critical production
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Inventions ◽  
2021 ◽  
Vol 7 (1) ◽  
pp. 8
Author(s):  
Vitaliy A. Yemelyanov ◽  
Anton A. Zhilenkov ◽  
Sergei G. Chernyi ◽  
Anton Zinchenko ◽  
Elena Zinchenko

The paper presents data on the problems of monitoring and diagnosing the technical conditions of critical production facilities, such as torpedo ladle cars, steel ladles. The accidents with critical production facilities, such as torpedo ladle cars, lead to losses and different types of damages in the metallurgical industry. The paper substantiates the need for a mathematical study of the operation process of the noted critical production facilities. A Markovian graph has been built that describes the states of torpedo ladle cars during their operation. A mathematical model is presented that allows determining the optimal frequency of diagnostics of torpedo ladle cars, which, in contrast to the existing approaches, take into account the procedures for preventive diagnostics of torpedo ladle cars, without taking them out of service. Dependence of the utilization coefficient on the period of diagnostics of PM350t torpedo ladle cars was developed. The results (of determining the optimal period of diagnostics for PM350t torpedo ladle cars) are demonstrated. The system for automated monitoring and diagnosing the technical conditions of torpedo ladle cars, without taking them out of service, has been developed and described.


2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Ibrahim Yahaya Wuni ◽  
Geoffrey Qiping Shen

Purpose The factory production stage constitutes the bridge in the supply chains of modular integrated construction (MiC) projects. It embodies the fundamental differences between MiC and site-based construction. However, there is a poverty of knowledge of the uncertainties and risk events at the production stage. This study aims to investigate the critical production risk factors (PRFs) for MiC projects. Design/methodology/approach Comprehensive literature research and expert review identified and validated 22 candidate PRFs for MiC projects. A structured questionnaire survey was then used to gather opinions of domain experts in 18 countries on the relative impact of the validated PRFs for MiC projects. The collected data were analysed using multiple statistical techniques. Findings Statistical analysis identified nine critical PRFs for MiC projects. The top five include dimensional conflicts between modules during production; delays in production materials procurement; defective design; design information gap between designer and manufacturer; and limited capacity of manufacturers. Originality/value The study addressed the gap associated with identifying critical risk factors peculiar to the factory production stage of MiC projects. Its novelty lies in providing an opposite assessment of severities and prioritization of critical PRFs for MiC projects. The prioritized critical PRFs for MiC projects may inform resource allocation. Thus, it provides valuable information to MiC production specialists and project managers in their production risk planning and management strategies. The identified PRFs contribute to the theoretical checklist of MiC supply chain risk factors and may assist practitioners in assessing the severity levels of the PRFs of their MiC projects.


2021 ◽  
pp. 75-91
Author(s):  
Soraya Martins Patrocínio
Keyword(s):  

O presente artigo busca refletir como o teatro, lugar da partilha de sensibilidades, apresenta-se como meio fabular de fazer emergir performances que criam e recriam histórias e identidades e se abre para lugares outros na organização do sensível, ao estabelecer discursos e imagens outras acerca  da negrura, como possibilidade mesma de elaboração de uma perspectiva que potencialize outros saberes, tradições e subjetividades. Os teatros pensados, realizados, encenados/performados por artistas negras e negros podem aparecer como uma forma de lançar mão dos corpos da negrura como imagem-texto, inventariar outras imagens possíveis para esses corpos e criar imagens e narrativas que faltam. São teatralidades carregadas de uma “politicidade sensível”, que fundam espaços de cena em que a não separação nítida entre realidade e ficção representa a possibilidade de voltar ao passado e extrair dele outras narrativas para recoreografar as lacunas da memória e alinhavar histórias que se constituem nos tempos do vivido e do contado. Nesse sentido, a prática teatral pode ser uma importante ferramenta de luta e de educação antirracista, na medida em que traduz a experiência e a memória do negro no Brasil; destrói os estereótipos que reproduzem os preconceitos raciais; e processa a reposição do negro de objeto enunciado a sujeito enunciador da sua própria história e subjetividade.


2021 ◽  
Vol 93 ◽  
pp. 107225
Author(s):  
Vitaliy Yemelyanov ◽  
Sergei Chernyi ◽  
Nataliya Yemelyanova ◽  
Vijayakumar Varadarajan

