Academic literature on the topic 'MSU thesis Park rangers'

In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these examples are taken.1 During the past decades, every form of culture and significant forms of social life have become permeated by the logic of the spectacle. Movies are bigger and more spectacular than ever, with high-tech special effects expanding the range of cinematic spectacle. Television channels proliferate endlessly with all-day movies, news, sports, specialty niches, re-runs of the history of television, and whatever else can gain an audience. The rock spectacle reverberates through radio, television, CDs, computers networks, and extravagant concerts. The Internet encircles the world in the spectacle of an interactive and multimedia cyberculture. Media culture excels in creating megaspectacles of sports championships, political conflicts, entertainment, "breaking news" and media events, such as the O.J. Simpson trial, the Death of Princess Diana, or the sex or murder scandal of the moment. Megaspectacle comes as well to dominate party politics, as the political battles of the day, such as the Clinton sex scandals and impeachment, the 36 Day Battle for the White House after Election 2000, and the September 11 terrorist attacks and subsequent Terror War. These dramatic media passion plays define the politics of the time, and attract mass audiences to their programming, hour after hour, day after day. The concept of "spectacle" derives from French Situationist theorist Guy Debord's 1972 book Society of the Spectacle. "Spectacle," in Debord's terms, "unifies and explains a great diversity of apparent phenomena" (Debord 1970: #10). In one sense, it refers to a media and consumer society, organized around the consumption of images, commodities, and spectacles. Spectacles are those phenomena of media culture which embody contemporary society's basic values, and dreams and nightmares, putting on display dominant hopes and fears. They serve to enculturate individuals into its way of life, and dramatize its conflicts and modes of conflict resolution. They include sports events, political campaigns and elections, and media extravaganzas like sensational murder trials, or the Bill Clinton sex scandals and impeachment spectacle (1998-1999). As we enter a new millennium, the media are becoming ever more technologically dazzling and are playing an increasingly central role in everyday life. Under the influence of a postmodern image culture, seductive spectacles fascinate the denizens of the media and consumer society and involve them in the semiotics of a new world of entertainment, information, a semiotics of a new world of entertainment, information, and drama, which deeply influence thought and action. For Debord: "When the real world changes into simple images, simple images become real beings and effective motivations of a hypnotic behavior. The spectacle as a tendency to make one see the world by means of various specialized mediations (it can no longer be grasped directly), naturally finds vision to be the privileged human sense which the sense of touch was for other epochs; the most abstract, the most mystifiable sense corresponds to the generalized abstraction of present day society" (#18). Today, however, I would maintain it is the multimedia spectacle of sight, sound, touch, and, coming to you soon, smell that constitutes the multidimensional sense experience of the new interactive spectacle. For Debord, the spectacle is a tool of pacification and depoliticization; it is a "permanent opium war" (#44) which stupefies social subjects and distracts them from the most urgent task of real life -- recovering the full range of their human powers through creative praxis. The concept of the spectacle is integrally connected to the concept of separation and passivity, for in passively consuming spectacles, one is separated from actively producing one's life. Capitalist society separates workers from the products of their labor, art from life, and consumption from human needs and self-directing activity, as individuals passively observe the spectacles of social life from within the privacy of their homes (#25 and #26). The situationist project by contrast involved an overcoming of all forms of separation, in which individuals would directly produce their own life and modes of self-activity and collective practice. Since Debord's theorization of the society of the spectacle in the 1960s and 1970s, spectacle culture has expanded in every area of life. In the culture of the spectacle, commercial enterprises have to be entertaining to prosper and as Michael J. Wolf (1999) argues, in an "entertainment economy," business and fun fuse, so that the E-factor is becoming major aspect of business.2 Via the "entertainmentization" of the economy, television, film, theme parks, video games, casinos, and so forth become major sectors of the national economy. In the U.S., the entertainment industry is now a $480 billion industry, and consumers spend more on having fun