded aesthetic conventions that distinguish Quebecois and English Canadian drama and their respective audiences. Kevan shows sensitivity to the gap between the politics of language in French and English Canada as well as to the gap between theatrical codes in both linguistic communities by amplifying the psychological realism and consequently tempering the language politics in his “English” version of Dubois’s work. The choices that Kevan made in his translation are here elucidated by borrowing linguistic theories of conversational code-switching to analyze both versions of the play.

The aim of this paper is to study the differential geometric properties of the intersection curve of two parametric surfaces in Euclidean n-space. For this aim, we first present the mth order derivative formula of a curve lying on a parametric surface. Then, we obtain curvatures and Frenet vectors of the transversal intersection curve of two parametric surfaces in Euclidean n-space. We also provide computer code produced in MATLAB to simplify determining the coefficients relative to Frenet frame of higher order derivatives of a curve.

The code COSY INFINITY uses a beamline coordinate system with a Frenet–Serret frame relative to the reference particle, and calculates differential algebra-valued transfer maps by integrating the ODEs of motion in the respective vector space over a differential algebra (DA). We described and performed computation of the DA transfer map of an electrostatic spherical deflector in a laboratory coordinate system using two conventional methods: (1) by integrating the ODEs of motion using a numerical integrator and (2) by computing analytically and in closed form the properties of the respective elliptical orbits from Kepler theory. We compared the resulting transfer maps with (3) the DA transfer map of COSY INFINITY’s built-in electrostatic spherical deflector element [Formula: see text] and (4) the transfer map of the electrostatic spherical deflector computed using the program GIOS, which uses analytic formulas from a paper1 by Hermann Wollnik regarding second-order aberrations. In addition to the electrostatic spherical deflector, we studied an electrostatic cylindrical deflector, where the Kepler theory is not applicable. We computed the DA transfer map by the ODE integration method (1), and we compared it with the transfer maps by (3) COSY INFINITY’s built-in electrostatic cylindrical deflector element [Formula: see text] and (4) GIOS. The transfer maps of electrostatic spherical and cylindrical deflectors obtained using the direct calculation methods (1) and (2) are in excellent agreement with those computed using (3) COSY INFINITY. On the other hand, we found a significant discrepancy with (4) the program GIOS.

If it is true that religious processions represent a spiritual phenomenon strongly rooted in history and are testimonials of a past which preserves collective memory, it is also true that they are expressions of an ancient and multilayered culture that have influenced its territory in a unique and unrepeatable way. This collective memory is cyclically recalled by way of displays of ancient rituals. These displays are capable of attracting thousands of the faithful and ever more often groups of tourists interested in religious phenomena. They also lead to the rediscovery of aspects of history, culture, landscape and territory to which they are linked. A modern religious tourist who is less frenetic and more “experiential” would like to immerse him/herself in the sacred and natural surroundings and distance him/herself from the frantic pace of contemporary life. Thus, processional routes, above all in the internal areas at risk of marginalization, may represent the stakeholders of a priceless territorial capital (both environmental and cultural), capable of generating positive external effects and, therefore, to bring to light and promote these routes within plans of territorial valorization. In this sense, cartography, regardless of format, can represent an element of force capable of culturally communicating facts, phenomena, emotions and movements that would otherwise be too difficult to correlate.

Both nuclear fusion and fission devices have to face the issue of the cooling of some critical components, and in particular the cooling of the superconducting coils and of the core fuel assemblies, respectively. In order to investigate these issues during the design phase of new reactors, e.g. new tokamak experiments and the forthcoming Generation IV reactors, new dedicated models and reliable tools should be developed. In this work, two separate tools, for fusion and fission devices, respectively, are developed relying on the same quasi-3D thermal-hydraulic model, i.e. the 1D advection flow of the coolant in a diffusive (solid) bundle along the channel axis and the 2D coupling between the channels. The already available 4C code for the analysis of thermal-hydraulic transients in the superconducting coils of fusion devices is firstly validated against experimental data, then benchmarked against other tools and finally its predictive capability are checked performing the simulations before the experiment. The 4C code is thus proved to be able to simulate transients spanning from very short to week-long timescales with the very same model. The code is then applied to the analysis of operational transients in the ITER TF coils. Whenever the minimum temperature margin requirements are not satisfied, different possible mitigation strategies are investigated. Concerning the fission devices, a new multi-physics simulation tool (FRENETIC) is developed for the quasi-3D analysis of a lead-cooled fast reactor core with the closed hexagonal fuel element configuration, as currently proposed within the framework of the European project LEADER. The code couples a neutronic and a thermal-hydraulic analysis of the full reactor core, each performed in separate modules. A first validation of the thermal-hydraulic module of this code is presented both in the single assembly and, even if preliminarly, in the multi-assembly configuration. In the latter case, a benchmark against another qualified tool (RELAP5-3D©) is also carried out. Finally the coupled code is tested in some simple transients in order to assess at least qualitatively the effectiveness of the coupling and the representativity of the multi-physics results.

