Draw the structure of a mitochondrion as seen in an electron micrograph

6)a) Draw the structure of a mitochondrion as seen in an electron micrograph.[5] B) Describe the central role of acetyl (ethanoyl) CoA in carbohydrate & fat metabolism.[5] Acetyl CoA is formed in both carbohydrate and fat metabolism. In carbohydrate metabolism, Acetyl CoA links glycolysis and the Krebs's cycle in a link reaction, in the link reaction carbohydrates or glucose is converted into pyruvic acid and from that into Acetyl CoA. In fat metabolism, the Acetyl CoA is formed from fats, the fats breakdown into glycerol and fatty acids. The fatty acids are then oxidized to form Acetyl CoA. The carrier CoA accepts acetyl groups produced in both metabolisms and brings them to be used in the Krebs cycle. c) Discuss the importance of a balanced diet for people with varying energy needs. [8] A balanced diet is a diet which contains vitamins, minerals, and other necessary particles for the normal function of the body, but also a balanced diet is balanced so it doesn't contain any of these in excess or lacking in. For a person to remain healthy they must have a balanced diet. If there are excessive amounts of energy left in the body it may cause obesity. Everyone has different energy needs, for example an 80 year old needs less energy than a 14 year old. Different people have different needs depending on their age, amount of action done in a day, their physical condition and gender. The more physically active a person is the more energy they require; an Olympic athlete needs more energy than a science teacher. So the Olympic athlete needs more energy so they need to take in lots of carbohydrates and sugars that can be broken down easily and quickly to provide them with the ATP the need. A science teacher will need fewer carbohydrates than the Olympic athlete because the teacher doesn't need a quick energy supplier so they tend to eat fats and carbohydrates. Most of the energy gotten from fats is stored in the body therefore this is not useful if you need the energy immediately.Muscular System: Muscle Metabolism Also pregnant women need more energy than me because she needs to supply herself and the child with energy. During times of growth you also need more energy than usual because you body is growing and it needs extra energy. Also someone who isn't that physically active should require less energy than someone who is very physical active. There is a trend that men need more energy daily than a woman.

Journal Topics for The Crucible Essay

As you read the play over the next few days, choose any 3 of the following topics and respond to them in a google document or on paper. Each response must be at least 250 words. You must include references to the text and provide support for all of your claims. Please use your best writing- no grammatical/spelling/capitalization errors- divide ideas using paragraphs etc. Each journal entry is 20 pts. You may do one more extra credit. Again, we are working on providing detailed support for your claims. Be specific! 1. Based on what happens throughout Act I, write a brief character description of Abigail Williams. What positive qualities does she seem to possess? What negative qualities does she possess? If she were a Westwood student, where might she â€Å"fit in† in terms of classes, activities, sports, etc.? Or would she? Explain. 2. What types of persuasive techniques does Abigail use to win Proctor’s affection in Act I? What arguments does she present, and what emotional tactics does she employ? Does she build a persuasive argument, or do you find problems with it? Explain. 3. At the end of Act I, Tituba, Abigail, and others accuse some of their neighbors of afflicting them. Give examples of individuals or groups today who accuse others of causing their problems. How would you evaluate their accusations? 4. Consider: how is the relationship between John and Elizabeth Proctor similar to an ice cream cone 5. Explain how Mary Warren’s character changes over the course of the first two Acts. How was she portrayed at the beginning of the play? How is she portrayed now? To what do you attribute these changes? 6. Puritan society pressured individuals to adhere to strict standards of conduct and belief. To what extent do you think society expects you to conform today? Is conformity always a bad thing? Always a good thing? Explain. 7. Almost a century after the witch trials, delegates to the Constitutional Convention decided to make a clear separation between church and state. How might the court proceedings in Act III have differed if that separation had been in place in 1692? In current events following Sept. 11th, is there still a clear separation between church and state? Explain. 8. Explain how the storyline might be different if there were no Governor Danforth. How does his presence in the play affect the storyline? If he were removed, how might that affect the play overall? 9. Mary Warren is subjected to intense peer pressure from Abigail Williams and the other girls. How would you compare the intensity of the peer pressure she faces with that extended on young people today? What reasonable advice might you give Mary Warren for coping with the peer pressure she faces? 10. In Act IV, how does Elizabeth take part of the blame for her husband’s lechery? Is she justified? What does John’s response to Elizabeth tell you about his character development? 11. Think of a 20th-century person who suffered or died for his / her beliefs, and compare this person to John Proctor. 12. The Crucible was first produced in 1953, during Senator Joseph McCarthy’s congressional investigation to root out suspected Communists in the State Department, the entertainment industry, and the U.S. Army. In his pursuit of Communists, McCarthy sometimes accused individuals on the basis of flimsy evidence and innuendo. In what ways do you think The Crucible is a criticism of McCarthy and his ways? Given current events, what can this play teach us about identifying and prosecuting individuals suspected of terrorist activities? Support your opinion with details from the play.