than on clothes or health care (Wolf 1999: 4).3 In a competitive business world, the "fun factor" can give one business the edge over another. Hence, corporations seek to be more entertaining in their commercials, their business environment, their commercial spaces, and their web sites. Budweiser ads, for instance, feature talking frogs who tell us nothing about the beer, but who catch the viewers' attention, while Taco Bell deploys a talking dog, and Pepsi uses Star Wars characters. Buying, shopping, and dining out are coded as an "experience," as businesses adopt a theme-park style. Places like the Hard Rock Cafe and the House of Blues are not renowned for their food, after all; people go there for the ambience, to buy clothing, and to view music and media memorabilia. It is no longer good enough just to have a web site, it has to be an interactive spectacle, featuring not only products to buy, but music and videos to download, games to play, prizes to win, travel information, and "links to other cool sites." To succeed in the ultracompetitive global marketplace, corporations need to circulate their image and brand name so business and advertising combine in the promotion of corporations as media spectacles. Endless promotion circulates the McDonald’s Golden Arches, Nike’s Swoosh, or the logos of Apple, Intel, or Microsoft. In the brand wars between commodities, corporations need to make their logos or “trademarks” a familiar signpost in contemporary culture. Corporations place their logos on their products, in ads, in the spaces of everyday life, and in the midst of media spectacles like important sports events, TV shows, movie product placement, and wherever they can catch consumer eyeballs, to impress their brand name on a potential buyer. Consequently, advertising, marketing, public relations and promotion are an essential part of commodity spectacle in the global marketplace. Celebrity too is manufactured and managed in the world of media spectacle. Celebrities are the icons of media culture, the gods and goddesses of everyday life. To become a celebrity requires recognition as a star player in the field of media spectacle, be it sports, entertainment, or politics. Celebrities have their handlers and image managers to make sure that their celebrities continue to be seen and positively perceived by publics. Just as with corporate brand names, celebrities become brands to sell their Madonna, Michael Jordan, Tom Cruise, or Jennifer Lopez product and image. In a media culture, however, celebrities are always prey to scandal and thus must have at their disposal an entire public relations apparatus to manage their spectacle fortunes, to make sure their clients not only maintain high visibility but keep projecting a positive image. Of course, within limits, “bad” and transgressions can also sell and so media spectacle contains celebrity dramas that attract public attention and can even define an entire period, as when the O.J. Simpson murder trials and Bill Clinton sex scandals dominated the media in the mid and late 1990s. Entertainment has always been a prime field of the spectacle, but in today's infotainment society, entertainment and spectacle have entered into the domains of the economy, politics, society, and everyday life in important new ways. Building on the tradition of spectacle, contemporary forms of entertainment from television to the stage are incorporating spectacle culture into their enterprises, transforming film, television, music, drama, and other domains of culture, as well as producing spectacular new forms of culture such as cyberspace, multimedia, and virtual reality. For Neil Gabler, in an era of media spectacle, life itself is becoming like a movie and we create our own lives as a genre like film, or television, in which we become "at once performance artists in and audiences for a grand, ongoing show" (1998: 4). On Gabler’s view, we star in our own "lifies," making our lives into entertainment acted out for audiences of our peers, following the scripts of media culture, adopting its role models and fashion types, its style and look. Seeing our lives in cinematic terms, entertainment becomes for Gabler "arguably the most pervasive, powerful and ineluctable force of our time--a force so overwhelming that it has metastasized into life" to such an extent that it is impossible to distinguish between the two (1998: 9). As Gabler sees it, Ralph Lauren is our fashion expert; Martha Stewart designs our sets; Jane Fonda models our shaping of our bodies; and Oprah Winfrey advises us on our personal problems.4 Media spectacle is indeed a culture of celebrity who provide dominant role models and icons of fashion, look, and personality. In the world of spectacle, celebrity encompasses every major social domain from entertainment to politics to sports to business. An ever-expanding public relations industry hypes certain figures, elevating them to celebrity status, and protects their positive image in the never-ending image wars and dangers that a celebrity