title: Analysis and design aspects of a series power semiconductor array with digital waveform control capability for single phase ac voltage regulators and other applications

authors: Jindasa, Chandani

subjects: Power Conditioners,

abstract: A series connected power semiconductor array, with digital control capability could be used for developing single phase AC regulators or other applications such as AC electronic loads. This technique together with an ordinary gapless transformer could be used to develop a low cost AC voltage regulator (AVR) to provide better or comparable specifications with bulky ferro-resonant AVR types. One primary advantage of the technique is that digital control can be used to minimize harmonics. Commencing with a review of AC voltage regulator techniques for single phase power conditioning systems, an analysis and design aspects of this technique is presented with experimental results for AVRs. Guidelines on how to utilize the technique in a generalized basis is also summarized together with a summary of a technique for achieving harmonic control.

text: Analysis and design aspects of a series power semiconductor array with digital waveform control capability for single phase ac voltage regulators and other applications A series connected power semiconductor array, with digital control capability could be used for developing single phase AC regulators or other applications such as AC electronic loads. This technique together with an ordinary gapless transformer could be used to develop a low cost AC voltage regulator (AVR) to provide better or comparable specifications with bulky ferro-resonant AVR types. One primary advantage of the technique is that digital control can be used to minimize harmonics. Commencing with a review of AC voltage regulator techniques for single phase power conditioning systems, an analysis and design aspects of this technique is presented with experimental results for AVRs. Guidelines on how to utilize the technique in a generalized basis is also summarized together with a summary of a technique for achieving harmonic control.

year: 2011

title: King Lear Beyond Genres: paper for: Shakespeare Beyond All Limits: Australia and New Zealand Shakespeare Association Conference

authors: Houlahan, Mark

subjects: Shakespeare

abstract: King Lear beyond Genre: or, what does Lear really, really want? Famously the two main texts of King Lear, Q1 (1608) and F1 (1623), locate two distinct genres: a “historie” (1608), and then a “tragedie” in 1623. The bulk of the play in either text conforms to genre signals Renaissance audiences would readily understand, and which Shakespeare deploys frequently in plays tragical or historical that draw on Chronicle sources of Roman, British or Danish history. There’s a battle for succession, and rulership, at the end of the final scene, is passed to a new regime. The moral scale of the action is indicated by the frequent use of “high, astounding”, ethico-philosophical terms. When Lear triggers the division of the kingdoms in the first scene of the play, he initiates this kind of tragical history. For the duration of the play, the rest of the characters play lethally inside these genre boundaries. But what makes King Lear so compelling, so baffling and so difficult is that, when he goes into the storm, on the heath, Lear is, in effect, trying to leave that convention-bound play and enter a new realm of discourse altogether. This requires a new kind of dramaturgy, a third kind of genre for which, even now, we don’t really have a name. In the end, Lear enters back into the historical/tragical terrain where the play begins. It’s the friction between these kinds of playmaking, I will suggest, that are at the heart of the text’s “power to claw”.

text: King Lear Beyond Genres: paper for: Shakespeare Beyond All Limits: Australia and New Zealand Shakespeare Association Conference King Lear beyond Genre: or, what does Lear really, really want? Famously the two main texts of King Lear, Q1 (1608) and F1 (1623), locate two distinct genres: a “historie” (1608), and then a “tragedie” in 1623. The bulk of the play in either text conforms to genre signals Renaissance audiences would readily understand, and which Shakespeare deploys frequently in plays tragical or historical that draw on Chronicle sources of Roman, British or Danish history. There’s a battle for succession, and rulership, at the end of the final scene, is passed to a new regime. The moral scale of the action is indicated by the frequent use of “high, astounding”, ethico-philosophical terms. When Lear triggers the division of the kingdoms in the first scene of the play, he initiates this kind of tragical history. For the duration of the play, the rest of the characters play lethally inside these genre boundaries. But what makes King Lear so compelling, so baffling and so difficult is that, when he goes into the storm, on the heath, Lear is, in effect, trying to leave that convention-bound play and enter a new realm of discourse altogether. This requires a new kind of dramaturgy, a third kind of genre for which, even now, we don’t really have a name. In the end, Lear enters back into the historical/tragical terrain where the play begins. It’s the friction between these kinds of playmaking, I will suggest, that are at the heart of the text’s “power to claw”.

year: 2023-12-07

title: Te Mata Ira—Faces of the Gene: Developing a cultural foundation for biobanking and genomic research involving Māori

authors: Hudson, Maui

abstract: Te Mata Ira was a three-year research project (2012–2015) that explored Māori views on genomic research and biobanking for the development of culturally appropriate guidelines. A key component of this process has been to identify Māori concepts that provide cultural reference points for engaging with biobanking and genomic research. These cultural cues provide the basis for describing the cultural logic that underpins engagement in this context in a culturally acceptable manner. This paper outlines the role of two wānanga (workshops) conducted as part of the larger project that were used to make sense of the Māori concepts that emerged from other data-collection activities. The wānanga involved six experts who worked with the research team to make sense of the Māori concepts. The wānanga process created the logic behind the cultural foundation for biobanking and genomic research, providing a basis for understanding Māori concepts, Māori ethical principles and their application to biobanking and genomic research.

text: Te Mata Ira—Faces of the Gene: Developing a cultural foundation for biobanking and genomic research involving Māori Te Mata Ira was a three-year research project (2012–2015) that explored Māori views on genomic research and biobanking for the development of culturally appropriate guidelines. A key component of this process has been to identify Māori concepts that provide cultural reference points for engaging with biobanking and genomic research. These cultural cues provide the basis for describing the cultural logic that underpins engagement in this context in a culturally acceptable manner. This paper outlines the role of two wānanga (workshops) conducted as part of the larger project that were used to make sense of the Māori concepts that emerged from other data-collection activities. The wānanga involved six experts who worked with the research team to make sense of the Māori concepts. The wānanga process created the logic behind the cultural foundation for biobanking and genomic research, providing a basis for understanding Māori concepts, Māori ethical principles and their application to biobanking and genomic research.

year: 2016