Sound Energy Unit Grade 4
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Significance of Beating Observed in Earthquake Responses of Buildings
SIGNIFICANCE OF BEATING OBSERVED IN EARTHQUAKE RESPONSES OF BUILDINGS Mehmet Çelebi1, S. Farid Ghahari2, and Ertuğrul Taciroǧlu2 U.S. Geological Survey1 and University of California, Los Angeles2 Menlo Park, California, USA1 and Los Angeles, California, USA2 Abstract The beating phenomenon observed in the recorded responses of a tall building in Japan and another in the U.S. are examined in this paper. Beating is a periodic vibrational behavior caused by distinctive coupling between translational and torsional modes that typically have close frequencies. Beating is prominent in the prolonged resonant responses of lightly damped structures. Resonances caused by site effects also contribute to accentuating the beating effect. Spectral analyses and system identification techniques are used herein to quantify the periods and amplitudes of the beating effects from the strong motion recordings of the two buildings. Quantification of beating effects is a first step towards determining remedial actions to improve resilient building performance to strong earthquake induced shaking. Introduction In a cursory survey of several textbooks on structural dynamics, it can be seen that beating effects have not been included in their scopes. On the other hand, as more earthquake response records from instrumented buildings became available, it also became evident that the beating phenomenon is common. As modern digital equipment routinely provide recordings of prolonged responses of structures, we were prompted to visit the subject of beating, since such response characteristics may impact the instantaneous and long-term shaking performances of buildings during large or small earthquakes. The main purpose in deploying seismic instruments in buildings (and other structures) is to record their responses during seismic events to facilitate studies understanding and assessing their behavior and performances during and future strong shaking events. -
Low Power Energy Harvesting and Storage Techniques from Ambient Human Powered Energy Sources
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2008 Low power energy harvesting and storage techniques from ambient human powered energy sources Faruk Yildiz University of Northern Iowa Copyright ©2008 Faruk Yildiz Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Power and Energy Commons Let us know how access to this document benefits ouy Recommended Citation Yildiz, Faruk, "Low power energy harvesting and storage techniques from ambient human powered energy sources" (2008). Dissertations and Theses @ UNI. 500. https://scholarworks.uni.edu/etd/500 This Open Access Dissertation is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. LOW POWER ENERGY HARVESTING AND STORAGE TECHNIQUES FROM AMBIENT HUMAN POWERED ENERGY SOURCES. A Dissertation Submitted In Partial Fulfillment of the Requirements for the Degree Doctor of Industrial Technology Approved: Dr. Mohammed Fahmy, Chair Dr. Recayi Pecen, Co-Chair Dr. Sue A Joseph, Committee Member Dr. John T. Fecik, Committee Member Dr. Andrew R Gilpin, Committee Member Dr. Ayhan Zora, Committee Member Faruk Yildiz University of Northern Iowa August 2008 UMI Number: 3321009 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Echo Eliminator Ceiling & Wall Panels
Echo Eliminator Ceiling & Wall Panels Echo Eliminator, or Bonded Acoustical Cotton (B.A.C.), is the most cost-effective acoustical absorbing material on the market. It is a high-performance panel manufactured from recycled cotton, and is ideal for noise control applications. Echo Eliminator can easily be installed as acoustical wall panels or hanging baffles. • No VOCs (Volatile Organic Compounds) • No formaldehyde, requires no warning labels • Fungi-, mold-, and mildew-resistant • Class A Fire Rated (Non-flammable per ASTM E-84) ACOUSTICAL SURFACES, INC. CELEBRATING 35 YEARS – SOUNDPROOFING, ACOUSTICS, NOISE & VIBRATION SPECIALISTS! ™ 952.448.5300 • 800.448.0121 • [email protected] • www.acousticalsurfaces.com Echo Eliminator APPLICATIONS Residential, commercial, industrial; schools, restaurants, classrooms, Ceiling & Wall Panels houses of worship, community centers, offices, conference rooms, music rooms, recording studios, theaters, public spaces, medical facilities, audi- toriums, arenas/stadiums, warehouses, manufacturing plants, and more. Acoustics and Expected Performance: Absorbing sound and reducing echo / reverberation can be challeng- ing. Echo Eliminator offers a high Noise Reduction Coefficient (NRC) to reduce the amount of sound within a room. One-inch thick panels are appropriate for areas wher e the main issue is understanding speech. Rooms with more mid-and-low frequency noise, or where music is present, benefit from using two-inch thick panels. SIZES & OPTIONS Standard Size: 24" x 48" (minimum quantities apply, call for details); options: 12" x 12", 24" x 24", 48" x 48", 48" x 96". Note: All sizes are nominal and subject to manufacturing tolerances that may vary +/- 1/8". Thickness/Density: 1" thick / 3 lb. per cubic foot (pcf); 1" thick/6 lb. -
