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PROCESSING OF CUBIC STABILIZED ZIRCONIA ELECTROLYTE MEMBRANES FOR ELECTROLYTE-SUPPORTED SINGLE CELL SOLID OXIDE FUEL CELLS USING TAPE CASTING
Title
PROCESSING OF CUBIC STABILIZED ZIRCONIA ELECTROLYTE MEMBRANES FOR ELECTROLYTE-SUPPORTED SINGLE CELL SOLID OXIDE FUEL CELLS USING TAPE CASTING.
Creator
Coronado Rodriguez, Arturo, Orlovskaya, Nina, University of Central Florida
Abstract / Description
Electrochemical conversion devices are a developing technology that prove to be a viable and more efficient alternative to current environmentally friendly generation devices. As such, constant research has been done in the last few decades to increase their applications and reliability. One of these systems, and the focus of this research, is the single cell Solid Oxide Fuel Cell (SOFC). These systems are a developing technology which main caveat is the need of high operating temperatures...
Show moreElectrochemical conversion devices are a developing technology that prove to be a viable and more efficient alternative to current environmentally friendly generation devices. As such, constant research has been done in the last few decades to increase their applications and reliability. One of these systems, and the focus of this research, is the single cell Solid Oxide Fuel Cell (SOFC). These systems are a developing technology which main caveat is the need of high operating temperatures and costs. As such, most multidisciplinary research has been focused on researching materials and/or processes that help mitigate the costs or lower the operating temperature. The research presented in this paper focused on the manufacturing of a cubic stabilized zirconia (CSZ) electrolyte thin membrane for a single cell SOFC through tape casting. Thus, the process was divided into slurry preparation, tape casting, further processing, and analysis of samples. First the tape was produced reaching optimal viscosity (between 500 to 6000 cP) and minimizing impurities. Then, the slurry was poured into the doctor's blade with a 200 micrometers gap and allowed to dry. Samples were punched from the green tape with a diameter of 28 inches. Afterwards, these samples were pressed and sintered with a force of 218016 N and temperature of 1550 degrees celsius, respectively. These steps are done to maximize density and grain growth and minimize porosity. Lastly, the tape went further analysis and it was stated that further research should be done to determine this tape viability for stationary SOFC application.
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Date Issued
2018
Identifier
CFH2000414, ucf:45838
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000414
Advanced castes at the outset of eusociality in wasps (Vespidae)
Title
Advanced castes at the outset of eusociality in wasps (Vespidae).
Creator
Piekarski, Patrick, Sharanowski, Barbara, Carpenter, James, Hoffman, Eric, University of Central Florida
Abstract / Description
A dominating and widespread view is that evolutionary change is gradual and waits upon mutation. Likewise, it is thought that workers and queens of eusocial insects diverged gradually and stepwise. That is, rudimentary castes preceded advanced castes. This paradigm hinges on eusociality having evolved once in Vespidae, and primitively eusocial paper wasps lacking ontogenetic caste biasing (differentiation of castes during larval development). Using a phylogenomic approach this study shows...
Show moreA dominating and widespread view is that evolutionary change is gradual and waits upon mutation. Likewise, it is thought that workers and queens of eusocial insects diverged gradually and stepwise. That is, rudimentary castes preceded advanced castes. This paradigm hinges on eusociality having evolved once in Vespidae, and primitively eusocial paper wasps lacking ontogenetic caste biasing (differentiation of castes during larval development). Using a phylogenomic approach this study shows strong evidence for two origins of eusociality in vespid wasps, wherein one origin is likely characterized by the sudden appearance of castes with physiological, and perhaps even morphological, differences established before adulthood (i.e. advanced castes). Ontogenetic caste biasing was likely present at the outset of eusociality in the most recent common ancestor of paper wasps, yellowjackets and hornets. This suggests that the definitive, non-temporal castes of eusocial wasps evolved from interactions between mothers and daughters, rather than same generation females. These results challenge the idea that castes began with only rudimentary differences. A model of stepwise caste divergence, which assumes an independent mutation event for each phenotypic caste difference, is unwarranted. It is hypothesized that phenotypic plasticity and cryptic genetic variation may explain how some eusocial societies emerged, and began with advanced castes. The results suggest that evolution can produce alternative phenotypes with many aspects of the phenotype being discrete at the outset. Thus, the emergence and divergence of castes in eusocial vespids was not necessarily a gradual process.