Growing Moral engages its readers to reflect on and to practice the teachings of Confucianism in the contemporary world. It draws on the whole history of Confucianism, focusing on three thinkers from the classical era (Kongzi or Confucius, Mengzi, and Xunzi) and two from the Neo-Confucian era (Zhu Xi and Wang Yangming). In addition to laying out the fundamental teachings of Confucianism, it highlights the enduring and strikingly relevant lessons that Confucianism offers contemporary readers. At its core, this book builds a case for modern Confucianism as a practical way to grow toward more harmonious lives together through reflection, ritual, and compassion; it can help us find balance and joy within our complex and too-often frenetic modern lives. Individual chapters explain how and why to be filial, follow rituals, and cultivate our sprouts of morality, as well as exploring Confucian approaches to reading, music-making, reflection, and socio-political engagement. Overall, the book presents a progressive vision of Confucianism that addresses historical shortcomings within the tradition concerning gender and other forms of hierarchy.

Nel piano programmatico finalizzato a una nuova lettura del Codice Veronese, questo volume mira soprattutto a fare luce sull’iter diacronico di formazione del testo delle Institutiones di Gaio. Tale esame è volto a conoscere, al livello editoriale, quale impiego fu fatto, dai primi trascrittori, dei vari testimoni utili alla constitutio textus dell’opera gaiana e di comprendere meglio le ragioni di certe letture del Manoscritto Veronese. L’autore indaga sulla fase per così dire genetica del testo gaiano che ricopre un lasso di tempo di oltre sessant’anni, a partire dalla riscoperta del palinsesto, avvenuta, in un milieu culturale caratterizzato dalla più accesa e competitiva Palimpsestforschung, nel settembre del 1816. Questo periodo è contraddistinto da vari momenti di grande rilievo che sono fra loro concatenati: la prima trascrizione veronese del Codex del 1817, la frenetica opera di rielaborazione berlinese degli anni successivi, la prima edizione critica delle Istituzioni di Gaio del 1820 con le sue successive revisioni e, infine, la fase degli Apografi (1866-1874) che ha il suo compimento con la pubblicazione dei Supplementa di Studemund del 1884. È in tale periodo che si formò il nucleo fondamentale del testo delle Istituzioni di Gaio, caratterizzato dalle scelte ermeneutiche dei protagonisti di quel momento storico, su cui in seguito vennero poste le basi di tutte le successive costruzioni dogmatiche apparse in letteratura

