New Online Shunt Acidification for Water Injection Increasing Technology and Its Application in Huanjiang Oilfield

The poor physical property and strong heterogeneity of Triassic Yanchang formation in Huanjiang oilfield of Ordos Basin are the main reasons for uneven water absorption, partial injection wells underinjection at high pressure, and decline of production. Previously, large numbers of conventional acidifications were used for plugging removal in the reservoir, but the effect was not so good and effective period was short. Aiming at the geological characteristics of Huanjiang oilfield, an online shunt acidification and augmented injection technology which does not stop water injection, pull original production strings out, and continuously inject acid and diverting agent has been proposed. A chelating acid COA-1S with low corrosion rate (0.3675 g/(m2·h)), good retardation capacity (hydrolysis constant = 1.2 × 10−6), and effective chelating ability (precipitation inhibition rate >95%) has been developed, as well as a diverting agent COA-1P with good dispersion in acid solution, diversion effect, and particle size (10–100 μm), which behaves well in COA-1S acid. It has been proved that the online acid system has a good diversion acidizing ability and plugging removal performance in a deep area in the laboratory core physical simulation test. The field test results show that the online shunt acidizing and augmented injection technology could reduce the injection pressure significantly (4.2 MPa) and increase water injection by 10 m3/d for the measured well (H5) and improve the water injection profile prominently. The online shunting acidification and augmented injection technology have the following advantages: simple procedures, fewer equipment needed, high efficiency of depressurization, and increasing water injection, which could effectively improve the profile of water wells, and there is a bright future of the technology.

Production Technology Workbench: Developing and Scaling a Corporate Digital Product Using Agile Methods

Objectives/Scope The production technology working environment of an oil brownfield is usually an inconsistent collection of tools and spreadsheets. In this paper, we will explore Wintershall Dea's digitalisation journey from a patchwork of tools and spreadsheets to a unified corporate Production Technology Workbench (PTW) solution starting from the replacement of an existing and ageing tool on an asset on the Norwegian continental shelf and ending by incorporating the requirements of other assets from Wintershall Dea's diverse and geographically dispersed portfolio. Methods, Procedures, Processes The project started by selecting the low-code application platform suitable to be used as the basis for the journey. After a proof-of-concept stage, an Agile project was launched owned by the asset and with a geographically dispersed Development Team conformed by Wintershall Dea's Product Owners, IT/OT experts, UX consultants and Eigen's scrum master and Development Team. After the delivery of the MVP, a second Product Owner was incorporated from a second asset. The Agile project continued to deliver on enhanced functionality and requirements that would most benefit both assets. Results, Observations, Conclusions The original production system calculations and workflows are vital for the asset. However, such patchworks are not easy to work with and complex to maintain or change. This had a negative effect on the efficiency as work is time-consuming and cumbersome. Well anomalies were often detected by actively looking for them daily in various plots, reports and platforms, and therefore the detection and response time to production events was delayed. A Production Technology dashboard with built-in / automated data processing for standard tasks provides engineers with the required transparency of data to identify issues and pain-points in a timely manner. This helps engineers to proactively intervene to mitigate unplanned losses and downtime, reducing the amount of deferred production. Investment in a corporate-wide unified (standard UX) platform, will help engineers when starting new assignments to spot issues easier and quicker independently of the asset they are assigned to. But beyond a standardization, each engineer needs to be able to create individual workflows (for effects such as scaling, slugging, sand etc.) for their needs by means of the self-service capabilities of the technology. Also, the quick access to frequently used and relevant data could be accessed through one platform, making everyday life of the production engineer more efficient and smoother. Over the timeframe of 15+ Sprints the Product Owners refined and re-defined the exact functionality they would like to see delivered. Novel/Additive Information The PTW concept seeks to minimise the time that engineers require to learn the tool and use it to inspect, analyse, and make decisions to optimise the production of the field. This is one of Wintershall Dea's first projects executed following Agile, using a geographically dispersed team, during the restrictions imposed by the pandemic. The multi-Product-Owner project approach is a novel way to govern the evolution of the tool to suit multiple stakeholders. In comparison to a E&P typical waterfall project management approach, the application of Scrum really showed added value in reducing risk early on, increasing visibility and transparency and adapting to the customer's needs (production engineers) throughout the process.