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Date Issued
2017
Identifier
CFE0006640, ucf:51240
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006640
A DECISION SUPPORT SYSTEM METHODOLOGY FOR THE SELECTION OF RAPID PROTOTYPING TECHNOLOGIES FOR INVESTMENT-CAST GAS TURBINE PARTS
Title
A DECISION SUPPORT SYSTEM METHODOLOGY FOR THE SELECTION OF RAPID PROTOTYPING TECHNOLOGIES FOR INVESTMENT-CAST GAS TURBINE PARTS.
Creator
Gallagher, Angela, Geiger, Christopher, University of Central Florida
Abstract / Description
In the power generation sector, more specifically, the gas turbine industry, competition has forced the lead time-to-market for product advancements to be more important than ever. For design engineers, this means that product design iterations and final product development must be completed within both critical time windows and budgetary constraints. Therefore, two areas that have received significant attention in the research and in practice are: (1) rapid prototyping technology development...
Show moreIn the power generation sector, more specifically, the gas turbine industry, competition has forced the lead time-to-market for product advancements to be more important than ever. For design engineers, this means that product design iterations and final product development must be completed within both critical time windows and budgetary constraints. Therefore, two areas that have received significant attention in the research and in practice are: (1) rapid prototyping technology development, and (2) rapid prototyping technology selection. Rapid prototyping technology selection is the focus of this research. In practice, selecting the rapid prototyping method that is acceptable for a specific design application is a daunting task. With technological advancements in both rapid prototyping and conventional machining methods, it is difficult for both a novice design engineer as well as an experienced design engineer to decide not only what rapid prototyping method could be applicable, but also if a rapid prototyping method would even be advantageous over a more conventional machining method and where in the manufacturing process any of these processes would be utilized. This research proposes an expert system that assists a design engineer through the decision process relating to the investment casting of a superalloy gas turbine engine component. Investment casting is a well-known technique for the production of many superalloy gas turbine parts such as gas turbine blades and vanes. In fact, investment-cast turbine blades remain the state of the art in gas turbine blade design. The proposed automated expert system allows the engineer to effectively assess rapid prototyping opportunities for desired gas turbine blade application. The system serves as a starting point in presenting an engineer with commercially-available state-of-the-art rapid prototyping options, brief explanations of each option and the advantages and disadvantages of each option. It is not intended to suggest an optimal solution as there is not only one unique answer. For instance, cost and time factors vary depending upon the individual needs of a company at any particular time as well as existing strategic partnerships with particular foundries and vendors. The performance of the proposed expert system is assessed using two real-world case studies. The first case study shows how the expert system can advise the design engineer when suggesting rapid manufacturing in place of investment casting. The second case study shows how rapid prototyping can be used for creating part patterns for use within the investment casting process. The results from these case studies are telling in that their implementations potentially result in an 82 to 94% reduction in design decision lead time and a 92 to 97% cost savings.
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Date Issued
2010
Identifier
CFE0003338, ucf:48469
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003338
CHARACTERIZATION AND AQUEOUS COLLOIDAL PROCESSING OF TUNGSTEN NANO-POWDERS
Title
CHARACTERIZATION AND AQUEOUS COLLOIDAL PROCESSING OF TUNGSTEN NANO-POWDERS.
Creator
Yang, Zhengtao, Sohn, Yongho, University of Central Florida
Abstract / Description
Extensive attention has been paid to consolidate nanoparticles into nanocrystalline components that possess better properties than their coarse-grained counterparts. Nanocrystalline monolithic tungsten (W) has been envisaged to possess better properties than coarse-grained tungsten and to improve the performance of many military components. Commercially available nano-W powders were characterized via X-ray diffraction (XRD), scanning electron microscopy (SEM), transmission electron microscopy...