Alexander the Great Summary 16 Essay

man who portrayed outstanding leadership qualities was Alexander of Macedonia, more commonly referred to as Alexander the Great. Alexander gained control of the Macedonian empire and led his men to victory by conquering the Persian Empire. Not only did his conquest enhance his overall image as a great military leader, but the characteristics he developed throughout his lifetime also played a role in his tremendous success. Although Alexander encountered many obstacles throughout his conquests, he†¦ Alexander, son of King Philip II of Macedon, is known as Alexander the Great. However, was he truly great? One may look at his many accomplishments to decide if he deserves the title. Sometimes character is the test of determining if a man is great. Alexander meets both standards with his philosophic background, conquering abilities, victories in battle, and outstanding accomplishments; therefore, he truly meets his title as Alexander the Great Alexander was born in 356 B.C. to King Philip II f†¦ of the Book â€Å"The Campaigns of Alexander†. Arrian was highly educated as a Greek citizen who born in a wealthy family. He has been famous since the Roman Period (27 BC –) as a philosopher who developed and extended his master Epictetus’ philosophy; a good governor of Roman cities Andalusia and Cappadocia during the reign of the Roman Emperor Hadrian (AD 117-38); a remarkable historian who accomplished many influential historian works such as The Campaigns of Alexander. There are many ancient sources†¦ Alexander the Great: Alexander III of Macedon, more commonly known as Alexander the Great (356 B.C. – 323 B.C.) was the son of Philip II, King of Macedon (382 B.C. – 336 B.C.) and Olympias. Conqueror of the Persian Empire, India and Egypt. When Alexander was born, prophecies foretold by Persian soothsayers and astronomers that he was going to be the â€Å"destroyer of Asia† due to the burning of the â€Å"famous Temple of Artemis at Ephesus.† (Alexandria, City of the Western Mind) The manuscript Alexander†¦ Joe Cibulka May 16, 2011 Alexander the Great Who is the Macedonian king who beat the great Persian Empire in 329 B.C.? Alexander the Great, of course! Although he faced many challenges, Alexander III conquered the world. Alexander said`ï€  Nothing is impossible to him who tries†- Alexander the Great. Alexander the Great was born on July 20, 356 B.C. He was born in the Macedonian capitol Pella. His mother and father were Queen and King, so he was a prince. His dad was murdered by a traitor†¦ Alexander the Great   Ã‚  Ã‚  Ã‚  Ã‚  Alexander the Great was the king of Macedonia, conqueror of the Persian Empire, and one of the greatest military geniuses of all times. Even at an early age, Alexander had the promise to become a great leader. Through all his victories and conquests, he has become a great hero and has had a large impact on history. That is why I chose he book Alexander the Great, by J.R. Hamilton for my review. Hamilton does a very good job with the story of Alexander†¦ Alexander the Great seems to have been a man who relished in the excesses of life. Not only did he lust after wealth and lands, but also he sought after deification and absolute power. With regards to "With regard to bodily pleasures, [Alexander] enjoyed perfect self-control; where pleasures of the mind were concerned, he was insatiable only for men 's praise", this statement is misleading and most likely Arrian stated such only because of his admiration of Alexander (Arrian 7.28.2). Alexander commonly†¦ Alexander the Great Deserve and His Reputation Alexander the Great is known for his legacy. Most known for his strategy of conquering many cities in Europe, Alexander the Great was no stranger to war strategy. Following a series of events leading to Alexander’s father being murder the Peloponnesian War ensued and the consequences of this country showed the Greek states at their worst selfish, contentious, avaricious, and power-hungry. The crises solution was Alexander to take his father’s throne†¦ Alexander the Great seemed to be given a name fit for someone who is legendary. We all know his name today, even though he lived sixteen hundred years ago. What made him such a great man? Alexander was born to father King Phillip II and mother Olympias (formerly called Myrtale) on day six of the month Loios (Macedonian month of July). During a majority of this time, King Phillip was away fighting wars, so his mother Queen Olympias oversaw his training and instilled resentment in Alexander about†¦ Alexander the Great and His Achievements Alexander the Great was the king of Macedon. Alexander of Macedon, or ancient Mecadonia, deserves to be called the Great. Alexander the Great was considered one of the greatest military geniuses of all times. He was an excellent king, general, and conqueror. During his thirteen-year rule he conquered almost all the then known world and gave a new direction to history. He had established an empire after he died. His new empire helped many people live their†¦