Evaluation of Electric Energy Generation from Sound Energy Using Piezoelectric Actuator
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2013): 6.14 | Impact Factor (2014): 5.611 Evaluation of Electric Energy Generation from Sound Energy Using Piezoelectric Actuator Mohana Faroug Saeed Attia1, Afraa Ibraheim Mohmmed Abdalateef2 1Department of Physics, University of Dongola, Sudan 2Collaborator Instructor University of Khartoum, Sudan Abstract: This paper presents the work done on the conversion techniques and methodologies of converting sound energy to its electrical counterpart, and focuses on the future of this type of energy sources than wind energy, solar energy, and biogas. Also, it includes the increase in energy consumption due to ever growing number of electronic devices, and the harvesting energy from humans and using of piezoelectricity. In the experimental work, a piezoelectric generator lead zirconate titante (PZT actuator) is used to extract sound energy from the loudspeaker from various distances and then to convert this energy into electrical energy. The maximum voltage generated by the piezoelectric generator occurs when its resonant frequency is operating near the frequency of sound. The result shows that the maximum output voltage of 28.8 mVrms was obtained with the sound intensity of 80.5 dB resonant frequency of 65 Hz at 1 cm distance in the first mode. In the second mode, the maximum output voltage of 94 m Vrms was obtained with the sound intensity of 105.7 dB at resonant frequency of 378 Hz at 1 cm which is larger than that of the first mode. However, for both modes, voltage decreases as distance increases. Keywords: piezoelectric effect, sound energy, piezoelectric material, resonant frequency, PZT actuator, electricity 1. -
Energy Efficiency As a Low-Cost Resource for Achieving Carbon Emissions Reductions
Energy Effi ciency as a Low-Cost Resource for Achieving Carbon Emissions Reductions A RESOURCE OF THE NATIONAL ACTION PLAN FOR ENERGY EFFICIENCY SEPTEMBER 2009 About This Document This paper, Energy Effi ciency as a Low-Cost Resource for Achieving Carbon Emissions Reductions, is provided to assist utility regulators, gas and electric utilities, and others in meeting the National Action Plan for Energy Effi ciency’s goal of achieving all cost-effective energy effi ciency by 2025. This paper summarizes the scale and economic value of energy effi - ciency for reducing carbon emissions and discusses the barriers to achieving the potential for cost-effective energy effi ciency. It also reviews current regional, state, and local approaches for including energy effi ciency in climate policy, using these approaches to inform a set of recommendations for leveraging energy effi ciency within state climate policy. The paper does not capture federal climate policy options or recommendations, discussion of tradable energy effi ciency credits, or emissions impacts of specifi c energy effi ciency measures or programs. The intended audience for the paper is any stakeholder interested in learning more about how to advance energy effi ciency as a low-cost resource to reduce carbon emissions. All stakeholders, including state policy-makers, public utility commissions, city councils, and utilities, can use this paper to understand the key issues and terminology, as well as the approaches that are being used to reduce carbon emissions by advancing energy effi ciency policies and programs. Energy Efficiency as a Low-Cost Resource for Achieving Carbon Emissions Reductions A RESOURCE OF THE NATIONAL ACTION PLAN FOR ENERGY EFFICIENCY SEPTEMBER 2009 The Leadership Group of the National Action Plan for Energy Efficiency is committed to taking action to increase investment in cost-effective energy efficiency. -
Can You Reflect Sound? ECHO TUBE
Exhibit Sheet Can you reflect sound? ECHO TUBE (Type) Ages Topic Time Science 7-14 Sound <10 mins background Skills used Observation, Curiosity Overview for adults Echo Tube is a 15 metre hollow tube. When you shout or make a sound into the tube, it is reflected off the end of the tube and comes back to you. You hear this as an echo. The tube has two flaps within it that you can open or close, changing the length of the tube and the length of time it takes the echo to bounce back to you. What’s the science? Sound travels through the air as sound waves. When these sound waves meet a surface, they are reflected back to where they came from. Sound travels at 330 meters per second in air, which is much slower than light. This means that when light is reflected, we see its reflection instantly but when sound is reflected, we can hear the delay as an echo. The surface that the sound bounces off doesn’t have to be solid. The echo tube is open at both ends. The air pressure inside the tube is higher than the air pressure outside. When the sound wave meets the open end of the tube, this change in pressure causes a wave to be reflected down the tube from the open end. Science in your world Echoes from the open ends of tubes are what make musical instruments such as horns and trumpets work. The sound wave reflects up and down the tube from the open ends. -
Meeting Agenda 20-23 April 2004