Show moreExtensive attention has been paid to consolidate nanoparticles into nanocrystalline components that possess better properties than their coarse-grained counterparts. Nanocrystalline monolithic tungsten (W) has been envisaged to possess better properties than coarse-grained tungsten and to improve the performance of many military components. Commercially available nano-W powders were characterized via X-ray diffraction (XRD), scanning electron microscopy (SEM), transmission electron microscopy (TEM), X-ray photoelectron spectroscopy (XPS), Auger electron spectroscopy (AES) and Brunauer, Emmett, and Teller (BET) measurement. While the bulk of nano-W powders consisted of bcc-W as confirmed by XRD and TEM, much of their surface consisted of WO3 with traces of WO2 and WC. Despite the irregular morphology and agglomerates greater than 1 m in size, the diameter of individual nano-W powders ranged from 30 to 100 nm with a surface area of 10.4 m2/g. To obtain green bodies of higher densities and more homogeneous microstructures after consolidation, W nanopowders were de-agglomerated in water and slip cast in plaster molds. De-agglomeration in water was conducted by repeated ultrasonication, washing, centrifuge and pH adjustment. The change in particle size and morphology was examined via SEM. After the initial surface oxide was removed by repeated washing, the reactivity of W nanoparticles to water was somewhat inhibited. Increasing the number of cycles for ultrasonication and washing increased the pH, the degree of de-agglomeration and the stability of W suspension. The zeta potential was more negative with increasing pH and most negative at pH values close to 5. Viscosity also decreased with increasing pH and reached a minimum at a pH 5. To obtain the highest solid loading with the lowest viscosity, the pH value of W suspension was adjusted to 5 using aqueous tetramethylammonium hydroxide solutions. The relative density of the slip cast increased with longer ultrasonic time, increasing slurry pH up to 5, and consequent increase in solids loading. Smaller particles were separated from larger ones by ultrasonication, washing with water and centrifugation. At a 27.8 vol.% solids loading, the size-separated fine W slurry was slip cast into pellets with relative green densities up to 41.3 % and approximate particle sizes of 100 nm. W powders were also ultrasonicated in aqueous poly (ethyleneimine) (PEI) solutions with various concentrations. SEM examinations of particle sizes showed that 1 wt.% PEI led to the optimum dispersion and ultrasonication for longer time with a low power resulted in better dispersion. 0.5 g of W powders were ultrasonicated in 10 ml aqueous poly (allylamine hydrochloride) (PAH) solutions with molar concentrations ranging from 0.01 to 0.05 M. W suspensions with 0.03 M and 0.04 M PAH after two washing cycles showed improved dispersion. Cold isostatic pressing can further increase the green density following slip casting. Sintered slip casts made from de-agglomerated nanoparticle W showed a lower density, more uniform microstructure, smaller grains and smaller pores than the sintered dry pressed pellets.
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Date Issued
2009
Identifier
CFE0002706, ucf:48144
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002706
DIRECTION OF REFLECTION: THE MEANS BY WHICH ONE ESTABLISHES DIRECTORIAL AND CHOREOGRAPHIC PROFICIENCY
Title
DIRECTION OF REFLECTION: THE MEANS BY WHICH ONE ESTABLISHES DIRECTORIAL AND CHOREOGRAPHIC PROFICIENCY.
Creator
Wood, Nicholas, Weaver, Earl, University of Central Florida
Abstract / Description
Introduction I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF's Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4...