Os contextos pandémico e pós-pandémico vêm impondo às cidades outras dinâmicas, outros sons, outros ecos, outros percursos, outros visitantes humanos e não humanos. Durante o confinamento, o encerramento de espaços teatrais e expositivos – bem como, durante o desconfinamento, as limitações para a sua utilização - têm tido consequências penosas nas programações artísticas e efeitos dramáticos nos quotidianos dos seus agentes (artistas, técnicos, programadores, curadores, etc.). Ao mesmo tempo, a desaceleração da vida da cidade (do trânsito, do ritmo nas ruas, do frenesim produtivo e de consumo, etc.) veio contribuir beneficamente para uma diminuição das emissões de CO2. Neste quadro, a cidade - mais concretamente as suas zonas públicas a céu aberto – surgem mais nitidamente como espaços de circulação e de interferência (ou de suspensão de interferência) entre pessoas. O que aprendemos com a experiência de confinamento e desconfinamento? Em primeiro lugar, que a cidade tem uma densidade flutuante, na medida em que as concentrações populacionais se esvaem quando nos encerramos em casa. Em segundo lugar, que o encontro com o outro (uma das prerrogativas da cidade) pode acontecer em outras escalas que não apenas a dimensão cultural. Em terceiro lugar, que o medo pode ser um sentimento público capaz de fazer implodir as próprias cidades, se não for transformado numa força para a vida. Como é que, neste processo, os artistas se organizam e se constituem como agentes na cidade? Como é que a cidade passou a ser representada? Que cidade é aquela que desejamos? Este congresso surge assim da necessidade de intensificar o diálogo entre a cidade e a arte, em particular as artes performativas. Este encontro efoi o culminar de dois anos de investigação consistente e consolidada no âmbito do projecto TEPe (Technologically Expanded Performance). Ao longo destes dois anos, desenvolvemos atividades com a comunidade com o intuito de promover um diálogo intercultural e transdisciplinar, e proporcionar o encontro com vivências urbanas variadas. Através das diferentes propostas de percursos pela cidade, mapeámos acontecimentos, hoje invisíveis, mas ainda assim presentes: desde “memórias soterradas” a “caminhadas sensoriais”, passando por registos íntimos de confinamento. O encontro visou partilhar as experiências realizadas com a contribuição de duas equipas: a portuguesa, em Lisboa, e a brasileira, em Fortaleza. Para além de apresentarmos as conclusões das pesquisas realizadas, lançamos esta chamada para apresentações, especialmente destinada a artistas e estudiosos de performance art, historiadores das cidades, antropólogos, urbanistas, geógrafos, estudiosos da escuta e do som e a todxs aquelxs a quem interessa pensar (e projectar) a vida na cidade. -------------------------------------------------------------------------------------------------------------- The pandemic and post-pandemic contexts have imposed on cities other dynamics, other sounds, other echoes, other routes, other human and non-human visitors. During the lockdown, the closure of theatrical and exhibition spaces - as well as, during lockdown unlocking, the limitations for their use - have had painful consequences in artistic programming and dramatic effects in the daily lives of its agents (artists, technicians, programmers, curators, etc.). At the same time, the slowing down of city life (traffic, the pace of the streets, the frenzy of production and consumption, etc.) has made a beneficial contribution to a reduction in CO2 emissions. In this context, the city - and more specifically its open-air public areas - emerge more clearly as spaces for circulation and interference (or suspension of interference) between people. What have we learned from the experience of national lockdown and unlocking? Firstly, that the city has a fluctuating density, insofar as population concentrations fade when we shut ourselves indoors. Secondly, the encounter with the other (one of the prerogatives of the city) can take place on other scales than the cultural dimension alone. Thirdly, fear can be a public sentiment capable of imploding cities themselves if it is not transformed into a force for life. How, in this process, are artists organised and constituted as agents in the city? How did the city come to be represented? What kind of city do we want? This congress thus arises from the need to intensify the dialogue between the city and art, particularly the performing arts. This international meeting is the culmination of two years of consistent and consolidated research within the TEPe (Technologically Expanded Performance) project. Throughout these two years, we have developed activities with the community to promote intercultural and transdisciplinary dialogue and provide an encounter with varied urban experiences. Through the different proposals of walks through the city, we have mapped events, today invisible, but still present: from "buried memories" to "sensorial walks", passing through intimate records of confinement. The meeting aims to share the experiences carried out with the contribution of two teams: the Portuguese, in Lisbon, and the Brazilian, in Fortaleza. Besides presenting the conclusions of the researches carried out, we launch this call for presentations, especially addressed to artists and scholars of performance art, historians of cities, anthropologists, urban planners, geographers, scholars of listening and sound and to all those who are interested in thinking (and projecting) life in the city.

AbstractA solution to cope with chaotic urban settlements and frenetic everyday life is refuging in nature as a way to reduce stress. In general—in recent years—it has been scientifically demonstrated how natural areas are an important environment for psycho-physiological health. As a consequence, it is important to plan dedicated spaces for stress recovery in order to increase the well-being of people. With respect to forests, there is a growing interest in understanding the marketing and tourist potential of forest-therapy activities and policies. This paper develops a decision support system (DSS) for decision makers, based on geographic information system to define the suitability of forest areas to improve psychological and physiological human well-being. Innovative technologies such as electroencephalography (EEG) and virtual reality (VR) are applied to test human status. The DSS combines four sets of indicators in a multi-attribute decision analysis and identifies the areas with the largest stress-recovery potential. Two multi-attribute model—one in summer and one in winter—are elaborated to obtain a dynamic evaluation of suitability. Results show significant differences among forest type, forest management, altitude range, and season in terms of stand suitability. EEG and VR seem to be promising technologies in this research area. Strengths and weaknesses of the approach, as well as potential future improvement and implications for territorial marketing, are suggested.