will fall prey to the machinations of negative-image and thus lose celebrity status, and/or become figures of scandal and approbation, as will some of the players and institutions that I examine in Media Spectacle (Kellner 2003). Sports has long been a domain of the spectacle with events like the Olympics, World Series, Super Bowl, World Soccer Cup, and NBA championships attracting massive audiences, while generating sky-high advertising rates. These cultural rituals celebrate society's deepest values (i.e. competition, winning, success, and money), and corporations are willing to pay top dollar to get their products associated with such events. Indeed, it appears that the logic of the commodity spectacle is inexorably permeating professional sports which can no longer be played without the accompaniment of cheerleaders, giant mascots who clown with players and spectators, and raffles, promotions, and contests that feature the products of various sponsors. Sports stadiums themselves contain electronic reproduction of the action, as well as giant advertisements for various products that rotate for maximum saturation -- previewing environmental advertising in which entire urban sites are becoming scenes to boost consumption spectacles. Arenas, like the United Center in Chicago, America West Arena in Phoenix, on Enron Field in Houston are named after corporate sponsors. Of course, after major corporate scandals or collapse, like the Enron spectacle, the ballparks must be renamed! The Texas Ranger Ballpark in Arlington, Texas supplements its sports arena with a shopping mall, office buildings, and a restaurant in which for a hefty price one can watch the athletic events while eating and drinking.5 The architecture of the Texas Rangers stadium is an example of the implosion of sports and entertainment and postmodern spectacle. A man-made lake surrounds the stadium, the corridor inside is modeled after Chartes Cathedral, and the structure is made of local stone that provides the look of the Texas Capitol in Austin. Inside there are Texas longhorn cattle carvings, panels of Texas and baseball history, and other iconic signifiers of sports and Texas. The merging of sports, entertainment, and local spectacle is now typical in sports palaces. Tropicana Field in Tampa Bay, Florida, for instance, "has a three-level mall that includes places where 'fans can get a trim at the barber shop, do their banking and then grab a cold one at the Budweiser brew pub, whose copper kettles rise three stories. There is even a climbing wall for kids and showroom space for car dealerships'" (Ritzer 1998: 229). Film has long been a fertile field of the spectacle, with "Hollywood" connoting a world of glamour, publicity, fashion, and excess. Hollywood film has exhibited grand movie palaces, spectacular openings with searchlights and camera-popping paparazzi, glamorous Oscars, and stylish hi-tech film. While epic spectacle became a dominant genre of Hollywood film from early versions of The Ten Commandments through Cleopatra and 2001 in the 1960s, contemporary film has incorporated the mechanics of spectacle into its form, style, and special effects. Films are hyped into spectacle through advertising and trailers which are ever louder, more glitzy, and razzle-dazzle. Some of the most popular films of the late 1990s were spectacle films, including Titanic, Star Wars -- Phantom Menace, Three Kings, and Austin Powers, a spoof of spectacle, which became one of the most successful films of summer 1999. During Fall 1999, there was a cycle of spectacles, including Topsy Turvy, Titus, Cradle Will Rock, Sleepy Hollow, The Insider, and Magnolia, with the latter featuring the biblical spectacle of the raining of frogs in the San Fernando Valley, in an allegory of the decadence of the entertainment industry and deserved punishment for its excesses. The 2000 Academy Awards were dominated by the spectacle Gladiator, a mediocre film that captured best picture award and best acting award for Russell Crowe, thus demonstrating the extent to which the logic of the spectacle now dominates Hollywood film. Some of the most critically acclaimed and popular films of 2001 are also hi-tech spectacle, such as Moulin Rouge, a film spectacle that itself is a delirious ode to spectacle, from cabaret and the brothel to can-can dancing, opera, musical comedy, dance, theater, popular music, and film. A postmodern pastiche of popular music styles and hits, the film used songs and music ranging from Madonna and the Beatles to Dolly Parton and Kiss. Other 2001 film spectacles include Pearl Harbor, which re-enacts the Japanese attack on the U.S. that propelled the country to enter World War II, and that provided a ready metaphor for the September 11 terror attacks. Major 2001 film spectacles range from David Lynch’s postmodern surrealism in Mulholland Drive to Steven Spielberg’s blending of his typically sentimental spectacle of the family with the formalist rigor of Stanley Kubrick in A.I. And the popular 2001 military film Black-Hawk