Dynamic model tracking design for low inertia, high speed permanent magnet ac motors

Permanent magnet a

Voltage dip generator for testing wind turbines connected to electrical networks

This paper describes a new voltage dip generator that allows the shape of the time profile of the voltage generated to be configured. The use of this device as a tool to test the fault ride-through capability of wind turbines connected to the electricity grid can provide some remarkable benefits: First, this system offers the possibility of adapting the main features of the time–voltage profile generated (dip depth, dip duration, the ramp slope during the recovery process after clearing fault, etc.) to the specific requirements set forth by the grid operation codes, in accordance with different network electrical systems standards. Second, another remarkable ability of this system is to provide sinusoidal voltage and current wave forms during the overall testing process without the presence of harmonic components. This is made possible by the absence of electronic converters. Finally, the paper includes results and a discussion on the experimental data obtained with the use of a reduced size laboratory prototype that was constructed to validate the operating features of this new device

Toward a Topography of Cross-Cultural Theatre Praxis

In this essay we attempt to map out a conceptual framework for analyzing a cluster of related practices subsumed under the broad banner of "cross-cultural theatre". For the purposes of our discussion, cross-cultural theatre encompasses public performance practices characterized by the conjunction of specific cultural resources at the level of narrative content, performance aesthetics, production processes, and/or reception by an interpretive community. The cultural resources at issue may be material or symbolic, taking the form of particular objects or properties, languages, myths, rituals, embodied techniques, training methods, and visual practices - or what James Brandon calls "cultural fragments" (1990:92). Cross-cultural theatre inevitably entails a process of encounter and negotiation between different cultural sensibilities, although the degree to which this is discernible in any performance event will vary considerably depending on the artistic capital brought to a project as well as the location and working processes involved in its development and execution