Study on the Synthesis Technology of High Molecular Weight Hydrophilic Polyether

KOH is used as a catalyst. The synthesis of a high molecular weight (relative molecular mass) hydrophilic polyether was carried out. One is to synthesize 1000 molecular weight (relative molecular mass) from the initiator, and then directly synthesize the product (original production process), and then carry out refining treatment by pipetting; the other is to synthesize 1000 molecular weight from the initiator. Molecular mass), further processing in the subsequent synthesis, when the molecular weight reaches 4000 (relative molecular mass), the curing degassing treatment is carried out, and after completion, the mixture of ethylene oxide and propylene oxide is continuously continued to synthesize the product (new production process) ), the synthesis is finished, and after aging, the liquid is pipetted to be refined. The results show that the quality of the new process product is improved, the yield of hydrophilic polyether is improved, and the waterproof effect is improved to 25%; the molecular weight of the old process is not up to the designed molecular weight, and the yield of hydrophilic polyether is lower and the waterproof application effect is less than 25%.

Microstructure and mechanical properties of a semi-centrifugal compression processed Al6013 and Cu bimetal

In this study, aluminum Al6013 and copper (Cu) cylindrical bimetal was manufactured by means of an original production method. The optical microscope and scanning electron microscope (SEM) images of the bimetal material produced through this approach, semi-centrifugal compression, were used in microstructural investigations following which metallurgical transition zones were defined. Through an energy dispersive X-ray (EDX) analysis of the defined regions, the chemical content of the regions were determined. Micro hardness values of the regions were determined and comparisons were made with the chemical content and hardness values of the materials used in the bimetal production before the manufacturing process. In addition, the mechanical properties of the materials were compared by applying tensile tests to the bimetallic components Cu and Al6013 and to the bimetal material produced. In the light of the values obtained, the general properties of the bimetal material produced through this new approach were presented.

Existing Within and Beyond Time: «Capri—an Island of Refugees» by Krystian Lupa

The proposed article ponders upon Krystian Lupa’s Capri—an island of refugees (2019), an original production staged at the Powszechny Theatre in Warsaw that brings together two of Curzio Malaparte’s prose books: Kaputt (1944) and The Skin (1949). By focusing on the parts of the production that adapt Kaputt, the article scrutinizes scenes produced by the live performance and the virtual projections in order to describe and explain how theatrical expression is enriched by such a juxtaposition. This analysis uses the theoretical frameworks of unnatural narratology (Jan Alber et al.), postdramatic durational aesthetics (Hans-Thies Lehmann), and the idea of the virtual double (Matthew Causey). The primary argument relies on the specific temporality emerging from the Lupa’s performance that enables spectators to feel existence within and beyond time. Furthermore, the study investigates the overarching idea of the performance, recognized by the strategy of foregrounding the thematic that oscillates within the problematics of human cruelty.

Empirical Study of Foundry Efficiency Improvement Based on Data-Driven Techniques

In this paper, a data-driven approach was applied to improve a furnace zone of a foundry in Taiwan. Improvements are based on the historical production records, order-scheduling, and labor-scheduling data. To resolve the bottleneck provided by the company, historical data were analyzed, and the existence of large variance in the process was found. Statistical analysis was performed to identify the primal factors causing the variance, and suggestions were made and implemented to the production line. As a result, daily production increased steadily to more than 30 pots of molten metal, while the original production was 20–30 pots of molten metal and are not controllable. Such significant improvement was mainly made by standardizing the input and reducing the variance of processes. The average cycle time of each pot of molten metal was reduced from 219 min to 135 min. Our suggested improvements also reduced the foundry’s electricity consumption cost by almost $240,000NT per month. In summary, data analysis can help traditional industries in identifying the main factors causing the bottleneck.