ICES-Working Group on Fisheries Acoustics, Science and Technology Meeting Agenda 20-23 April 2004 DRAFT (8 April 2004) Sea Fisheries Institute (Demel Room) Gdynia, Poland Dr David Demer, USA, Chair April 20th 0900 Opening: host greeting, adoption of agenda, selection of rapporteur FAST Topic 1: Effectiveness of noise-reduced platforms (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) 0930 Ron Mitson (presented by Paul G. Fernandes). “Underwater noise; a brief history of noise in fisheries.” (topic review) 1000 Paul G. Fernandes, Andrew S. Brierley, and F. Armstrong. “Examination of herring at the surface of the North Sea.” 1020 Coffee break 1040 Grazyna Grelowska and Ignacy Gloza. “The acoustic transmissions of a moving ship and a grey seal.” 1100 Pall Reynisson. “Noise reduced vessels; the Icelandic experience.” 1120 Janusz Burczynski. “New Deployment Options for Digital Sonar.” 1140 Martyn Simmons or Steve Goodwin. “TONES - an overview” 1200 Lunch 1330 Ron Mitson (presented by D. Van Holliday). “Does ICES CRR 209 need revision?” 1350 Discussion (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) FAST Topic 2: Using acoustics for evaluating ecosystem structure, with emphasis on species identification (topic discussion leaders: Rudy Kloser and Rolf Korneliussen) 1430 John Horne. “Challenges and trends in acoustic species identification.” (topic review) 1500 Coffee break 1520 Michael Jech and William Michaels. “Multi-frequency analyses of acoustical survey data.” 1540 Paul G. Fernandes. “Determining the quality of a multifrequency identification algorithm.” 1600 A. Mair and Paul G. Fernandes. “Examination of plankton samples in relation to multifrequency echograms.” 1620 Valerie Mazauric and Laurent Berger. “The numerical tool OASIS for echograms simulation.” 1640 Valerie Mazauric and John Dalen. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
2018 Energy Efficiency Cost-Effectiveness Ratios
2018 Annual Report of Energy Conservation Accomplishments April 1, 2019 PSE obtained permission to use all photos and likenesses within this Report. Energy Efficiency Doc# EES0012019 Report Contents Table of Contents I. Executive Summary ................................................................................................. 1 Puget Sound Energy’s Annual Report of 2018 Conservation Accomplishments ................ 1 II. Introduction ............................................................................................................ 13 Key Portfolio Results .......................................................................................................... 13 Conservation Savings ........................................................................................................ 14 Expenditures ...................................................................................................................... 19 2018-2018 Biennial Target Progress ................................................................................. 21 Five–Year Trends ............................................................................................................... 22 Cost-Effectiveness Ratios .................................................................................................. 24 Direct Benefit to Customer as a Percent of Energy Efficiency Expenditures .................... 25 Energy Efficiency’s Customer Focus ................................................................................. 27 Measures -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
The 7 Forms of Energy Directions: Read and Highlight the Following Information
The 7 Forms of Energy Directions: Read and highlight the following information. Electricity So now we have the total transformation for coal‐generated electricity. Working backwards from the generator through the turbine into the steam stopping at burning coal, we have 4 different energies that are used along the electricity generating process. Chemical Energy In Ohio, eletricity begins with burning coal. Burning coal releases chemical energy. Chemical energy is the energy given off during a chemical change. During chemical changes atoms rearrange creating new molecules and compounds. When they rearrange, they give off energy. Even just burning something as we do with coal is enough to cause the atoms to rearrange and release chemical energy. When a chemical change occurs, there are a variety of signs that help identify when the change is occurring. Indicators such as gas formation, light generation, heat creation, formation of a precipitate, permanent color change, and odor are all signs that a chemical change has occurred. When one of the signs is present during a change, chemical energy is released. The reason we use coal, oil, and natural gas is because when burned, the chemical energy released gives off lots of thermal energy (and some other energy as well). Thermal Energy When coal is burned, a chemical change occurs. We know this because coal gives off lots of thermal energy (heat). It also displays all of the signs of a chemical change (gas, light, heat, precipitate, color, and odor). In order to capture the thermal energy in a more useable form, power plants heat water. -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.