Down provided a spectacle of American military heroism which some critics believed sugar-coated the actual problems with the U.S. military intervention in Somalia, causing worries that a future U.S. adventure by the Bush administration and Pentagon would meet similar problems. There were reports, however, that in Somalian cinemas there were loud cheers as the Somalians in the film shot down the U.S. helicopter, and pursued and killed American soldiers, attesting to growing anti-American sentiment in the Muslim world against Bush administration policies. Television has been from its introduction in the 1940s a promoter of consumption spectacle, selling cars, fashion, home appliances, and other commodities along with consumer life-styles and values. It is also the home of sports spectacle like the Super Bowl or World Series, political spectacles like elections (or more recently, scandals), entertainment spectacle like the Oscars or Grammies, and its own spectacles like breaking news or special events. Following the logic of spectacle entertainment, contemporary television exhibits more hi-tech glitter, faster and glitzier editing, computer simulations, and with cable and satellite television, a fantastic array of every conceivable type of show and genre. TV is today a medium of spectacular programs like The X-Files or Buffy, the Vampire Slayer, and spectacles of everyday life such as MTV's The Real World and Road Rules, or the globally popular Survivor and Big Brother series. Real life events, however, took over TV spectacle in 2000-2001 in, first, an intense battle for the White House in a dead-heat election, that arguably constitutes one of the greatest political crimes and scandals in U.S. history (see Kellner 2001). After months of the Bush administration pushing the most hardright political agenda in memory and then deadlocking as the Democrats took control of the Senate in a dramatic party re-affiliation of Vermont’s Jim Jeffords, the world was treated to the most horrifying spectacle of the new millennium, the September 11 terror attacks and unfolding Terror War that has so far engulfed Afghanistan and Iraq. These events promise an unending series of deadly spectacle for the foreseeable future.6 Hence, we are emerging into a new culture of media spectacle that constitutes a novel configuration of economy, society, politics, and everyday life. It involves new cultural forms, social relations, and modes of experience. It is producing an ever-proliferating and expanding spectacle culture with its proliferating media forms, cultural spaces, and myriad forms of spectacle. It is evident in the U.S. as the new millennium unfolds and may well constitute emergent new forms of global culture. Critical social theory thus faces important challenges in theoretically mapping and analyzing these emergent forms of culture and society and the ways that they may contain novel forms of domination and oppression, as well as potential for democratization and social justice. Works Cited Debord, Guy. Society of the Spectacle. Detroit: Black and Red, 1967. Gabler, Neil. Life the Movie. How Entertainment Conquered Reality. New York: Alfred A. Knopf, 1998. Kellner, Douglas. Grand Theft 2000. Lanham, Md.: Rowman and Littlefield, 2001. Kellner, Douglas. From 9/11 to Terror War: Dangers of the Bush Legacy. Lanham, Md.: Rowman and Littlefield, 2003. Kellner, Douglas. Media Spectacle. London and New York: Routledge, 2003. Ritzer, George. The McDonaldization Thesis: Explorations and Extensions. Thousand Oaks, Cal. and London: Sage, 1998. Wolf, Michael J. Entertainment Economy: How Mega-Media Forces are Transforming Our Lives. New York: Times Books, 1999. Notes 1 See Douglas Kellner, Media Spectacle. London and New York: Routledge, 2003. 2 Wolf's book is a detailed and useful celebration of the "entertainment economy," although he is a shill for the firms and tycoons that he works for and celebrates them in his book. Moreover, while entertainment is certainly an important component of the infotainment economy, it is an exaggeration to say that it drives it and is actually propelling it, as Wolf repeatedly claims. Wolf also downplays the negative aspects of the entertainment economy, such as growing consumer debt and the ups and downs of the infotainment stock market and vicissitudes of the global economy. 3 Another source notes that "the average American household spent $1,813 in 1997 on entertainment -- books, TV, movies, theater, toys -- almost as much as the $1,841 spent on health care per family, according to a survey by the US Labor Department." Moreover, "the price we pay to amuse ourselves has, in some cases, risen at a rate triple that of inflation over the past five years" (USA Today, April 2, 1999: E1). The NPD Group provided a survey that indicated that the amount of time spent on entertainment outside of the home –- such as going to the movies or a sport event – was up 8% from the early to the late 1990s and the amount of time in home entertainment, such as watching television or surfing the Internet, went up 2%. Reports indicate that in a typical American household, people with broadband Internet connections spend 22% more time on all-electronic media and entertainment than the average household without broadband. See “Study: Broadband in homes changes media habits” (PCWORLD.COM, October 11, 2000). 