Show moreIntroduction I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF's Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4) Directorship and choreography of Welcome to Broadway, an original jukebox musical; and (5) Assistant to the Program Director of Broadway Theatre Project. I evaluated parallels of my directing and choreography methodologies with those of noted directors and choreographers in the entertainment industry. These industry professionals include famed choreographer Ernest O. Flatt, Ron Field, Hermes Pan, Joe Layton, and Lee Theodore, acclaimed directors Harold Clurman, Dr. Louis E. Catron, and Jon Jory, and prolific director-choreographers Patricia Birch, Donald Saddler, Bob Avian, Bob Fosse, Tommy Tune, and Michael Bennett, as well as Professor Weaver. I have worked for people who believe that experience alone is enough to make one a successful director, choreographer, or director-choreographer. My experience working with and observations of professional directors, choreographers, and director-choreographers, however, has proven that it takes more than experience alone in order to succeed. I predicted the process of establishing my own directorial and choreographic proficiency will stem from a combination of inspiration, mentorship, trial and error, and experience. Background A director coordinates and mounts theatrical productions while unifying the script, design elements, and cast to serve the world of the play. By dictionary definition, a director is, "�a person who supervises the production of a show for stage or screen with responsibility for action and rehearsals" (Webster 414). Underneath the producer, the director serves as the apex of the production. As compared to directors, choreographers fill a more visually aesthetic capacity in musical theatre. A choreographer is "�a person who designs or arranges the movement of a dance" (Webster 259). The choreographer acts in lieu of the director wherever there is music and step sequence. This is the case with exception being given to the director-choreographer. In an interview with Svetlana McLee Grody, Donald Saddler, original member of the American Ballet Theatre, expressed, "...director choreographer really give a musical a whole concept, a patina of style. Their contribution is a good 40 - 50 percent of the success of the show" (Grody and Lister 16). Experiences I will explicitly reflect on four profound career proceedings. Each will be as an effort to learn to become a better director-choreographer. These observations will chronicle an insightful phase of my learning process. Welcome to Vegas Welcome to Vegas is an original jukebox musical I authored, produced, directed, and choreographed. It was intended that the production would be a cathartic experience for the audience, allowing them to escape from the confines of everyday life by entering the humorous, loquacious, and musical world of the play. The story chronicles the triumphs and misadventures of a struggling young man in New York. When this waiter-by-day, singer-by-night becomes the opening act of a famous Vegas lounge singer, he embarks on an outrageous and witty journey across America in his Pontiac GTO. The musical's book was written while I attended my first semester at the University of Central Florida. The absurd vignette-style scenes were inspired by the sketch comedy of The Carol Burnett Show and the staging of Ernest O. Flatt. The production rehearsed four days per week for nine weeks and utilized a cast of 17 performers who ranged in age from 6 to 67. During production numbers, I drew strongly on the choreographic and visual inspiration of Bob Fosse, utilizing knocked-knees, sickled feet, 1960s movement influence, and a significant use of props, white gloves, fishnet tights, and bowler hats. I used this choreographic and visual concept to create a fervent contrast to the set and costumes, which emulated the visual aesthetics of Stan Lee's comic books. Nine With music and lyrics by Maury Yeston and a script by Arthur Kopit, Nine is a dark musical based on Federico Fellini's 8 1/2 and catalogues "...the last days of a director's once brilliant career" (Kopit 66). As the Assistant Director and Co-Choreographer, I was mentored by and worked directly under Professor Earl Weaver, Artistic Director of Theatre UCF. Upon entering my apprenticeship, I anticipated an authoritarian relationship where I would serve as a supervisory assistant, without exploiting my creative skills. To my pleasant revelation, I served as an intimate and integral component of the production's artistic process, conceptualizing choreography, staging three numbers, and giving notes, in addition to the duties of a managerial assistant. I created a choreographic vision for my work by fusing the styles of the Parisian Folies Bergere with American burlesque, Metro-Goldwyn-Mayer Golden Age movie musicals, and, of course, Bob Fosse's sensual silkiness. I did this while attempting to blend with and compliment Professor Weaver's choreographic style that resided within his world of the production. Welcome to Broadway Welcome to Broadway is an original jukebox musical I authored, produced, directed, and choreographed. My directorial style was greatly influenced by Professor Weaver, after observing his methodologies on Nine. My choreographic style strongly had been inspired by Bob Fosse and Michael Bennett. The production opened and ran for a nearly sold out engagement. My intention for the show was to encapsulate all the magic of the MGM Golden Age movie musicals into 105 minutes, featuring a cast of 25 entertainers, ranging in skill from first production to Equity veteran. My script was highly inspired by the cliche romanticism of Hollywood hits, such as Casablanca, Royal Wedding, Holiday Inn, The Public