Denver Art Museum Essay Example | Topics and Well Written Essays - 500 words

Denver Art Museum - Essay Example Within the scenario of Asian art, the Falconer on Horseback, displayed at the Denver Art Museum, reveals the growth and development of art in China. This artwork is completed by an unknown artist. Besides, this artwork represents the development of art during the reign of Tang dynasty in 700 A.D. Thesis statement: The visual analysis of the work of art named as Falconer on Horseback proves that the same is symbolic of the rich artistic tradition of China, especially during the Tang dynasty. Visual Analysis In the art work, the Falconer on Horseback (See appendix-1), the artist provides ample importance to the visual elements. For instance, the artist does not make use of primary colors. Instead, mixture of primary colors is used by the artist to inculcate visual beauty to the art work. One can see that orange, green, black, and mixture of ivory white and light brown are the dominant colors in the art work. For instance, green provides elegance to the falcon in the art work. On the ot her side, mixture of ivory white and light brown is used by the artist to project the body of the horse and the falconer’s head. Besides, the falconer is dressed in orange and green robe. So the combination of primary colors provides visual beauty to the art work.

Thomas Jefferson's view on slavery Research Paper

Thomas Jefferson's view on slavery - Research Paper Example In his life, Jefferson appears to have contradicted his writing, views, deeds and thoughts on the issue of slavery (Bernstein 56). Jefferson as an opponent against slavery As a young legislator and president, Jefferson took actions that he thought would aid in ending slavery. As a young legislator in Virginia, he had tried to advocate the private land owners to free their slaves. This was, however, unsuccessful as private land owners viewed this as a way towards economic downfall. They used slaves as cheap labor in their plantations and thus, if they had supported Jefferson in his advocacy for slavery end, they would have suffered economically. Although he failed in his advocacy for slavery abolishment by private land owners, Jefferson later returned to draft a bill barring freed blacks from staying in Virginia. He drafted a Virginia law prohibiting the importation of enslaved blacks into the state (Zinn 120). He was successful in the passage of this bill. Nevertheless, it is viewed that the private land owners in his state passed the bill to raise the price of slaves who were already their captives. In 1784, Jefferson forwarded a proposal to ban slavery in the newly created territories of the northwest. As the principal author of the land ordinance of 1784, he called for an end to slavery and involuntary servitude in these territories. Jefferson wanted a line to be drawn depicting the north and south at which slavery should not be extended westwards of the impassable line. This bill, however, was defeated by a single vote. Jefferson also proposed in the mid 1770s for a means through which those born into slavery could be freed. He referred to this as gradual emancipation by which after a certain date, those who were born into slavery became freed. In his advocacy for gradual emancipation of slaves, Jefferson wanted slaves to be resettled out of the United States, or they be returned to Africa (Spahn 65). He believed that once slaves were freed, the oppression they had suffered under their masters would breed hatred for their masters. He saw to it that the slaves would instigate violence on their former masters. It is in this thought that he believed the best plan would be to resettle slaves out of America. These actions show the efforts by Jefferson, while still a legislator, to end and stop slavery at the time. As president, in 1807, Jefferson signed an act which prohibited importation of slaves. This act helped to outlaw international slave trade in the United States although it took effect almost a year later. Jefferson was also the chief author of the declaration of independence in which he strongly argued against slavery (Zinn 49). Through the declaration