The Career Of Katherine Dunham Theatre Essay

The Career Of Katherine Dunham Theatre Essay Katherine Dunham modern dancer and choreographer, born in Glen Ellyn, Illinois United States of America, she were completed her study at the Chicago University and went on to earn a higher degree in anthropology. According to Darlene, (2006) turn to the side of dance she began her first school in Chicago in 1931, when she becoming dance director for the works progress administrations project of Chicago theatre. A flashy performer, she was best known for her choreography in such musicals as Cabin in the sky 1940, and for action pictures, notably Stormy Weather 1943. According to Barbara, (2000) Dunham studied abut the dance forms in the Caribbean, especially Haiti where she lived for many years, and is credited with bringing Caribbean and African determines to a European dominated dance world. Her company traveled globally in the 1940s-60s, and she consistently denied performing at segregated venues. According to Joyce, (2002) in 1967 she founded the Performing Arts Training Center fo r inter-city younger in East St Louis, IL, and in 1992 went on a 47-day appetite strike to protestation in resistance to the American banishment of Haitian refugees. Her honours incorporated the Presidential Medal of the Arts (1989) and the Albert Schweitzer Prize. Introduction Dunham is perhaps most well known, however, for her unique blending of anthropology and dance. According to Jessie, (2002) Dunham challenged mainstream academic circles by using her anthropology not only for articles and books, but also as a catalyst for her own artistic dance productions, which heavily drew on the dance forms and cultural rituals she witnessed and documented through total immersion in the cultures she observed. Dunham traveled the world with these productions, bringing African culture, through movements, rhythms and sounds, to the worlds consciousness. This hybrid of anthropology and dance later morphed into what is today known as the Dunham technique, a special type of dance training utilizing movements witnessed in her field work. According to Darlene, (2006) Dunham technique is today studied and practiced around the world. After Dunham retired from dancing, she moved to East St. Louis, a blighted, predominantly African-American city which she hoped to revitalize through establishing a vibrant cultural center. Dunham established there an interactive museum and a dance institute (which continues to teach her technique to students from around the world). Research objectives Dunham desired to experiences this academy the base of enough larger cultural institution that world bring the East St. Louis community with each other. Just as surely as Haiti is overcome through the character of vaudun the island possessed African American Katherine Dunham when she first went there in the year of 1936 for the purpose of study dance and ritual. According to Joyce, (2002) in her book, Dunham discloses how her anthropological research, her work in dance, and her fascination for the people and cults of Haiti worked their trance, catapulting her into experiences that she was often lucky to have had. According to Richard and Joe, (2008) Dunham explain how the island came to be possessed by the deities of voodoo and other African religions, as well as by the deep class distributions, particularly within mulattos and blacks, and the political strife remain enough in evidence at present. Full of flare and suspense, Island Possessed is also a pioneering work in the anthropol ogy of dance and a captivating document on Haitian beliefs and politics. Discussion The book Island Possessed,  details Ms. Dunhams experiences and sentiments of her adopted homeland, from the year 1936 to the late 1960s, and even describes her final initiation into the Vaudoun (Voodoo) religion of the half-island. According to Patrick, (2006) she speaks Haitian Creole fluently, she has owned a beautiful 18th century Haitian estate, Habitation LeClerc for decades, and, in the early 1990s, she put her life on the line and went on an extended hunger strike, when President Aristide was overthrown and forced to leave the country. According to Jane, (2007) Ms. Dunham also adopted a young girl from the French West Indies island of Martinique, back in the 1950s, as further demonstration of her love and commitment to the Diaspora. Introduced to Theater One of those baby-sitters, Clara Dunham, had come to Chicago with her daughter, Irene, hoping to break into show business. They and other amateur performers began rehearsing a musical/theatrical program in the basement of their apartment building, and Dunham would watch. Although the program wasnt a success, it provided Dunham with her first taste of show business. According to Darlene, (2006) Dunham and her brother were very fond of their Aunt Lulu. However, because she was experiencing financial difficulties, a judge granted temporary custody of the children to their half-sister Fanny June Weir, and ordered that the children be returned to their father as soon as he could prove that he could take care of them. Katherine Dunham Katherine Dunham was born June 22, 1909, in Glen Ellyn, Illinois, in DuPage County, and died May 21, 2006 in New York City. Although one of the most important artists (and scholars) of her time, she remains largely unknown outside Dance and African-American studies. According to Darlene, (2006) Sara E. Johnson supposed that the breadth of Dunhams accomplishments is perhaps one explanation for the underappreciation of her work. Dunham worked so hard on so many different things that she remains hard to classify. She almost single-handedly created a genuine artistic and cultural