4 Gabler’s book is a synthesis of Daniel Boorstin, Dwight Macdonald, Neil Poster, Marshall McLuhan, and other trendy theorists of media culture, but without the brilliance of a Baudrillard, the incisive criticism of an Adorno, or the understanding of the deeper utopian attraction of media culture of a Bloch or Jameson. Likewise, Gabler does not, a la cultural studies, engage the politics of representation, or its economics and political economy. He thus ignores mergers in the culture industries, new technologies, the restructuring of capitalism, globalization, and shifts in the economy that are driving the impetus toward entertainment. Gabler does get discuss how new technologies are creating new spheres of entertainment and forms of experience and in general describes rather than theorizes the trends he is engaging. 5 The project was designed and sold to the public in part through the efforts of the son of a former President, George W. Bush. Young Bush was bailed out of heavy losses in the Texas oil industry in the 1980s by his father's friends and used his capital gains, gleaned from what some say as illicit insider trading, to purchase part-ownership of a baseball team to keep the wayward son out of trouble and to give him something to do. The soon-to-be Texas governor, and future President of the United States, sold the new stadium to local taxpayers, getting them to agree to a higher sales tax to build the stadium which would then become the property of Bush and his partners. This deal allowed Bush to generate a healthy profit when he sold his interest in the Texas Rangers franchise and to buy his Texas ranch, paid for by Texas tax-payers (for sources on the scandalous life of George W. Bush and his surprising success in politics, see Kellner 2001 and the further discussion of Bush Jr. in Chapter 6). 6 See Douglas Kellner, From 9/11 to Terror War: Dangers of the Bush Legacy. Lanham, Md.: Rowman and Littlefield Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Kellner, Douglas. "Engaging Media Spectacle " M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/09-mediaspectacle.php>. APA Style Kellner, D. (2003, Jun 19). Engaging Media Spectacle . M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/09-mediaspectacle.php>

As part of a larger effort to support Less Commonly Taught Languages (LCTL) instruction in the United States, the LCTL Partnership at Michigan State University (MSU) and the LCTL Collaborative Partners initiative at the University of Chicago (UC) are supporting online LCTL courses to be offered to students across multiple institutions. As the initiatives were underway, it became clear that LCTL teachers’ familiarity with online teaching ranged widely. This is not surprising, especially considering that many LCTL teachers have never participated in any kind of online learning experience – let alone taught online. This paper reports on the first phase of a collaborative project that aims to identify and define key competencies for Online Language Teaching (OLT) and conceptualize a set of OLT readiness can-do statements. In a next phase, this framework will be used to build an assessment that gauges teachers’ readiness to teach language courses online and provide these teachers with formative feedback.

Turbulence contains a wide range of scales which form the turbulent spectrum. In low-pressure turbines (LPT) these scales of the turbulent free-stream influence large-scale mixing, the decay of turbulence kinetic energy and the transition of boundary layers through their reception of the small scales. Although these mechanisms are known in principle, the effect of turbulent scales on LPT aerodynamics has not been quantified and analyzed in detail yet. By means of Large Eddy Simulations (LES) applying the Incompressible Divergence-Free Synthetic Eddy Method (I-DFSEM) — introduced in Part A of this two-part paper — at the domain inlet to impose any desired turbulent boundary condition, the MTU-T161 LPT cascade is investigated under low-speed conditions. The simulations are successfully validated by the experimental results of the turbulent spectrum. In order to separate the effect of turbulence intensity and length scale on the cascade aerodynamics, the turbulent length scale is systematically varied while ensuring similar turbulence intensity at the profile’s leading edge. The results show an influence of the turbulent spectrum on separation-induced boundary layer transition. It is shown that the separated shear layer is amplified by integral length scales corresponding to frequencies close to the Kelvin-Helmholtz instability. Consequently it affects the turbulent mixing such that the transition point and lengths differ.