of independence, he noted that slavery opposed nature which calls for every human being to be treated and respected equally. He called the institution to be immoral and not just. In his first draft of the declaration, he noted that every man was equal, and slavery did not replicate this but only caused oppression and death to those held captive. These statements represent Jefferson’s stance on slavery which he opposed. Thomas Jefferson’s views on slavery also became noted through his use of strong words in which he called for an end to the institution. Through his writing and correspondence with political and business associates, his strong words against slavery stood out. His

The Sovereign Community and the Future of Public Administration Essay

The Sovereign Community and the Future of Public Administration - Essay Example The sovereign community is defined by (Montague Bernard, The Neutrality of Great Britain during the American Civil War) â€Å"as primarily a definition of a sovereign state. We mean a community of number of persons permanently organized under a sovereign government of their own, and by a sovereign government we mean a government, however constituted, which exercises the power of making and enforcing law within a community, and is not itself subject to any superior government. These two factors, the one positive, the other negative, the exercise of power and the absence of superior control, compose the notion of sovereignty and are essential to it (Henry Maine, International Law).† Political science defines sovereignty as an essential of the state to be self-sufficient within the frame of a certain territory. This allows its supremacy in domestic policy and independence in foreign policy. Sovereignty has frequently been misused over the decades. Until the 19th century, the term was used to determine that certain peoples in the world were â€Å"uncivilized† and lacking organized societies. Sovereignty or the lack thereof was used as a term denoting inferior character when compared to â€Å"civilized† peoples.â€Å"There exists perhaps no conception the meaning of which it was introduced into political science until the present day, has never had a meaning which was universally agreed upon (Lassa Oppenheim).† Sovereignty has taken on many different meanings with the development of self-determination and prohibiting the threat of force against modern international law. The UN Charter, the Declaration of Rights and Duties of States, and the charters of regional international organizations feel that all states are judicially equal and have the same rights and duties based upon the fact of their mere existence as people under international law. The right of any nation to determine their own political status and sovereignty within the boundaries of their territorial jurisdictions is widely recognized. The word nation refers to a people who share common customs, origins and history; however, national and international frequently refer to matters of the sovereign states as in national capital and international law. However, state refers to governing and supportive institutions that have â€Å"sovereignty† or control over a defined territory and population. Currently the international comm unity consists of more than 200 sovereign states or countries and the United Nations represents most. The member’s states form a system that takes into account the behavior of the other states in making decisions. Using this point of view, the states participating in the international system face both internal and external security. The concept of the international community has established rules, procedures, and institutions that effect the conduct of their relations. This establishes a foundation for international law, diplomacy, formal regimes and organizations. Public administration is a form of organized rules that implement government policy, and an academic discipline that studies the policies and prepares civil servants for the work. The fundamental goal is to further management and policies so that the government can function. Public

Recycled Toothbrushes Make Sense Essay Example | Topics and Well Written Essays - 500 words