The first party sequence in Baz Luhrmann’ s The Great Gatsby (2013) counts as one of the most opulent, densely articulated, and extravagant in film history. On its release critics noted its ‘frenetic beauty’, ‘orgasmic pitch’, and ‘Vincente Minnelli-style suavity with controlled vertigo’. Décor, costuming, sound, movement, and colour come to the fore because the sequence’s spatial layout can’t be determined until its end. The mélanged soundtrack itself refuses to grant the viewer a sense of ground. What distances might this musical sample brook? Who’s performing and who isn’t? To which period and community does this music speak? Why this snippet against that? Sounds’ sources and imagined spatial locations seem to cross and overlap with elaborate vectors. This analysis plumbs the ways nineteen aural and visual techniques pull the viewer affectively and proprioceptively in different directions, helping, with the aid of digital technologies, to construct an extravagant rhetoric appropriate for our unfortunate gilded age. Considering Gatsby provides a way to further understand audiovisual aesthetics, the newly emergent role of soundtracks, contemporary cinema, and our time.

Griffin had been receiving letters for weeks, and they painted a vivid picture of Namu’s impact on those who had seen the famous orca. “We are sorry that Namu is dead,” wrote seven-year-old Christopher. “I wish that you will get another whale.” A little girl declared, “I will mention in my prayer tonight for God to send Namu safely to Heaven and for God to watch over him always.” “We are so grateful we saw Namu only a few weeks ago,” wrote one local family. “He was so beautiful and gentle.” “Without our friend Namu, the water­front will be a lonely place,” added a mother in Seattle. “We hope you will consider getting another whale.” The notes helped, but Ted Griffin hadn’t been himself since his friend’s death. The process of forming the first close human bond with a killer whale had produced an intense emotional high, and the animal’s death sent him into a spiral of depression. Usually frenetic, the aquarium owner found himself list­less and untethered from reality. “At first I told myself he would come back, as I had believed my father would after he died,” he later wrote. “I had never faced the reality of death as a fact of life.” Try as he might, Griffin couldn’t pull himself together. “I wanted to shed my burden of guilt,” he reflected. “I had brought Namu into the polluted water where the bacteria had killed him. My loved one died tragically, and indirectly by my own hand.” As the weeks went by, his children became confused by their father’s behavior, and Joan grew worried. Friends suggested that he try bonding with another whale, but they might as well have urged him to replace a lost spouse or child. Something in Ted Griffin had died with Namu. Nearly fifty years later, he sat with me at his dining room table and tried to convey this change. “After Namu died, I kept trying to find that connection,” he explained. “I kept hoping for it with another animal, but I couldn’t find it.” So he turned his mind to business.

This paper presents the Online Calculation of Railway Elastic Contacts (OCREC), a dynamic railway calculation tool based on an advanced contact kernel, and its coupling with the MSC ADAMS multi-body commercial software. The OCREC contact kernel is used as a subroutine of multi-body codes in order to calculate contact forces between wheelsets and rails. The OCREC method is “online” as it not only redefines new contact parameters at each time step but also determines all simultaneous contacts on each wheel as allowed by Hertz Elasticity theory. From the normal forces and relative velocities given by the Hertz theory, Tangential Forces are calculated using Kalker’s FASTSIM (modified for elliptical pressure distribution). After a description of the OCREC theory, the paper presents the linkage between OCREC and MSC ADAMS software. OCREC calculates contact forces within a Frenet frame (oxyz) following the track layout where ox is tangent to the track; oy is horizontal and oz normal to oxy. As ADAMS calculates inside a different frame, and as it has no built-in track system, it was necessary to develop a program capable of connecting 3 different frames: the ‘dummy’ track frame, the Frenet frame and the fixed ADAMS frame. Note that the ‘dummy’ frame is directly calculated from railway track curvature measurements recorded in so-called ‘space curves’. The OCREC ADAMS link is first validated by a bogie rolling on a dummy track. With the equations of the OCRECYM code established directly within the “dummy” frame, the OCREC-ADAMS results are compared to a specific OCRECYM validation code. Then, the results from an actual railway case are presented: behavior of one coach is calculated on a real measured track including curves and defaults. During the following step, the OCREC-ADAMS results are compared to OCRECYM results. After some model updating for adjustment to physical properties of elastic joints (helicoidal springs), a good correlation is obtained between the codes. The analysis of the different force and displacement components proves this kind of numerical tool’s capabilities of assessing the railway vehicle’s dynamic behavior. Especially, the Y/Q safety ratio is well calculated. Thus, the OCREC contact kernel, which is powerful for complex contact topologies such as conformal contacts, and necessary for high speed safety calculation, can be used as a subroutine of standard multi-body software, giving it high capabilities for dynamic railway calculation.