appreciation for the unique aspects of African dance, especially as manifested in African diaspora cultures. According to Joyce, (2002) Dunham was also a serious anthropologist that began her career with ground-breaking studies carried out in Jamaica and Haiti as a student at the University of Chicago. Finally, she was a tireless advocate, who led to a brief arrest during race riots in East St. Louis and a 47 da y hunger-strike carried out at the age of 82 against US discrimination against Haitian refugees. Dunhams Artistic Academic Background This process was, in fact, a remaking of memory through performance. As Hamera reinforces, the practice of he social work of aesthetics is especially communal and corporeal, and where corporeality and sociality are remade as surely as formal event is produced. According to Jessie, (2002) in this sense, Afro-Caribbean culture and sociality voyaged across the Atlantic to the rest of the Americas, Europe, and Asian-wherever the Katherine Dunham Dance Company performed. According to Ruth, (2009) Dunhams Research-to-Performance Method Armed with these researched dances of the black Atlantic and an understanding of their Functional social contexts, Dunhams dance theater became a prime laboratory where Afro- Caribbean cultures could migrate through the performance of her choreography and through the personalities of her individual dancers in the act of performing the Dunham oeuvre. Uncovering Danced Memory Katherine Dunhams earliest written ethnography provides ample proof of her prescience as a fieldworker and scholar in uncovering an ancient African dance surviving in the Caribbean on the island of Jamaica. According to Joyce, (2002) in her fieldwork represented in Journey to Accompong, she utilized a functionalist theoretical frame by recording the various social institutions in relationship to each other in the village of Accompong. Kinship, ownership patterns, religion, work group organizations, clothing and material culture, age, gender (unusual for her time), and social interaction were the sequential subject matters of her chapters. Yet, as she reveals, she had come there to study and take part in the dances. According to Naima, (2001) Accompong was and is one of the maroon villages in the Blue Mountains of Jamaica, having been established by run-a-away slaves from the Spanish as early as 1650 and later the English rulers in the 1690s of these maroons the Coromantees, an Akan g roup from the West African Gold Coast made up the largest ethnic group. They fought many battles with the British and were finally given their independence by England in a treaty signed in 1738. Thus, as a nation within a nation, the maroons of the cockpit region of the Blue Mountains had sufficiently maintained their ways of life for two centuries by the time that Katherine Dunham had arrived to study their dances and ways of life. Enslavement and colonialism had taken its toll even among those so long separated from European influence. But Dunham was determined to unearth a vital expressive part of their successful victory and independence against the British. She would soon discover this same phenomenon among the petwo dances among the Vodou practitioners in Haiti against their French captors. Through her intense engagement of the participatory insider role with the dancing maroons, she gained historical insights that were embedded within the dancing act itself: According to Richard and Joe, (2008) The war dances are danced by men and women. Their songs are in lusty Koromantee, and from somewhere a woman has procured a rattle and shakes this in accompaniment to Ba Weeyums. Some of the men wave sticks in the air, and the women tear off their handkerchiefs and wave them on high as they dance. According to Patrick, (2006) few of these turns, and we are separated in a melee of leaping, shouting warriors; a moment later we are bush fighting, crouching down and advancing in line to attack an imaginary enemy with many feints, swerves and much pantomime. At one stage of the dance Miss May and I are face to face, she no longer is a duppy, but a maroon woman of old days, working the men up to a pitch where they will descend into the cockpit and exterminate one of his majestys red-coated platoons. Afro -Jamaican dances, such as the Coromantee war dance, represent in a direct way the concept of dance itself as having rhetorical voice. As Judith Hamera explains, performance, including dance, is enmeshed in language, in reading, writing, rhetoric, and in voice. Dunham implicitly understood the movement rhetoric of the Coromantee dance and the relationship between its performance and the writing of her ethnographic experience in Jamaica. According to Richard and Joe, (2008) Dunhams willingness to engage the maroon dances on the cultures own terms, treating dance as another social system, allowed her a unique view into the role of the nearly forgotten Koromantee dance as a part of the maroons hard won battle for independence from the British. According to Joyce, (2002) this is a prime example of dances unique rhetorical voice-what dance anthropologist Yvonne Daniel calls embodied knowledge: Community members are in an open classroom with dance and music behavior. These sorts of knowledges are on display as community instruction for social cohesion and cosmic balance, Participants learn from observation, witnessing, modeling and active participation. According to Ira and Faye, (2009) Dunhams implicit understanding of this embodied knowledge established her philosophical foundation that would serve her use of dance and the body, according to Clark, as a repository of memory. Moreover, she trusted her choreographic acumen to represent her understanding