Recycled Toothbrushes Make Sense - Essay Example It can further cut on logistics costs by collaborating with Stonyfield Farm in the procurement and disposal of the used yogurt containers. Secondly, some people usually do not prefer to use toothbrushes made out of recycled stuff, perhaps because of the reasons of hygiene and the sense of aversion associated with toothbrushes made out of recycled plastic. Recycline could enhance the conversion rate to its toothbrushes by telling its customers that they are made of food grade recycled plastic originating from the yogurt packaging of a credible food company like Stonyfield Farm. Besides Stonyfield is an already established brand. Recycline’s association with it will definitely add to its brand value. 2. Hudson is already procuring the raw material from Stonyfield Farm. It could place the advertisements at the stores selling Stonyfield products with catchy slogans like â€Å"Waste nothing, go green, and let your yogurt container be your toothbrush.† If Stonyfield Farm allo ws Hudson to do so, he could easily convert a big segment of Stonyfield’s customers to its products, without making significant investments. Stonyfield Farm also stands to gain from this move, as it will strengthen its green credentials.

What it means to receive my Black Belt in Kung Fu Essay

What it means to receive my Black Belt in Kung Fu - Essay Example I perceive this accomplishment as a major achievement in my life, and am grateful to the almighty that I had followed the eight essential elements that constitutes such a feat. A positive mind serves the purpose of keeping one constantly motivated. Whatever one does in life, whether it leads to success or failure, has to be augmented with a positive attitude. This will enable one to accept the facts of life and to emerge stronger out of any situation. Kung Fu had always provided me some reason to look up to myself. I was always required to set some standards to myself and to live up to it. This made me a highly positive individual who is willing to turn any negative aspect in life to something positive. For instance, whenever I found myself lacking in energy or focus, I told myself that what any other person could achieve could be achieved by me as well. I always considered my mentor a role model and followed the regime he suggested. And I was never disappointed by this attitude in life, for I was never defeated by any amount hard work. The very fact that I had to practice martial arts on a daily basis helped me maintain my body healthy. I realized that a healthy body is the best asset one could have. It made me feel ultimately confident in taxing situations. I also realized that my physical appearance was highly enhanced by a healthy body, which resulted in a lot of respect and admiration from those who were associated with me. This did boost my self-confidence and motivated me further to follow a strict regime of exercises and Kung Fu practice. I started slow and steady, but progressed to a stricter, more systematic regime, which could have led to a very healthy body which I can be proud of. Balanced relationships matter the most in human life. I was not really convinced at first of maintaining a balanced relationship with the help of learning martial arts. But, after

Support Assessment for Learning Coursework Example | Topics and Well Written Essays - 2500 words

Support Assessment for Learning - Coursework Example The assessment for learning should provide feedback to ensure the pupils identify personal improvement. The assessment must also encourage confidence for future improvement in comparison to the previous achievement1. Both the teacher and the student must be offered a platform for reflection on the pupil’s performance. Therefore, an assessment for learning must be a conclusive process with the ability to recognize, motivate and develop self-esteem of the pupil. The characters listed above are vital in the assessment of learning because they are the core values of the assessment for learning concept. Assessment must be employed by the staff to support the learning process. The staff must ensure that the assessment follow and fulfil the curriculum. The process ensures that learners experience is relevant, engaging and motivating with the assessment support learning. The teachers must ensure that the assessment has high-quality interactions and feedback encouraging transition on t o the next steps of learning. The pupils must understand clearly the kind ad quality work essential for success to be achieved together with the agreed outcomes2. Assessment for the young involves dialogue between the learners and the staff. The dialogue must be based on the thoughtful probing focusing on key points of learning. Assessment includes the use of dialogues, activities and tasks that encourage interaction with the learners. The interaction must challenge them and build on the learning achieved to date. In addition, the use of discussion will encourage the development of confidence in communicating and thinking about learning. Despite encouraging participation, the assessment for learning must support the individual learning process. Individual learners should seek and receive accurate and developmental feedback on what has been learnt and the extent of learning. Personal strengths and weakness must be discussed with the teachers in relation of the strengths of the work p resented. The evaluation of personal learning process will ensure the assessment or learning is comprehensive and effective. The learners should be engaged fully in their learning3. The learners must collaborate during planning, shaping and reviewing of the progress. The review of the process includes; shaping of their learning, agreeing, and establishing targets. The staff should provide regular oral and written feedback on the pupils work whilst discussing the strengths and areas of improvement in the process. They must work with their peers offering comments on the progress. The approach in assessment will promote learner engagement while encouraging learners to be independent in the learning process. The success of the assessment learning support depends on the ability to integrate, motivate, inspire and lead the learner to personal learning which ensures self-esteem and confidence. The development of effective learning support assessment depends on contributions from learners, teachers and the support staff4. In addressing the various issues, in assessment support learning, the paper will evaluate the participation and role of individuals in the process and establish effective approach strategy. Characteristics of assessment for learning Assessment for learning has several characteristics that are important for success. The assessment must reflect and share the learning goals with pupils. The sharing of the goals with the pupil ensures that the objective and outcomes

