Adopting a unique integrated engineering approach, this text covers all aspects of fuel processing: catalysts, reactors, chemical plant components and integrated system design. While providing an introduction to the subject, it also contains recent research developments, making this an invaluable handbook for chemical, power and process engineers, electrochemists, catalytic chemists, materials scientists and engineers in power technology.
Micro process engineering is approaching both academia and industry. With the provision of micro devices, systems and whole plants by commercial suppliers, one main barrier for using these units has been eliminated. This book focuses on processes and their plants rather than on devices: what is 'before', 'behind' and 'around' micro device fabrication - and gives a comprehensive and detailed overview on the micro-reactor plants and three topic-class applications which are mixing, fuel processing, and catalyst screening. Thus, the book reflects the current level of development from 'micro-reactor design' to 'micro-reactor process design'.
Adopting a unique integrated engineering approach, this text covers all aspects of fuel processing: catalysts, reactors, chemical plant components and integrated system design. While providing an introduction to the subject, it also contains recent research developments, making this an invaluable handbook for chemical, power and process engineers, electrochemists, catalytic chemists, materials scientists and engineers in power technology.
At some point in their career, nearly all the dancers who worked with George Balanchine were told “don’t act, dear; just dance.” The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps—but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio. Drawing on fresh archival material, Don’t Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchine’s catch phrase as an invitation to explore the politics of Cold War culture—in particular, to examine the assumptions underlying the role of “apolitical” modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important works—Marianne Moore’s “Combat Cultural,” dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick’s Spartacus, and John Adams’s Nixon in China—Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War. Rather than read the dance through a received understanding of Cold War culture, Don’t Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.
Worldwide concern in scientific, industrial, and governmental com munities over traces of toxic chemicals in foodstuffs and in both abiotic and biotic environments has justified the present triumvirate of specialized publications in this field: comprehensive reviews, rapidly published progress reports, and archival documentations. These three publications are integrated and scheduled to provide in international communication the coherency essential for nonduplicative and current progress in a field as dynamic and complex as environmental contamination and toxicology. Until now there has been no journal or other publication series reserved exclusively for the diversified literature on "toxic" chemicals in our foods, our feeds, our geographical surroundings, our domestic animals, our wild life, and ourselves. Around the world immense efforts and many talents have been mobilized to technical and other evaluations of natures, locales, magnitudes, fates, and toxicology of the persisting residues of these chemicals loosed upon the world. Among the sequelae of this broad new emphasis has been an inescapable need for an articulated set of authorita tive publications where one could expect to find the latest important world literature produced by this emerging area of science together with documentation of pertinent ancillary legislation.
A world-renowned conductor and composer who has lead most of the major orchestras in North America and Europe, a talented musician who has played under the batons of such luminaries as Toscanini and Walter, and an esteemed arranger, scholar, author, and educator, Gunther Schuller is without doubt a major figure in the music world. Now, in The Compleat Conductor, Schuller has penned a highly provocative critique of modern conducting, one that is certain to stir controversy. Indeed, in these pages he castigates many of this century's most venerated conductors for using the podium to indulge their own interpretive idiosyncrasies rather than devote themselves to reproducing the composer's stated and often painstakingly detailed intentions. Contrary to the average concert-goer's notion (all too often shared by the musicians as well) that conducting is an easily learned skill, Schuller argues here that conducting is "the most demanding, musically all embracing, and complex" task in the field of music performance. Conducting demands profound musical sense, agonizing hours of study, and unbending integrity. Most important, a conductor's overriding concern must be to present a composer's work faithfully and accurately, scrupulously following the score including especially dynamics and tempo markings with utmost respect and care. Alas, Schuller finds, rare is the conductor who faithfully adheres to a composer's wishes. To document this, Schuller painstakingly compares hundreds of performances and recordings with the original scores of eight major compositions: Beethoven's fifth and seventh symphonies, Schumann's second (last movement only), Brahms's first and fourth, Tchaikovsky's sixth, Strauss's "Till Eulenspiegel" and Ravel's "Daphnis et Chloe, Second Suite." Illustrating his points with numerous musical examples, Schuller reveals exactly where conductors have done well and where they have mangled the composer's work. As he does so, he also illuminates the interpretive styles of many of our most celebrated conductors, offering pithy observations that range from blistering criticism of Leonard Bernstein ("one of the world's most histrionic and exhibitionist conductors") to effusive praise of Carlos Kleiber (who "is so unique, so remarkable, so outstanding that one can only describe him as a phenomenon"). Along the way, he debunks many of the music world's most enduring myths (such as the notion that most of Beethoven's metronome markings were "wrong" or "unplayable," or that Schumann was a poor orchestrator) and takes on the "cultish clan" of period instrument performers, observing that many of their claims are "totally spurious and chimeric." In his epilogue, Schuller sets forth clear guidelines for conductors that he believes will help steer them away from self indulgence towards the correct realization of great art. Courageous, eloquent, and brilliantly insightful, The Compleat Conductor throws down the gauntlet to conductors worldwide. It is a controversial book that the music world will be debating for many years to come.
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