Challenging Conditions for Gasoline Particulate Filters (GPFs)

The emission limit of non-volatile particles (i.e., particles that do not evaporate at 350 °C) with size >23 nm, in combination with the real driving emissions (RDE) regulation in 2017, resulted in the introduction of gasoline particulate filters (GPFs) in all light-duty vehicles with gasoline direct injection engines in Europe. Even though there are studies that have examined the particulate emissions at or beyond the current RDE boundary conditions, there is a lack of studies combining most or all worst cases (i.e., conditions that increase the emissions). In this study, we challenged a fresh (i.e., no accumulation of soot or ash) “advanced” prototype GPF at different temperatures (down to −9 °C), aggressive drive cycles and hard accelerations (beyond the RDE limits), high payload (up to 90%), use of all auxiliaries (air conditioning, heating of the seats and the rear window), and cold starts independently or simultaneously. Under hot engine conditions, the increase of the particulate emissions due to higher payload and lower ambient temperature was 30–90%. The cold start at low ambient temperature, however, had an effect on the emissions of up to a factor of 20 for particles >23 nm or 300 when considering particles <23 nm. We proposed that the reason for these high emissions was the incomplete combustion and the low efficiency of the three-way oxidation catalyst. This resulted in a high concentration of species that were in the gaseous phase at the high temperature of the close-coupled GPF and thus could not be filtered by the GPF. As the exhaust gas cooled down, these precursor species formed particles that could not be evaporated at 350 °C (the temperature of the particle number system). These results highlight the importance of the proper calibration of the engine out emissions at all conditions, even when a GPF is installed.

Cinematic Self-Consciousness in Hitchcock’s Rear Window

The claim in this chapter is that the “rear window ethics” that Rear Window explicitly raises as a question does not primarily concern the ethics of voyeurism, but the norms of cinematic viewing, and the metaphorical dimensions of the main character’s passive, detached, observational attending. The film is shown to be cinematically self-conscious, to embody a conception of itself that primarily concerns this issue. The connection between such a theme and the romantic plot between James Stewart’s character and Grace Kelly’s is demonstrated. The question posed by Raymond Burr’s character in the finale, “What do you want from me?” is shown to be double-edged, to be an expression of Hitchcock’s demand on the audience, after the film has shown what he expects from the viewer (and rarely receives).

Bouwlandschappen

Building landscapes A drawing by artist Jan Hoynck van Papendrecht (1858-1933) can be understood as a view of the f irst buildings along Amsterdam’s Van Eeghenstraat, as seen from his rear window. The late 19th-century method of raising polder meadows for urban expansion is also clearly visible on a hitherto mislocated drawing by Gerrit Haverkamp (1872-1926) of a building site in Amsterdam Oud-West. The chronological development of raising building sites can still be acknowledged from height differences in Amsterdams urban fabric. Building landscapes are rather underexposed in Dutch historical geography as a seemingly temporary situation. However, they are an intrinsic and sometimes longer-lasting part of the landscape’s biography and deserve more attention than they have received until now.

Livro-álbum e cinema: um diálogo interartes

Pretende-se, neste estudo, proceder a uma reflexão sobre as diferentes possíveis relações de proximidade e de interseção entre a narrativa fílmica e o livro-álbum, identificando vários exemplos de obras destinadas à infância e juventude que tratam o cinema como tema ou motivo, ou simples alusão pontual em termos de conteúdo, mas também de outras que se socorrem de várias técnicas cinematográficas para contarem uma história. Além disso, analisa-se, ainda, o livro 1.º Direito, de Ricardo Henriques, com ilustrações de Nicolau, que, inspirado pelo enredo do filme A janela indiscreta [Rear Window, 1954], de Alfred Hitchcock, procede à sua recriação em formato de livro-álbum, revisitando, com adaptações, o imaginário fílmico.