The choice of reference frame applied in a multibody system and finite element method analysis assists in describing the motion of bodies. Two non-collinear vectors are prerequisite for the creation of a local reference frame for three-dimensional cases. The Frenet frame, which is constructed with tangential and normal vectors, is widely used for continuous, differentiable space curves, and the local reference frame for underwater cable systems. However, because underwater cables experience external loads originating from the surrounding environment, it is inappropriate to only treat an underwater cable as a spatial curve. Furthermore, the lumped-mass method involves classical discretized modeling, which is not suitable for continuous, differentiable space curves, and its application complicates the calculation of rotational transformation matrices. This paper proposes a new method for the construction of local reference frames which considers both the cable geometry and external environment. The model of the cable consists of discretized cable elements, of which the orientation of each cable element is described by vectors that describe the local reference frame. Taking advantage of the expression of hydrodynamic drag forces, this paper provides the prerequisite for two non-collinear vectors by replacing the normal vector with one representing the relative velocity of the fluid. The construction of local reference frames is meant to easily express all the loads acting upon a cable. To reveal the advantages of this new local reference frame, we create three classifications for the loads acting upon the cable. Because the axial extension occurs along the orientation of the cable element, the calculation of the first type of loads benefits from the Frenet frame according to the classification. Meanwhile, both the first and second types of loads are expressed easily and accurately with respect to the new local reference frame. Because of the participation of relative fluid velocity in our reference frame, the formulation of the hydrodynamic drag forces can be simplified and its accuracy improved. Moreover, the calculation of the rotational transformation matrix is made less complex and the computational error is reduced. The cable model created by this new reference frame is compared with that based on a Frenet frame and the commercial simulation code ProteusDS. The simulation results show that cable modeling using our novel reference frame is much more stable and accurate than that using a Frenet frame.

Presentation slides are often used for teaching engineering classes, presenting engineering research, and explaining engineering designs. For those presentations in which the presenter desires to communicate and defend results, using a succinct sentence headline for all slides but the title slide has three advantages over relying on a phrase headline. The first is that a sentence headline not only can identify the topic, but also can state an assertion about the topic. Emphasizing the assertions in an engineering presentation is advantageous, because audiences are more inclined to believe an argument if they realize the assertions and sub-assertions. Also, for a presentation that serves as a classroom assignment, having the student write sentence headlines provides a written record for the faculty member of that student’s assertions in the presentation. A second advantage of using sentence headlines, rather than phrase headlines, is that a sentence headline can clarify much more effectively the role of the slide in the presentation. Such a clarification not only helps the audience during the presentation, but also serves the audience reviewing the slides days or weeks later. Yet a third advantage, and perhaps the most important, is that a sentence headline forces the presenter to come to grips with the main purpose of each slide. If the presenter cannot create a sentence headline that states the slide’s main purpose in the presentation, then the presenter should consider cutting that slide from the presentation. For engineering presenters who have used this design, the result has been that significantly fewer slides are presented, thus helping the presenters avoid a frenetic pace, which undermines so many engineering presentations. This paper uses several examples from the Mechanical Engineering Department at Virginia Tech to show these three advantages. The paper also analyzes why faculty and students are reluctant to use sentence headlines. Finally, the paper includes a preliminary assessment on the effectiveness of these sentence headlines in engineering presentations.