Enemy, and White Christmas. The story picks up where Welcome to Vegas left off. Michael, the formerly struggling young artist, has now made a name for himself, has inherited a production company, and is about to open his first show on Broadway when things begin to go awry. A jealous, washed-up producer has concocted an outrageous scheme to get rid of Michael on opening night. Chaos ensues behind the scenes, while the show must go on in front of the curtain. My scenic vision was to capture the auspicious spectacle of Footlight Parade, Mary Poppins, and Singing in the Rain. In post-show reflection, I realized my production displayed some similarities to Susan Stroman's succinct comedic timing and physical humor and Hal Prince's fast, moment-to-moment pace, leading me to believe that, perhaps, I had been subconsciously influenced by their works. Broadway Theatre Project Broadway Theatre Project celebrating its 26th anniversary as a summer intensive that Playbill.com refers to as "...the world's most prestigious musical theatre arts education program for high school and college students" (Broadway Theatre Project web). Entering my third year with the project, I serve as the Assistant to the Program Director and Director of Public Relations. My contribution is both administrative and creative, as I work directly under Program Director/Music Director David Sabella-Mills, Co-Artistic Director Darren Gibson, and President/Co-Artistic Director Debra McWaters. Gibson has established himself as a performer and dance captain working with Broadway veteran Ann Reinking on the national and European tours of Fosse. In addition, he has staged ballets for the Richmond Ballet, the Boston Ballet, and the American Ballet Theatre. He is currently Education Director for TexARTS. Gibson is an excellent mentor because he has a wealth of knowledge he is willing to share with me. For instance, he has taught me that in order to be an outstanding choreographer, one must look deeper than merely studying other musicals; one must study how/by whom the choreographers of those musicals were initially inspired. By heeding his counsel, I will be able to go from modifying and/or re-teaching others' choreography to establishing my own choreography. McWaters has had an enviable career directing and choreographing on stages around the world, including Broadway. For 15 years, she served as Assistant then Associate Choreographer for Reinking on Chicago, Fosse, and The Visit. She is an excellent mentor for me because not only is she a disciple of Fosse's, but she has afforded me the opportunity to serve as her Assistant to the Choreographer for three numbers, including staging the original choreography to "Yellow Shoes." This will allow me to analyze and understand the inner workings of a true artistic genius who is seasoned in the craft I wish to pursue. Industry Professionals Additionally, I will research the styles, methodologies, and philosophies of numerous established industry professionals, including: Ernest O. Flatt Ernest O. Flatt was "a dancer, choreographer and director who won four Emmy Awards for his work in television" (Obituary: Ernest O. Flatt). He made his silver-screen debut as a dancer in Dancing in the Dark and his television debut as choreographer in Your Hit Parade. He danced with Gene Kelly in Singin' in the Rain, choreographed the movie Anything Goes, and his dancers were fixtures on The Judy Garland Show, The Entertainers, and The Steve Lawrence Show. Flatt's most lasting television work was for The Carol Burnett Show, on which he served as the choreographer for eleven years (Grody and Lister 24). Despite the fact that Flatt is primarily recognized as a television choreographer, I am compelled to study his work because I admire his style. Although it is reminiscent of years gone by, particularly with partnering, his work is still entertaining and holds value for contemporary theatre as classic musicals are being revived. Studying his work in-depth will serve to enhance my style by showing me how to vary my choreography so the dance numbers do not all look similar. In addition, Flatt believed that allowing the ensemble or solo performer to contribute too much was stifling to his creativity (Grody and Lister 32). On previous productions, I have fallen into this pitfall. Further study of his work will enable me to subscribe to his focus and not be so influenced by what dancers are comfortable doing, as opposed to what they can do in order to expand their personal growth and my growth as a choreographer. Harold Clurman One of the three founders of New York City's Group Theatre, Harold Clurman directed more than 40 productions and was nominated for several Tony Awards. In addition, he was a widely-feared theatre critic for over 30 years; he helped to shape American theatre by writing about it. I will specifically study On Directing, one of Clurman's seven published works on the art of directing. Elia Kazan, who is commonly referred to as one of the most honored and influential directors in Broadway and Hollywood history, has called this particular book "the most influential book on direction ever written" (Clurman Preface). I would be compelled to study Clurman based on Kazan's recommendation alone; however, I am even more motivated to do so because I am discovering that I closely practice his stated philosophy on directing, "Direction is a job, a craft, a profession, and at best, an art. The director must be an organizer, a teacher, a politician, a psychic detective, a lay analyst, a technician, a creative being�All of which means he must be a "great lover" of the art" (Clurman 14). By examining the work of a man who is credited with helping to shape American theatre and whose philosophy so closely matches mine, I desire to formally establish