title: Utility Exchanger Network Design for Non-Isothermal Utility Considering Process Control

authors: Tarighaleslami, Amir Hossein

abstract: This paper investigates a preliminary control strategy based on bypass control loop of Utility Exchangers Network (UEN) for non-isothermal utilities in a Total Site Heat Integration (TSHI) system. Few details on the design and control of non-isothermal utility systems, e.g. hot water loops, that includes Total Site heat recovery are presented in the literature. Heat Exchanger Networks (HEN) can be considered as a combined Heat Recovery Network (HRN) and UEN for each individual processes within the Total Site. Control strategy presented in the current paper are based on the control of utility side in a process – utility heat exchanger match to control process stream target temperature and analyse Total Site (TS) utility system in a Process Integration point of view. Bypass control has been used in the research. A Hot Water loop as representative of a large industrial plant utility system is studied as a case study. The process stream segment target temperature to be achieved and process stream segment supply temperature and flow rate may vary up to ±15 %. The HW utility temperature in the loop is controlled by using indirect heat transfer from higher and lower level utility and by using HW loop bypass. A 24 h period has been considered for the study. Results show that the HW utility loop has a 2.4 MW heat deficit in time-average condition. By controlling the HW utility loop using the proposed heuristics, utility heating requirement may vary between 0.7 to 3.5 MW, which is supplied by the Low Pressure steam main.

text: Utility Exchanger Network Design for Non-Isothermal Utility Considering Process Control This paper investigates a preliminary control strategy based on bypass control loop of Utility Exchangers Network (UEN) for non-isothermal utilities in a Total Site Heat Integration (TSHI) system. Few details on the design and control of non-isothermal utility systems, e.g. hot water loops, that includes Total Site heat recovery are presented in the literature. Heat Exchanger Networks (HEN) can be considered as a combined Heat Recovery Network (HRN) and UEN for each individual processes within the Total Site. Control strategy presented in the current paper are based on the control of utility side in a process – utility heat exchanger match to control process stream target temperature and analyse Total Site (TS) utility system in a Process Integration point of view. Bypass control has been used in the research. A Hot Water loop as representative of a large industrial plant utility system is studied as a case study. The process stream segment target temperature to be achieved and process stream segment supply temperature and flow rate may vary up to ±15 %. The HW utility temperature in the loop is controlled by using indirect heat transfer from higher and lower level utility and by using HW loop bypass. A 24 h period has been considered for the study. Results show that the HW utility loop has a 2.4 MW heat deficit in time-average condition. By controlling the HW utility loop using the proposed heuristics, utility heating requirement may vary between 0.7 to 3.5 MW, which is supplied by the Low Pressure steam main.

year: 2018

title: Reframing the art of music video: “mismatched eyeballs” and reanimated collaborators

authors: Perrott, Lisa

subjects: Art

abstract: Just as music videos have been studied through many frames, so too, has David Bowie. When undertaking research for my book David Bowie and the Art of Music Video, a reframing process was necessary. This entailed starting from the premise that music videos are functionally diverse, complex audiovisual configurations that go well beyond serving as ­ a promotional tool for a musician or
as a stepping stone to auteurism for a director. This act of ‘reframing’ also involved examining Bowie’s creative process through a fresh lens. Through a combination of contextual research, interview materials, audience research, and multimodal analysis of Bowie’s videos, I demonstrate that Bowie played an important part in helping develop music video as a collaborative artform ­ with diverse functions, affects, and contributions to social, cultural, and political understandings. By reframing the art of music video, this book firmly places the spotlight onto the relations between collaborative process and audiovisual assemblage, demonstrating that music
video is a flexible form for transmedia storytelling, intertextuality, and the remediation of numerous artforms – all of which supports my argument that music video is a form worthy of deep analysis. By reflecting on my response to unique challenges (such as limited
opportunities to interview music video directors), this presentation will discuss my research process as an example of reframing the art (and research) of music video.

text: Reframing the art of music video: “mismatched eyeballs” and reanimated collaborators Just as music videos have been studied through many frames, so too, has David Bowie. When undertaking research for my book David Bowie and the Art of Music Video, a reframing process was necessary. This entailed starting from the premise that music videos are functionally diverse, complex audiovisual configurations that go well beyond serving as ­ a promotional tool for a musician or
as a stepping stone to auteurism for a director. This act of ‘reframing’ also involved examining Bowie’s creative process through a fresh lens. Through a combination of contextual research, interview materials, audience research, and multimodal analysis of Bowie’s videos, I demonstrate that Bowie played an important part in helping develop music video as a collaborative artform ­ with diverse functions, affects, and contributions to social, cultural, and political understandings. By reframing the art of music video, this book firmly places the spotlight onto the relations between collaborative process and audiovisual assemblage, demonstrating that music
video is a flexible form for transmedia storytelling, intertextuality, and the remediation of numerous artforms – all of which supports my argument that music video is a form worthy of deep analysis. By reflecting on my response to unique challenges (such as limited
opportunities to interview music video directors), this presentation will discuss my research process as an example of reframing the art (and research) of music video.

year: 2023-10-12

title: Imagining our own approaches

authors: Smith, Linda Tuhiwai

abstract: I spent some formative years of my life either in the back of museums or their basements helping my father, a scholar of Māori Studies, and keeping myself out of trouble. In the late 1960s I had one small job in the library basement of the Peabody Museum in Salem, Massachusetts, typing new labels for the captains’ log books of ships that were sailing during the American Revolution. I read most of those journals that consisted of pages and pages of wind directions with the rare glimpse of an encounter with another ship or a list of supplies. Why were we there in Salem when we came from Aotearoa, New Zealand? We were there because Salem was the home base for ships that sailed into the Pacific and returned home with collections of materials from the various Pacific Islands countries they visited. My father was studying elaborately carved items from the Marquesa Islands that looked very much like Māori designs.

text: Imagining our own approaches I spent some formative years of my life either in the back of museums or their basements helping my father, a scholar of Māori Studies, and keeping myself out of trouble. In the late 1960s I had one small job in the library basement of the Peabody Museum in Salem, Massachusetts, typing new labels for the captains’ log books of ships that were sailing during the American Revolution. I read most of those journals that consisted of pages and pages of wind directions with the rare glimpse of an encounter with another ship or a list of supplies. Why were we there in Salem when we came from Aotearoa, New Zealand? We were there because Salem was the home base for ships that sailed into the Pacific and returned home with collections of materials from the various Pacific Islands countries they visited. My father was studying elaborately carved items from the Marquesa Islands that looked very much like Māori designs.

year: 2015