of her research, which in the Jamaican case, had been unearthed and cajoled from the continuing, yet reluctant, milieux de mà ©moire lingering in Accompong. According to Richard and Joe, (2008) in her active participation, Dunham was, thus, one of the first to demonstrate the continuity of specific West African dances that served enslaved Africans with similar purposes in the colonial New World. It is significant that this discovery was cognized in the act of dancing, through corporeal immersion in the communal dances of the people. We realize from todays contemporary scholarship the importance of Dunhams early trans-Atlantic performance connections. According to Joyce, (2002) Africanist anthropologist Margaret Drewal revealed in the 1990s that African-based performance. Primary site for the production of knowledge, where philosophy is enacted, and where multiple and often simultaneous discourses are employed. As I have said elsewhere, dance, for African peoples, whether on the continent or in the diaspora, is a means of enacting immediate social context, history, and indeed philosophical worldview. Dunham understood these multiple strat egies embedded within Africanist performance, such as in her treasured Koromantee war dance. Honouring Katherine Dunham as the progenitor of African American dance would be misleading and disrespect the legacy of other African Americans who contributed their own particular ways of knowing movement. According to Jane, (2007) it introduced Bannerman to Pearl Primus. Both Dunham and Primus were pioneering giants in the American dance pantheon with different ways of making dance. Since the programme was ultimately going to comment on the dance practices of African Americans, these two pioneers had to be discussed. According to Ruth, (2009) collecting life stories and reflections on movement and descriptions of individual interactions with works of Dunham and Primus would speak of the diversity that is American dance making than the celebration of any one artist. Dunhams Staged Caribbean Dances of the Black Atlantic Dunham perceived her form of dance-theater as intercultural communication. For example, when international audiences viewed her 1948 ballet Naningo, she was allowing non-Cubans to interact with one of the ritualized ways in which male Afro-Cubans had retained their cosmological secret rituals perpetuated from the Ejagham people of todays Cross-River area of Nigeria. According to Jessie, (2002) Naningo, as an all-male ballet was a fusion of balletic athleticism, Dunham technique (particularly rhythmic torso isolations and the use of the pelvis as the source for extending the legs), and a recontextualization of the movements of the Cuban male secret society called Abakua. Through program notes, the exuberant virtuosity of the dance, and the cryptic Abakua symbolic movements, she transported European audiences to secret enclaves in Cuba that only initiated Abakua members could have previously viewed. She also cast one of her Cuban dancers in the role of a traditional Abakua figure that drums upstage center throughout the entire ballet, as an authentic gaze watching over her appropriated fusion style. According to Barbara, (2000) as the curtain closes, after all the Dunham technique dancers have left, the ballet ends with that figure moving across the stage in enigmatic movement phrases representative of the symbolic language of the Abakua Cuban male society. Secret society rituals, restaged in a secular theatrical setting is not a substitute for being there, but it does transmit an underlying social strategy of male survivors of the Atlantic slave trade, as well as a vision of sacred danced symbolism in that survival strategy. According to Ruth, (2009) Dunham company performed Naningo for people internationally who had no idea that the Abakua society even existed. In the adept hands of knowledgeable researchers like Katherine Dunham, performance becomes another mode of bridging t he cultural gaps that make cross-cultural understanding such a difficult goal to reach. Conclusion In conclusion, life of the Dunham and career are miraculous, and although she was not alone, Dunham is perhaps the best known and most influential pioneer of black dance. She wanted to make a point that African-American and African-Caribbean styles are related and powerful components of dance in America. Performed imagined migration is underpinned by her specific artistic intent and projected audience reception. There are many ways to present dance on radio but a visual image is preferable if the discussion concerns elements of a form. The programme makers can then include descriptions of how the shaping of arms and legs display rhythm or portray expression and how contours of the torso fulfill the dancers intended personification. Radio though is an excellent tool to stir the minds eye especially if the words relate life stories and movement experiences in a descriptive way. Bannerman contacted me to research and be the presenter for the 45-minute programme You Dance Because You Hav e To aired on 21 September 2003. Interested in emerging American dance forms producer, Richard Bannerman submitted a proposal to BBC Radio 3 to make a documentary on Katherine Dunham. Bannerman knew Radio 3 wanted to explore new territories in dance and Katherine Dunhams story was relatively unknown in Britain. Bannerman also found the repertory of The Alvin Ailey Dance Company inspiring and speculated that Katherine Dunhams life would be a good starting point to discuss in a general way, the dance practices of African Americans. In our preliminary meeting it became clear to me that our programme had to respect the diversity of African American practices.