Introduction

In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.

Path Analysis of Rural Landscape Protection and Creation under the Guidance of High-Quality Development of Rural Tourism — A case study on Tianfu Red Valley in Chengdu

In the context of high-quality development of rural tourism, the design of rural landscape is of great significance for inheriting regional culture and protecting local ecology. From the perspective of the planning and design of rural tourism, the authors divide the elements of rural landscape into four aspects: “original” rural environment, “original” rural architecture, “original” production and life, and “original” folk customs. Based on that, the authors then propose to boost the protection and creation of rural landscape from four aspects which are: continuation of the traditions and architectural styles of western Sichuan, protection of rural natural ecology, inheritance of regional traditional culture, and implementation of the strategy of “cultural innovation + rural tourism”, so as to realize the sustainable development of rural landscape.

The creative heritage of icon-painting workshops of women`s Orthodox monasteries of the turn of the 20th century

The relevance of the study of icons and the activities of icon-painting workshops of the 19th–20th centuries is due to a significant number of scientific works published on this topic. Dated icons with captions are of special interest for research, being a reference point in the time space of art history. Due to this, it is possible to attribute a number of works that don’t have captions. The most capacious texts give grounds to determine the exact origin of the monument. The purpose of this work is to identify and introduce into scientific circulation dated works of iconography in the territory of the Altai Krai and the Altai Republic, belonging to the workshops of women's Orthodox monasteries of the turn of the 20th century. This aspect reveals one of the parts of the activity of Orthodox monasteries at the turn of the century, which is reflected in archival documents and preserved monuments. The location of such centers in different regions determines the presence of stylistic differences in the works of iconography. The identified icons have a significant difference in the implementation of technical techniques. The issue of continuity of traditions, preservation of the iconography of the original production and their technological features of execution is presented ambiguously. However, these works are united by an internal mood, a certain rhythm and regularity. The work on identifying the inscriptions confirmed the presence of several monastic images in Orthodox churches, private collections, and Museum collections in Altai krai and the Altai Republic. The presented icons were painted in different monasteries of the country, which are located at a considerable distance from each other, but are identified on the same territory, as a result of their active movement throughout the 20th century. It is important for the region to identify the monuments created in the icon-painting workshops of local monasteries, as the restoration of these monasteries confirms a keen interest in the study of local icon-painting traditions.

Streaming platforms’ contribution to capitalization of local audio-visual producers in Mexico and Canada

This article examines the contribution of streaming platforms in providing financial investment – in the form of co-productions, commissions and acquisitions of audio-visual content – as well as capital returns to local audio-visual producers. It will focus on the North American region, particularly on Mexico and Canada, as gravitating around stronger US audio-visual companies. Studies of traditional audio-visual windows in the countries studied have pointed out the undercapitalization of independent content producers due to financial structures and capital return models that are disadvantageous to them. This article questions: what is streaming’s contribution, as a new commercialization window, to the capitalization of local independent producers? The research conducted a qualitative study of interviews with film producers and distributors as well as an industrial analysis based on previous studies, media and business reports. The research has found that streaming tends to provide: (1) equal or slightly less returns than what the DVD window used to offer; and (2) equal or more generous figures than those delivered by TV and cinema exhibition windows. Furthermore, streaming has promoted a burgeoning production activity – adding to the production from traditional players (film and TV). These are benefits that should not be overlooked. However, streaming has not altered independent producers’ disadvantageous position: (1) revenue shares are still relatively small; (2) licences represent small percentages of what content costs to make; (3) commissioning and co-production budgets are fairly close to production costs; and (4) the boom of platforms’ original production is actually a battle among large corporations to control intellectual property (IP). All the above keep hindering the financial capacity of local independent producers.