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A 3-stage model of a low pressure steam turbine has been equipped with extensive instrumentation to assess aerodynamic performance and for validation of numerical methods. Emphasis was placed on detailed measurements at the inlet and exit of the last stage guide vane. Two configurations were examined – the first used a guide vane with lean in the last stage and a the second used a guide vane combining both lean and sweep. The experimental results from the two configurations have been compared with data from various design methods, ranging from through-flow to 3D multistage viscous simulations with mixing planes. Despite the challenges in modelling complex rotating blades in a wet steam environment, good agreement between the numerical and experimental results was obtained, and the new stator vane combining lean and sweep achieved the desired increase in reaction at the hub section.
The German banking system and the global financial crisis: causes, developments and policy responses
(2009)
Germany’s banking sector has been severely hit by the global financial crisis. In a German context as of February, 2009, this paper reviews briefly the structure of the banking industry, quantifies effects of the crisis on banks and surveys responses of economic policy. It is argued that policy design needs to enhance transparency and enforce the liability principle. In addition, economic policy should not eclipse principles of competition policy.
The groupuscularization of neo-Nazism in Germany: the case of the Aktionsbüro Norddeutschland
(2004)
Auditory displays with the ability to dynamically spatialize virtual sound sources under real-time conditions enable advanced applications for art and music. A listener can be deeply immersed while interacting and participating in the experience. We review some of those applications while focusing on the Helical Keyboard project and discussing the required technology. Inspired by the cyclical nature of octaves and helical structure of a scale, a model of a piano-style keyboard was prepared, which was then geometrically warped into a helicoidal configuration, one octave/revolution, pitch mapped to height and chroma. It can be driven by MIDI events, real-time or sequenced, which stream is both synthesized and spatialized by a spatial sound display. The sound of the respective notes is spatialized with respect to sinks, avatars of the human user, by default in the tube of the helix. Alternative coloring schemes can be applied, including a color map compatible with chromastereoptic eyewear. The graphical display animates polygons, interpolating between the notes of a chord across the tube of the helix. Recognition of simple chords allows directionalization of all the notes of a major triad from the position of its musical root. The system is designed to allow, for instance, separate audition of harmony and melody, commonly played by the left and right hands, respectively, on a normal keyboard. Perhaps the most exotic feature of the interface is the ability to fork oneÃs presence, replicating subject instead of object by installing multiple sinks at arbitrary places around a virtual scene so that, for example, harmony and melody can be separately spatialized, using two heads to normalize the octave; such a technique effectively doubles the helix from the perspective of a single listener. Rather than a symmetric arrangement of the individual helices, they are perceptually superimposed in-phase, co-extensively, so that corresponding notes in different registers are at the same azimuth.
The PSFC, or Pioneer sound field control system, is a DSP-driven hemispherical 14-loudspeaker array, installed at the University of Aizu Multimedia Center. Collocated with a large screen rear-projection stereographic display the PSFC features realtime control of virtual room characteristics and direction of two separate sound channels, smoothly steering them around a configurable soundscape. The PSFC controls an entire sound field, including sound direction, virtual distance, and simulated environment (reverb level, room size and liveness) for each source. It can also configure a dry (DSP-less) switching matrix for direct directionalization. The PSFC speaker dome is about 14 m in diameter, allowing about twenty users at once to comfortably stand or sit near its sweet spot.
In the intersection of technology and music listening, understanding user experiences is paramount. This research employed the Experience Sampling Method via the smartphone app MuPsych to continuously capture real-time data on individuals' music listening behaviors and related emotional responses. Over a span of two weeks, participants from Germany were prompted to report on various factors as they engaged in music listening, resulting in a rich dataset. Results indicate that Spotify Premium was the most frequently used music application, with personal playlists being the preferred listening format. To unravel the intricacies of these responses and their determinants, linear mixed-effects model analysis was utilized. Among the critical findings, the Perceived Usefulness and Perceived Ease of Use, two of the central constructs of the Technology Acceptance Model, emerged as significant predictors for the valence and enjoyment of the music experienced by users during the onset of music listening sessions. This highlights the imperative role of user-friendly interfaces in enhancing positive emotional states even before fully engaging with the music, underscoring the need for designers and developers of music-related apps to prioritise usability and useful functions.