Alliance Concrete Case Analysis Essay

The best estimate for 2006 are shown in the projections for Alliance Concrete. The company is expected to grow its Net Income by $2,350 million. If the company was to pay $3 million in dividends, it would be $11,349 million in retained earnings. If you make no investment in capital expenditure and make payments to your bank loan, the loan would come down to $57,660 million. If the company does not reinvest, it will be at a 50% chance of a problem occurring, which can cause more losses. Just as they did in 2004, not only did it cost $2.6 million to fix the problem but also the company had to close down for 2 weeks, hence the drop in sales for 2004. My recommendation to Alliance Concrete would be to pay off the $7,000 million obligation to the bank which is owed. This would be suggested so you do not default on a loan. It would also put you at the borrowing limit as well. If the company does default on the loan, it will not be a good look for the company. Stock prices and confidence in the company will drop, as people will think that the company cannot pay its bill. After paying off the debt to the bank, I would suggest to allocate the rest of the money towards capital expenditure. It will be necessary for the company to upgrade at least some of the equipment to lower the possibility of something going bad. It would be a total nightmare if the company ran into another problem like the one they faced in 2004, and it may lead to bankruptcy. They may not be able to recover because their debt would go through the roof. That being said, I would skip on the dividend payments and insure that the following year there will be a bigger payment to the stockholder, if everything goes well. The investment into the company would make the company operate better and may even generate more revenue. If I was to renegotiate with the bank, I would put forward the projection of growth. I would highlight the increase in sales and revenue along with showing the effort to pay down the banks loans. I would put forward the current and quick ratio, showing that we have enough money to liquidate the assets to cover our debt in worst case scenario. The company can argue that, even  though the real estate market is slowing down, the company is still showing growth, which is a good sign. If Alliance Concrete was to skip on dividend payments the argument that can be put forth would be that the company is growing and shows signs of great improvement, if we put money into it now. Also that, investment now in the company could mean even more dividend payments in the future. We could also argue that it needs to be skipped because the company needs to put back money into itself because we need to get repairs done. If we pay dividends now, it may not be the best for the company, because we will not be able to get the repairs done that are needed and will cost us more to fix and recover from that problem. After carefully looking at all aspects and possible situations I would suggest that the company skip on the dividends for this year, and invest its money back into the company along with paying of some of the debt. This will be beneficial for all. It will make the company grow all with paying of its loans. The stockholders can be assured that the company is growing and that there will be better dividend payments in the future.