Alternative fuels, such as municipal solid waste (MSW) tend to play an increasingly important role in Chinese energy supply. Gasifying fuels derived from MSW have the potential of covering a significant part of the future demand on gasification capacities. However, their pyrolysis behaviour was not clear due to that the reactions during co-pyrolysis of the MSW serval fractions have not yet been fully investigated. In this paper, thermal behavior of pork, polypropylene and their blends were investigated by thermogravimetry under pyrolysis conditions via the non-isothermal thermogravimetric analysis. The pyrolysis and co-pyrolysis kinetics characteristics of the waste samples was investigated at a temperature range of 50 to 1000 °C with the heating rate of rate of 10, 20, 40 °C·min−1 and for particle sizes less than 74 μm. The results indicated that pyrolysis rate of pork was hindered by polypropylene. Negative synergistic effects on mixture decomposition was observed. Weight loss of mixture were lower than that calculated from individual samples for pork and polypropylene. The apparent activation energy were obtained through Kissinger and Ozawa methods for the samples. The results indicated that more energy for blends to be decomposed during co-pyrolysis.

Abstract Mechanical Shaft Seals (MSSs) are critical sub-components in Electric Submersible Pump (ESP) Seal Chamber Sections (SCSs), as they are the primary barriers used to isolate wellbore fluids from the motor oil. However, several ESP operators have observed relatively high MSS failure rates in certain applications, resulting in significant impacts on overall ESP system reliability and operational costs. In some cases, during teardowns, wellbore fluids were found in the lower chambers of the SCS, without any signs of damage to the MSSs or the bags/bellows in the SCS. Thus, to improve the run-life of ESP systems in their applications, operators identified the need to better understand the main influential factors affecting leakage rates through the MSS, including factors associated with the MSS characteristics and its operational conditions. To accomplish this, a test apparatus was built to allow the testing of MSSs in a wide range of operational conditions. This paper summarizes the technical challenges and key learnings that arose from building and commissioning such a test apparatus, as well as conducting several tests on multiple MSSs of a single design. Through commissioning of the test apparatus and subsequent testing, several limitations of the apparatus were identified and corrected through upgrades. Many of these upgrades were related to ensuring reasonably accurate measurement of the leakage rate through the MSSs, in both directions. Unexpected behaviours of the MSS were also observed during some tests. One example is the interesting phenomenon of reverse-pumping where, under certain conditions, leakage occurs in the opposite direction of the applied differential pressure. Finally, questions arose about the importance of certain aspects of quality control for MSSs and/or SCS assembly procedures. The above effort to build and commission a MSS testing apparatus has resulted in unique insight into shaft seal behaviour and continues to shine light on gaps in the industry understanding of factors affecting leakage through MSSs. It certainly provides evidence that there are many ‘unknown unknowns’ about MSS performance under challenging downhole operating conditions, and that the effort is worth continuing to support better MSS design/selection, and SCS assembly, as part of improving ESP system reliability.

The paper considers the problem of signal parameter estimation using a collection of distributed sensors called a sensor pack. Each sensor quantizes its data to one-bit information and sends it to a fusion processor for the estimation of the parameter. Estimation of a constant signal in additive noise is considered. Estimators are formulated based on one-bit sensor data and their mean squared error (MSE) performances are evaluated through simulation studies. It is shown that selecting certain threshold values for quantizing the sensor outputs can lower the MSE. Genetic algorithms are used to find the optimal threshold values for the sensors. Results from this study show that robust estimation of parameter is possible by using a moderately large number of one-bit quantized sensor data. This work has significance in applications that demand high reliability in sensor networks in spite of sensor failures, limited sensor dynamic range, resolution, bandwidth for data transmission or even data storage.