Author(s):  
Kanako W. Ide

Numerous discussions can be had around the theme of education, democracy, and the performing arts. In addition to requiring an engagement of multidisciplinary understandings, these terms are difficult to define. To create an integrated discussion of education, democracy, and the performing arts, selective assembly is inevitable, but a procedure to shape it has to be carefully engaged. By using the philosophy of education discussion on the value of democracy, however, these themes can begin to be framed in relation to one another. We apply a philosophical framework that applies both traditional values, as well as the value of difference, as methods of maintaining democratic society. By looking at these themes through three moral values of democracy—the value of tradition, the value of difference, and the value of renewal through the accommodation of both—three further classifications can be drawn, dividing the dance-oriented performing arts into categories of Classical Production, Critical Production, and Innovative Production. Each of these performing arts production categories can be taken as a reflection of one of the democratic values: Classical Production represents the value of tradition, Critical Production represents the value of diversity, and Innovative Production represents the value of renewal through accommodation. By applying to these categories the examples of specific performing arts productions, artists’ training and education, and associated performance interpretations, we can consider the ways in which the aesthetic experiences of each type of performing arts production educate spectators as well as artists about democratic values at the level of physical sensations, mental processes, and emotions. Through an articulation of the distinctive aesthetic characters of each type of performing arts production in their specific contexts, their differences can function as an educational discussion, supporting the exploration of different aspects of democratic educational values, rather than in elevating the values of one form of performing arts over another. All aesthetic experiences provided by these types of performing arts function as distinctive educational moments of democracy, for artists and spectators alike, through the medium of physical movement and sensation.


2021 ◽  
Vol 36 (O1) ◽  
pp. 20-24
Author(s):  
Johanna Pohl ◽  
Anja Höfner ◽  
Erik Albers ◽  
Friederike Rohde

High energy consumption and data traffic, critical production conditions and proprietary software ensure that the production and use of digital technologies and applications have so far been environmentally and socially problematic. We present basic approaches and policy measures for a sustainable design of hardware and software.


2020 ◽  
Vol 98 (Supplement_4) ◽  
pp. 211-212
Author(s):  
Alexis Julian ◽  
Derek Scasta ◽  
Barton Stam ◽  
Brian Sebade ◽  
Chad M Page ◽  
...  

Abstract Supplementation strategies and nutritional management of ewes during critical production periods of breeding and gestation is an important consideration, particularly when ewes are on winter range. Clinical and subclinical trace mineral deficiencies at these times limit ewe productivity in these extensive environments. The objectives of this study were to (1) quantify mineral element concentrations of common forages on winter range, and (2) evaluate producer supplementation strategies using a survey. We hypothesized that mineral element concentrations in winter forages were inadequate to meet ewe requirements during critical production stages and shrub species would contain higher levels of macro- and micro-mineral element concentrations than grass species. Forage samples were collected from 25 ranches across Wyoming winter range and were compiled by species and analyzed for nutrient and mineral element composition; however, data presented herein represents the first year of data collection (12 of 25 ranches). Nutrient and mineral element concentration results indicated an effect in CP, Ca, P, K, Mg, S, Na, Zn, Cu, Se, Mn, and Mo concentrations between grass and shrub species (P < 0.05). Specifically, Mg and Mo concentrations were higher in grasses while the other mineral element concentrations were higher in shrubs. No effect was observed for Fe and Co concentrations between grass and shrub species (P = 0.37 and P = 0.29). Survey results revealed that 80% of ranches had more than 1000 sheep, and 47% of respondents utilized winter range for 131 to 170 day periods throughout production year. While on winter range the majority of producers (47%) supplement with a protein source. Additionally, 58% do not supplement white salt, while 47% supplement a complete trace mineral mix.


PMLA ◽  
2020 ◽  
Vol 135 (5) ◽  
pp. 970-975
Author(s):  
Michael Bérubé

It is notable that Pardis Dabashi's paper at the 2019 MLA convention, “the pressure to intervene: A case for the modest (Young) Critic,” caused such a stir—insofar as it mounted a gentle argument against ritual stir-causing, and the gentleness of the argument was central to its point. As Dabashi wrote, “the language of the scholarly intervention—that is, the articulation of the stakes of one's argument—has a way of ossifying hunches into convictions” (4). The idea, clearly, was to ratchet down the level of agon and hubris in scholarly debate and to foreground the perspectives of younger scholars making their first forays into the fray: “since thus far the post-critical debates held in widely circulated and visible academic forums have mostly been conducted among professionally secure, mid-late career scholars, we've not yet had the chance to discuss the kind of epistemic modesty that matters very deeply to early-career-stage scholars now, that is, scholars entering graduate programs in or around 2008” (2). Dabashi suspects, at least as this professionally secure, mid-to-late-career scholar hears her, that the cohort entering the desiccated post-2008 (and especially post-2015) job market does not see the profession in the terms that have dominated debate about the purpose of criticism over the past ten or twelve years: The field of critical production for us is deeply heterogenous, syncretic: the mixing of critical and (at least some) postcritical methods has become something we take for granted. And early-career scholars of this generation—who don't really have a horse in the race of re-orientating ourselves vis-à-vis the text—would advocate instead, it seems to me, for re-orienting ourselves vis-à-vis each other—that is, laterally, scholar to scholar. (3)


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