Propeller

ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner DIRECT CURRENT MACHINES Edward Spooner The University Of New South Wales, Australia. Keywords: Electric machines, dc motor, electromagnetic induction, Faraday's Law, commutator. Contents U SA NE M SC PL O E– C EO H AP LS TE S R S 1. Introduction 2. Magnetism and Electromagnetic principles 2. 1. Permanent Magnets 2. 2. Magnetic Field around Conductors 2. 3. Magnetic Field around a Coil 2. 4. Electromagnets 2. 5. Magnetic Strength of Electromagnets 2. 6. Electromagnetic Induction 3. Current Carrying Wires and Coils 3. . Force on a Wire in a Magnetic Field 3. 2. Force and Torque on a Coil in a Magnetic Field 4. Basic Motor Principles 4. 1. The Commutator and Motor Action 4. 2. Simplified Version of the dc Motor 4. 3. Sizes of Machines (related to Torque) 4. 4. Construction of Motors 4. 5. The Stator of a dc Machine 4. 6. Rotor 4. 7. The Commutator 4. 8. Electromotive Force (EMF) in d c Machines 5. Machine equations and circuits 5. 1. Basic Equivalent Circuit of a dc Motor. 5. 2. Direct current Motor Operation & Torque generation 5. 3 DC Machine Torque Equations 5. 4. DC Machine Equations and Speed Regulation . 5. Machine Power and Losses 6. Types of dc Machine 6. 1. Permanent Magnet 6. 2 Shunt Wound 6. 3 Separately Excited 6. 4. Series Connected 6. 5. Compound Connected Motor 7. Stepper Motors 7. 1. General 7. 2. Permanent Magnet Stepper Motors 7. 3. Reluctance Stepper Motors 7. 4. Torque – Step Rate 8. Conclusions  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner Glossary Bibliography Biographical Sketch Summary This chapter gives a background to the principles behind the operation of dc motors and stepper motors.Permanent magnet, shunt, separately excited, series and compound wound dc motor connections are described. A description of the equations behind the basic behavior of these machines is given and the torque vs speed and speed vs armature (voltage and current) characteristics are illustrated, which gives a background to the control of these motors. U SA NE M SC PL O E– C EO H AP LS TE S R S 1. Introduction Electrical machinery has been in existence for many years. The applications of electrical machines have expanded rapidly since their first use many years ago.At the present time, applications continue to increase at a rapid rate. The use of electrical motors has increased for home appliances and industrial and commercial applications for driving machines and sophisticated equipment. Many machines and automated industrial equipment require precise control. Direct current motors are ideal for applications where speed and torque control are required. Direct current motor design and complexity has changed from early times where dc machines were used primarily for traction applications.Direct current motors are used for vario us applications ranging from steel rolling mills to tiny robotic systems. Motor control methods have now become more critical to the efficient and effective operation of machines and equipment. Such innovations as servo control systems and industrial robots have led to new developments in motor design. Our complex system of transportation has also had an impact on the use of electrical machines. Automobiles and other means of ground transportation use electrical motors for starting and generators for their battery-charging systems.Recently there have been considerable developments in electric vehicles and also in hybrid electric vehicles which use a combination of a dc motor and an internal combustion engine for efficient operation. In this chapter machines driven by dc electrical supplies are considered. Since the operation of this type of machine is based upon the flow of current in conductors and their interaction with magnetic fields, common principles that underlie the behavior of dc machines will be examined first. 2. Magnetism and Electromagnetic PrinciplesMagnetism and electromagnetic principles are the basis of operation of rotating electrical machines and power systems. For this reason, a review of basic magnetic and electromagnetic principles will be given.  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner 2. 1. Permanent Magnets Permanent magnets are generally made of iron, cobalt, nickel or other ‘hard’ magnetic materials, usually in an alloy combination. The ends of a magnet are called north and south poles.The north pole of a magnet will attract the south pole of another permanent magnet. A north pole repels another north pole and a south pole repels another south pole. The two laws of magnetism are: 1) Unlike poles attract (see Figure 1); 2) Like poles repel (see Figure 2). U SA NE M SC PL O E– C EO H AP LS TE S R S The magnetic field patterns when two permanent magnets are placed end to end are shown in Figures 1 and 2. When the magnets are farther apart, a smaller force of attraction or repulsion exists. A magnetic field, made up of lines of force or magnetic flux, is set up around any magnetic material.These magnetic flux lines are invisible but have a definite direction from the magnet’s north to south pole along the outside of the magnet. When magnetic flux lines are close together, the magnetic field is stronger than when further apart. These basic principles of magnetism are extremely important for the operation of electrical machines. Figure 1: Unlike poles attract Figure 2: Like poles repel 2. 