my methodology as a director. Jon Jory Jon Jory learned to act first-hand from his parents, who were successful Hollywood actors of the 1940's and 50's, earning his Actors' Equity card as a young child. He grew to prominence as a director in the early 60's and, since then, he has mounted over 1,300 professional productions. I will specifically study Jory's Tips: Ideas for Directors. Jory says that he worked "making the same mistakes for years that a tip or two by a peer or veteran could have shortcutted" (xiii). His goal with this book is to help directors improve their craft more quickly by passing along the tips he has learned over the years. I am compelled to study Jory because of his willingness to share his tips on what has made him a successful director for approximately one-half of a century spanning nine countries. In addition, he headed the Actor's Theatre of Louisville, Kentucky, for more than 31 years, which he helped to build into one of America's most respected regional theatre companies, earning him a special Tony Award for Achievement in Regional Theatre (Jory xv). Since one of my professional goals is to become an Artistic Director at a regional theatre, Jory is a perfect selection for my research. Bob Fosse Deeply inspired by Fred Astaire and coping with his own psychological and physical abnormalities, Bob Fosse created the most unique and stylized iconic movements and vocabularies in musical theatre history. His most lasting works included Chicago, Damn Yankees, Cabaret, Sweet Charity, and Pippin. Fosse is an eight-time Tony Award-winning consummate artist. Ben Vereen says, "To have worked with Bob Fosse is to have had your hand directly on the pulse of life. To have applied this world-recognizable style into your repertory is to truly know how to dance forever" (McWaters Foreward). I have had the good fortune of learning his distinct techniques from some of his disciples while studying at Broadway Theatre Project. I am compelled to study Fosse because he was a renowned producer, director, choreographer, playwright, screenwriter, dancer, and actor--all of which are aspirations of mine. According to Vereen, Fosse was often called "demanding," "strenuous," and a "task master," yet he was highly respected by his dancers (McWaters Foreword). Fosse's ability to earn respect while demanding perfection is a quality I hope to learn and emulate with further study of his work. Tommy Tune Tommy Tune, nicknamed Broadway's tallest tapper, is considered one of Broadway's most accomplished director-choreographers. He is a 10-time Tony Award winner. "Tommy is the first person in theatrical history to have won a Tony Award in four different categories: Best Featured Actor, Choreography, Best Actor, and Direction" (Grody and Lister 142). At the June, 2015 Tony Awards ceremony, he received a Lifetime Achievement Honor. I am compelled to study Tune's methodology because he is considered a living legend; he has been a big time showman for over 50 years. In addition, I am compelled to study Tune's philosophy because he speaks to me with respect to security as an artist. Tune says, "There is no such thing as security. You must always be willing to expect the unexpected because the journey is never what you expect it to be. So be prepared to be surprised" (Grody and Lister 149). I must learn to trust this philosophy as I face not only the uncertainty of life beyond graduation from the University of Central Florida, but also as I face each door that opens in my future. Michael Bennett Michael Bennett's fascination with West Side Story was the impetus for Bennett to become a director-choreographer of the standing of Jerome Robbins (Grody and Lister 114). As a director, choreographer, writer, and actor, Michael Bennett is a seven-time Tony Award winner. His choreographic works were highly athletic and engrossed in technique. He is best known for his work on Promises, Promises; Follies; Company; and A Chorus Line, and he was fortunate to have had the opportunity to be inspired by such greats as Bob Fosse, Michael Kidd, Ron Field, Lee Theodore, and Danny Daniels (Grody and Lister 114). I am compelled to study Bennett because our early backgrounds are similar: neither of us had dance lessons until we were in our teens, and neither of us could read music, although we both listened to a great deal of it. I am inspired to learn/practice Bennett's methodologies for overcoming these challenges, such as his recommendations to see every musical possible in order to see how good directors-choreographers work and to prepare for a show as far as possible ahead of time (Grody and Lister 101). In addition, I am compelled to study Bennett's technique of compensation when he could not choreograph a number as conceptualized due to the limited skill of the dancer(s) with whom he was working at the time (Grody and Lister 103). Studying and applying these methods and techniques when faced with challenges will enable me to be a better director-choreographer. Deduction It is essential for me to delve into extensive research of directorial and choreographic concepts and pedagogy because I strongly desire to learn the means by which one establishes proficiency as a Director-Choreographer artist. It will help me to answer such questions as: How does one begin to direct/choreograph a piece? How knowledgeable does one need to be with respect to music? How knowledgeable does one need to be with respect to different forms of dance? What affects one most with respect to choreographing a number? Is there value in working with assistants? Since my study will include not only my own personal experiences and observations, but also those of renowned professionals, it will enable me to formally establish my own unique style of directing and choreographing.