Municipal solid waste (MSW), generated at an unprecedented rate due to rapid urbanization and industrialization contains useful recyclable materials like metals, plastic, wood, etc. Recycling of useful materials from MSW in the developing countries is severely constrained by limited door-to-door collection and poor means of segregation. Recovery of recyclables is usually performed by waste pickers, which is highly risky and hazardous for their health. This paper reports the development of a robotic mobile manipulation system for automated sorting of useful recyclables from MSW. The developed robot is equipped with a thermal imaging camera, proximity sensor and a 5-DOF robotic arm. This paper presents an approach for sorting based on automated identification from thermographic images. The developed algorithm extracts keypoint features from the thermographic image and feeds into clustering model to map them into a bag-of-word vectors. Finally, Support Vector Machine (SVM) classifier is used for identifying the recyclable material. We used the developed algorithm to detect three categories of recyclables namely, aluminum can, plastic bottle and tetra pack from given thermographic images. We obtained classification rate of 94.3% in the tests. In future, we plan to extend the developed approach for classifying a wider range of recyclable objects as well as to incorporate motion planning algorithms to handle cluttered environments.

This paper is based on data compiled in the course of developing, for InterAmerican Development Bank (IDB), a WTE Guidebook for managers and policymakers in the Latin America and Caribbean region. As part of this work, a list was compiled of nearly all plants in the world that thermally treat nearly 200 million tons of municipal solid wastes (MSW) and produce electricity and heat. An estimated 200 WTE facilities were built, during the first decade of the 21st century, mostly in Europe and Asia. The great majority of these plants use the grate combustion of as-received MSW and produce electricity. The dominance of the grate combustion technology is apparently due to simplicity of operation, high plant availability (>90%), and facility for training personnel at existing plants. Novel gasification processes have been implemented mostly in Japan but a compilation of all Japanese WTE facilities showed that 84% of Japan’s MSW is treated in grate combustion plants. Several small-scale WTE plants (<5 tons/hour) are operating in Europe and Japan and are based both on grate combustion and in implementing WTE projects. This paper is based on the sections of the WTE Guidebook that discuss the current use of WTE technology around the world. Since the beginning of history, humans have generated solid wastes and disposed them in makeshift waste dumps or set them on fire. After the industrial revolution, near the end of the 18th century, the amount of goods used and then discarded by people increased so much that it was necessary for cities to provide landfills and incinerators for disposing wastes. The management of urban, or municipal, solid wastes (MSW) became problematic since the middle of the 20th century when the consumption of goods, and the corresponding generation of MSW, increased by an order of magnitude. In response, the most advanced countries developed various means and technologies for dealing with solid wastes. These range from reducing wastes by designing products and packaging, to gasification technologies. Lists of several European plants are presented that co-combust medical wastes (average of 1.8% of the total feedstock) and wastewater plant residue (average of 2% of the feedstock).

With the success of post-graduate programs in a wide range of individual sustainable development subjects such as environmental sustainability, sustainable manufacturing, infrastructure sustainability, etc. it was recognized that there was a void in undergraduate opportunity related to these areas. Consequently, the time seems appropriate for offering a relevant baccalaureate program to create a pipeline of students educated from a systems perspective in sustainable engineering practices that might feed into postgraduate programs, as well as fill a need in government and industry. This paper presents how undergraduate research supports engineering education linked to sustainable practices and influenced the development of a new degree program in Sustainable Systems Engineering (SSE) at Metropolitan State University of Denver (MSU Denver). Two projects are discussed which represent an approach using sustainable systems methodology: one in the area of new sustainable structural systems and the other in development of water filtration devices to be used in Sustainable Community Development (SCD) projects. Additionally, the research on novel multi-composite structural members for new construction as well as retrofits that could be used in conjunction with solar heating technology was used as a pilot instrument in engineering courses to emphasize to students the application of sustainable engineering practices in design and holistic problem solving. This paper describes the curriculum development of the SSE program that was driven in part by these experiences. Discussed is the contribution of this applied learning approach as a contributing influence to a number of courses in the new program such as Mathematical Modeling, Structural Modeling, Humanitarian Engineering, and Sustainable Systems Design. Moreover, it discusses how these courses have been designed to incorporate elements of Undergraduate Research as part of the learning experience.