2. Magnetic Field around Conductors Current-carrying conductors, such as those in electrical machines, produce a magnetic field. It is possible to show the presence of a magnetic field around a current-carrying conductor.A compass may be used to show that magnetic flux lines around a conductor are circ ular in shape.  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner A method of remembering the direction of magnetic flux around a conductor is the right-hand â€Å"cork-screw† rule. If a conductor is held in the right hand as shown in Figure 3, with the thumb pointing in the direction of current flow from positive to negative, the fingers then encircle the conductor, pointing in the direction of the magnetic flux lines. U SA NE M SC PL O E– C EO H AP LSTE S R S Figure 3: Right-hand rule The circular magnetic field is stronger near the conductor and becomes weaker at a greater distance. A cross-sectional end view of a conductor with current flowing toward the observer is shown in Figure 4. Current flow towards the observer is shown by a circle with a dot in the centre. Notice that the direction of the magnetic flux lines is counter-clockwise, as verified by using the right-ha nd rule. Figure 4: Current out of the page When the direction of current flow through a conductor is reversed, the direction of the magnetic lines of force is also reversed.The cross-sectional end view of a conductor in Figure 5 shows current flow in a direction away from the observer. Notice that the direction of the magnetic lines of force is now clockwise. Figure 5: Current into the page  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner When two conductors are placed parallel to each other, and the direction of current through both of them is the same, the magnetic field lines amalgamate to become one and the two conductors attracted together. See Figure 6. Figure 6: Two parallel conductors U SA NE M SC PL O E– C EOH AP LS TE S R S The presence of magnetic lines of force around a current-carrying conductor can be observed by using a compass. When a compass is moved around the o utside of a conductor, its needle will align itself tangentially to the lines of force as shown in Figure 7. Figure 7: Field's effect on a compass When current flow is in the opposite direction, the compass polarity reverses but remains tangential to the conductor. 2. 3. Magnetic Field around a Coil The magnetic field around one loop of wire is shown in Figure 8. Figure 8: Loop of wire  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol.III – Direct Current Machines – Edward Spooner U SA NE M SC PL O E– C EO H AP LS TE S R S Magnetic flux lines extend around the conductor as shown when current passes through the loop. Inside the loop, the magnetic flux is in one direction. When many loops are joined together to form a coil as shown in the Figure 9, the magnetic flux lines surround the coil as shown in Figure 10. The field produced by a coil is much stronger than the field of one loop of wire. The field produced by a coil is simil ar in shape to the field around a bar magnet. A coil carrying current, often with an iron or steel core inside it is called an electromagnet.The purpose of a core is to provide a low reluctance path for magnetic flux, thus increasing the flux that will be present in the coil for a given number of turns and current through the coil. Figure 9: Coil formed by loops Figure 10: Cross-sectional view of the above coil 2. 4. Electromagnets Electromagnets are produced when current flows through a coil of wire as shown below. Almost all electrical machines have electromagnetic coils. The north pole of a coil of wire is the end where the lines of force exit, while the south polarity is the end where the lines of force enter the coil.To find the north pole of a coil, use the right-hand rule for polarity, as shown in Figure 11. Grasp the coil with the right hand. Point the fingers in the direction of current flow through the coil, and the thumb will point to the north polarity of the coil. When the polarity of the voltage source is reversed, the magnetic poles of the coil reverse. Figure 11: Finding the north pole of an electromagnet  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner The poles of an electromagnet can be checked by placing a compass near a pole of the electromagnet.The north-seeking pole of the compass will point toward the north pole of the coil. 2. 5. Magnetic Strength of Electromagnets The magnetic strength of an electromagnet depends on three factors: (1) the amount of current passing through the coil, (2) the number of turns of wire, and (3) the type of core material. The number of magnetic lines of force is increased by increasing the current, by increasing the number of turns of wire, by decreasing any air gap in the path of the magnetic flux, or by using a more desirable type of core material. . 