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Date Issued
2015
Identifier
CFH0004889, ucf:45417
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004889
A COMPARISON OF LOAD TEST DATA AND PREDICTED BEHAVIOR OF AUGERCAST PILES IN LAYERED SOILS
Title
A COMPARISON OF LOAD TEST DATA AND PREDICTED BEHAVIOR OF AUGERCAST PILES IN LAYERED SOILS.
Creator
Hudson, John, Kuo, Shiou-San, University of Central Florida
Abstract / Description
The use of auger cast-in-place (ACIP) pilings is very common in Florida; however, there is a significant degree of uncertainty in determining the actual capacity of the pilings, especially when the pilings are installed through layers of cohesive soils. Therefore, there is a need to improve upon the existing methods of predicting the behavior of ACIP piles in layered soils. As a result, the primary objective of this study is to determine if a significant difference exists between the accepted...
Show moreThe use of auger cast-in-place (ACIP) pilings is very common in Florida; however, there is a significant degree of uncertainty in determining the actual capacity of the pilings, especially when the pilings are installed through layers of cohesive soils. Therefore, there is a need to improve upon the existing methods of predicting the behavior of ACIP piles in layered soils. As a result, the primary objective of this study is to determine if a significant difference exists between the accepted methods of pile load test analysis. Provided a significant difference is noted, the secondary objective would be to determine if an improvement could be made to enhance the existing empirical relationships used to predict pile behavior in layered soils. In order to accomplish these objectives, this study presents an evaluation of some of the most commonly used methods for predicting ACIP pile capacity based upon the results of actual field load tests. Data from twenty-five load tests were analyzed using popular methods and statistical analyses were preformed to determine and evaluate the data. These evaluations were utilized to explore correlations between predicted behavior and actual results. Based upon the results of this study, there is no statistically significant difference between the load test analyses methods examined. As a result, no improvement to the existing methods of predicting ACIP pile behavior in layered soils may be recommended at this time, and further research in this subject matter is recommended.
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Date Issued
2008
Identifier
CFE0002300, ucf:47831
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002300
Fear and Loathing in the Super Organism: Foraging Strategy Doesn't Change Forager Response in a Landscape of Fear.
Title
Fear and Loathing in the Super Organism: Foraging Strategy Doesn't Change Forager Response in a Landscape of Fear.
Creator
Schadegg, Philip, King, Joshua, De Bekker, Charissa, Fedorka, Kenneth, University of Central Florida
Abstract / Description
Understanding how predators impact keystone species, like ants, is very important for our understanding of ecology because of ants' importance in shaping community dynamics and ecosystem functions. In this thesis I present research investigating the role of the ant-specialized spider Anasaitis canosa in influencing the foraging behavior of four ant species (Formica pallidefulva, Odontomachus ruginodis, Pheidole obscurithorax (&) Solenopsis invicta). Collectively, these four species use...