A numerical study was conducted to model the transient thermal behavior of an airbag squib driver using commercially available software. The squib driver is part of an airbag deployment IC. The simulations were primarily used to predict the thermal gradient across the die for determining the optimal sensor location for thermal shutdown that would protect the device from destruction. The temperature sensor should be placed such that it gets hot enough for any electrical pulses that heat up the device close to the destruction point. The overall purpose is to provide a thermal detection circuit for disabling current prior to reaching a thermally destructive level. A preliminary wafer level study correlates the simulated and measured values and indicates that the junction temperature is lower for the case with thicker die and adiabatic boundary conditions; an opposite trend is observed for the cases with fixed temperature boundary condition attached to the domain bottom side. The study of the high IC side dissipating 80W for 5 ms indicates that the bottom and top center monitor points reach temperatures of 188.2°C and 130.5°C at the end of the 5 ms timeframe, corresponding to a peak source temperature of 294.6°C. A similar study with 30W uniform dissipation for 20 ms indicates that the peak junction temperature is lower than before (220°C vs. 294°C). The study of the low IC side reveals higher peak temperatures compared to the high side, due to the larger power density for these cases. The peak temperatures are 368.7°C for 50W/5 ms, and 301.8°C for 25W/20 ms. The left monitor point temperature ranges between 210°C–260°C while the right monitor point temperature ranges between 140°C–160°C. The thermal investigation of the package after the thermal shutdown predicted the time needed for the FETs to reach predetermined temperatures for different scenarios. The temperatures of the low side FETs drop by almost 50% within the 30 ms following the 20 ms of constant powering at 50W. When the high-side FETs are powered at 80W for 5 ms then cooled, the temperature rises then decays within 0.1 s.

The increasing amount of volatile renewable energy sources drives the necessity of flexible conventional power plants to compensate for fluctuations of the power supply. Gas turbines in a combined cycle power plant (CCPP) adjust the power output quickly but a sudden increase of CO and UHC emissions limit their turn-down ratio. To extend the turn-down ratio, part of the fuel can be processed to syngas, which exerts a higher reactivity. An autothermal on-board syngas generator in combination with two different burner concepts for natural gas and syngas mixtures are presented in this study. A mixture of natural gas, water vapor and air reacts catalytically in an autothermal reactor test rig to form syngas. At atmospheric pressure, the fuel processor generates syngas with a hydrogen content of ∼30 vol% and a temperature of 800 K within a residence time of 200 ms. One concept for the combustion of natural gas and syngas mixtures comprises a generic swirl stage with a central lance injector for the syngas. The second concept includes a central swirl stage with an outer ring of jets. The combustion is analyzed for both concepts by OH*-chemiluminescence, lean blow out (LBO) limit and gaseous emissions. The central lance concept with syngas injection exhibits an LBO adiabatic flame temperature that is 150 K lower than in premixed natural gas operation. For the second concept an extension of almost 200 K with low CO emission levels can be reached. This study shows that autothermal on-board syngas generation is feasible and efficient in terms of turn-down ratio extension and CO burn-out.

An essential part of proton exchange membrane fuel cells (PEMFCs) is the gas diffusion layer (GDL), which provides pathways for by-products to be removed from PEMFCs. One of the main properties of GDLs is porosity. The two widely used experimental methods for finding the porosity of GDLs are mercury intrusion porosimetry (MIP) and method of standard porosimetry (MSP). In addition to these methods, the porosity of GDLs can be calculated based on the high resolution 3D images that are acquired using X-ray microtomography (μXCT) as shown in recent studies (e.g., [7,12]). Despite the general success of using μXCT to measure GDL porosity, different porosity values have been reported for similar GDLs. These variations are due to different assumptions made for determining the surface of the sample, and hence, its external dimensions. In this research, current methods used for calculating porosity of GDLs from μXCT images are discussed, and a new surface identification method based on a rolling ball algorithm is introduced. The main advantage of this new method is that variations in surface topology or roughness are taken into account when calculating porosity. The new method is not only applicable to GDLs, but can be applied to characterize a wide range of highly porous media.