6. Electromagnetic Induction U SA NE M SC PL O E– C E O H AP LS TE S R S The principle of electromagnetic induction is one of the most important discoveries in the development of modern electrical technology. Electromagnetic induction is the induction of electric voltage in an electrical circuit caused by a change in the magnetic field coupled to the circuit. When electrical conductors, such as alternator windings, are moved within a magnetic field, an electrical voltage is developed in the conductors.The electrical voltage produced in this way is called an induced voltage. A simplified illustration showing how induced voltage is developed is shown in Figure 12. Michael Faraday developed this principle in the early nineteenth century. Figure 12: Faraday's Law If a conductor is placed within the magnetic field of a horseshoe magnet so that the left side of the magnet has a north pole (N) and the right side has a south pole (S), magnetic lines of force travel from the north pole of the magnet to the south pole.The ends of the conductor i n Figure12 are connected to a volt meter to measure the induced voltage. The meter can move either to the left or to the right to indicate the direction and magnitude of induced voltage. When the conductor is moved, the amount of magnetic flux contained within the electrical circuit (which includes the wire and the connections to the meter and the meter itself) changes. This change induces voltage through the conductor. Electromagnetic induction takes place whenever there is a change in the amount of flux coupled by a circuit.In this case the motion of the conductor in the up direction causes more magnetic flux to be contained within the circuit and the meter  ©Encyclopedia of Life Support Systems (EOLSS) ELECTRICAL ENGINEERING – Vol. III – Direct Current Machines – Edward Spooner needle moves in one direction. Motion of the conductor in the down direction causes less magnetic flux to be coupled by the circuit and the meter needle moves in the opposite directi on. The principle demonstrated here is the basis for large-scale electrical power generation.In order for an induced current to be developed, the conductor must be in a complete path or closed circuit, the induced voltage will then cause a current to flow in the circuit. 3. Current Carrying Wires and Coils The basic requirement of any electrical machine, whether ac or dc, is a method of producing torque. This section explores how two magnetic fields in a machine interact to produce a force which produces a torque in a rotating machine. U SA NE M SC PL O E– C EO H AP LS TE S R S – TO ACCESS ALL THE 34 PAGES OF THIS CHAPTER, Visit: http://www. eolss. net/Eolss-sampleAllChapter. spx Bibliography Clayton, Albert E. , Hancock N. N. [1959] â€Å"The performance and design of direct current machines. † Pitman Edwards J. D. (1991) â€Å"Electrical machines and drives : an introduction to principles and characteristics. † Basingstoke : Macmillan Fitzgerald A. E. , Kinglsey C. Jr. , (1961) â€Å"Electric Machinery† 2nd Edition, McGraw Hill. [Comprehensive text on electric machines. ] Guru B. S. , Hiziroglu H. R. , (2001) â€Å"Electric Machinery and Transformers† 3rd Edition, New York, Oxford University Press. [Good general text on electrical engineering including machines. Say M. G. (1983). Alternating Current Machines, 5th Edition, London: Pitman. [This covers the more advanced theory of electrical machines] Biographical Sketch E. D. Spooner graduated from the University New South Wales, Australia, and obtained his ME in 1965. He is currently a project leader for Australia’s Renewable Energy Systems testing Laboratory and Lecturer in Electrical Engineering. His research has covered power electronics and drives and is currently focused in renewable energy systems.  ©Encyclopedia of Life Support Systems (EOLSS)

Curbing Deaths Caused by Smoking Free Essay Example, 2250 words

The intention of this proposal is as part of a consultation report as requested by the World Health Organization. Its recent campaign to have the all tobacco-related products have warning signs seems not to be yielding the expected results. This has led to the need for this work. The report of our consultation will describe another means of curbing this menace that will not only prove to be workable but also effective. To be specific and objective we will use New Zealand as a case study. Cigarette smoking is the single biggest cause of avoidable loss of life and illness in New Zealand. Approx 4500 to 5000 New Zealanders die each year from their own smoking or exposure to the smoking of others. Cigarette smoking is a top cause of melanoma, serious respiratory illnesses and cardiac arrests, such as heart attacks and strokes. The Government is serious about decreasing the tremendous damage, struggling and loss of life that smoking causes. It is important problem for the nation s public wellness. New Zealand has a long reputation for applying actions to reverse the damages of smoking. We will write a custom essay sample on Curbing Deaths Caused by Smoking or any topic specifically for you Only $17.96 $11.86/page Among these choices, the Government is now considering a plain-packaging program for tobacco products to further prevent smoking, decrease smoking occurrence and improve inhabitant s wellness. Purpose of this document The goal of this assessment papers is to: i. Set out the Government s plain-packaging proposal ii. Collect the opinions of fascinated people, companies and organizations iii. Notify New Zealand s business associates and encourage their comment iv. Search for more information based on the offer. v. Recommend this moves to the entire world once its success is proven