Show moreUnderstanding how predators impact keystone species, like ants, is very important for our understanding of ecology because of ants' importance in shaping community dynamics and ecosystem functions. In this thesis I present research investigating the role of the ant-specialized spider Anasaitis canosa in influencing the foraging behavior of four ant species (Formica pallidefulva, Odontomachus ruginodis, Pheidole obscurithorax (&) Solenopsis invicta). Collectively, these four species use foraging strategies exhibited by most ants. I conducted two experiments to quantify the impacts of spider predation on ant prey. The first used forty colonies of four ant species to investigate how A. canosa changed foraging behavior at both the individual and colony level. The second used 27 lab-reared S. invicta colonies to see if there was any evidence for innate predatory avoidance in foragers and if predatory avoidance was influenced by learning. A field study observed the density and prey choices of A. canosa in 3 sites within the UCF arboretum. In sum, no consistent change in foraging occurred in the presence of A. canosa, over time scales sufficient to detect colony-level impacts and thus colonies as a whole appear to be risk insensitive. Na(&)#239;ve colonies had more ants beginning foraging before a single ant would return in their first trial compared to the second trial. This suggests forager learning occurs as foragers respond to the perception of a predator, and that S. invicta can reduce individual risk through increasing forager numbers. A. canosa predation rates and density were calculated and based on these estimates an approximate impact upon a colony was made. Most importantly, 13 foragers/m2 inside each foraging cohort can be expected to have prior experience with the spider.
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Date Issued
2019
Identifier
CFE0007859, ucf:52792
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007859
VERIFICATION OF PILOT-SCALE IRON RELEASE MODELS
Title
VERIFICATION OF PILOT-SCALE IRON RELEASE MODELS.
Creator
Glatthorn, Stephen, Taylor, James, University of Central Florida
Abstract / Description
A model for the prediction of color release from a pilot distribution system was created in 2003 by Imran. This model allows prediction of the release of color from aged cast iron and galvanized steel pipes as a function of water quality and hydraulic residence time. Color was used as a surrogate measurement for iron, which exhibited a strong linear correlation. An anomaly of this model was an absence of a term to account for pH, due to the influent water being well stabilized. A new study...
Show moreA model for the prediction of color release from a pilot distribution system was created in 2003 by Imran. This model allows prediction of the release of color from aged cast iron and galvanized steel pipes as a function of water quality and hydraulic residence time. Color was used as a surrogate measurement for iron, which exhibited a strong linear correlation. An anomaly of this model was an absence of a term to account for pH, due to the influent water being well stabilized. A new study was completed to evaluate the effectiveness of corrosion inhibitors against traditional adjustment. Two control lines were supplied with nearly same water qualities, one at pH close to pHs and one at pH well above pHs. The resulting data showed that effluent iron values were typically greater in the line with lower pH. The non-linear color model by Imran shows good agreement when the LSI was largely positive, but underpredicted the color release from the lower LSI line. A modification to the Larson Ratio proposed by Imran was able to give a reasonable agreement to the data at lower LSI values. LSI showed no definite relation to iron release, although a visual trend of higher LSI mitigating iron release can be seen. An iron flux model was also developed on the same pilot system by Mutoti. This model was based on a steady state mass balance of iron in a pipe. The constants for the model were empirically derived from experiments at different hydraulic conditions with a constant water quality. Experiments were assumed to reach steady state at 3 pipe volumes due to the near constant effluent turbidity achieved at this point. The model proposes that the iron flux under laminar flow conditions is constant, while the iron flux is linearly related to the Reynolds Number under turbulent conditions. This model incorporates the color release models developed by Imran to calculate flux values from different water qualities. A limited number of experiments were performed in the current study using desalinated and ground water sources at Reynolds Numbers ranging from 50 to 200. The results of these limited experiments showed that the iron flux for cast iron pipe was approximately one-half of the predicted values from Mutoti. This discrepancy may be caused by the more extensive flushing of the pipes performed on the current experiments which allowed attainment of a true steady state. Model changes were proposed to distinguish between near stagnant flow and the upper laminar region, with the upper laminar region showing a slight linear increase. Predictions using the galvanized flux model were not accurate due to an inferior color release model that was developed for galvanized pipes. The model exhibits a high dependence on sulfate concentrations, but concentrations of sulfates in the current experiments were low. This led to low predicted flux values when the actual data showed otherwise. A new galvanized model was developed from a combination of data from the original and current experiments. The predicted flux values using the new model showed great improvement over the old model, but the new model database was limited and the resulting model was not able to be independently tested.
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Date Issued
2007
Identifier
CFE0001704, ucf:47332
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001704