Olivio Assignment Business Law Essay Example for Free

Olivio Assignment Business Law Essay After reading the above and based on the definition of larceny in the text, is if fair to convict a person for larceny if he did not leave the premises without paying for the property in his possession? Does intent to deprive have anything to do with the outcome of a case of larceny? What do you think? Also, should the penalty for larceny vary, depending on where the individual is caught or the dollar value of the good taken? Explain According to NYS penal law (155. 05), â€Å"A person steals property and commits larceny when, with intent to deprive another of property or to appropriate the same to himself or to a third person, he wrongfully takes, obtains or withholds such property from an owner thereof†. So I believe it is fair to convict a person for larceny even if he or she did not actually leave the premises without paying for the property in his or her possession. In the case of Olivio, the story clearly stated that he stopped to look around several times, which confirms that his motive was indeed to steal the merchandise- the story also stated that he ran right past the cash registers in order to make an exit with the merchandise which further confirms that he intended to take the merchandise without paying. Which shows intent to deprive.. I believe the penalty for larceny should vary depending on the dollar value of the merchandise that was taken- I however do not think that the penalty should vary according to where the individual is caught. Where the individual is caught is irrelevant- what matters is retrieving the merchandise and or property that was stolen and punishing the person who stole it.

Key conventions comprising works of writer and director christopher nolan

Key conventions comprising works of writer and director christopher nolan Chapter 1 Introduction I think audiences get too comfortable and familiar in todays movies. They believe everything theyre hearing and seeing. I like to shake that up. (The Auteurs, 2010) Christopher Nolan made his feature debut with Following in 1998 but it was the cult classic Memento, released in the autumn of 2000, which lead to his breakthrough in Hollywood. Despite only a handful of subsequent box office successes later, Nolan had soon established himself as both a blockbuster writer and director of the highest calibre. With Nolan rapidly constructing a key signature of his work that chronology would take a back seat to character with an identifiable undertone of film noir, is Christopher Nolan an auteur of the 21st century or merely a product from the likes of David Lynch and David Fincher? Consequently, this assignment will aim to answer this very question and will make a judgement on whether Christopher Nolan is in fact an auteur. In order to make a final judgement the dissertation will pursue the following procedure: Chapter three will aim to define what characteristics constitute an auteur, and will thus provide an informative analysis of the cinematic theory so that a context for the discussion can be established. This dissertation will benefit largely from the combination of both Alexandre Austrucs relatively elementary definition of auteurism as well as Andrew Sarris and John Caughies more modern, in-depth interpretation of the film theory. Employing approximately 50 years worth of academic analysis in regards to auteurism, a precise and thorough definition of an auteur will be produced, essential when drawing an accurate conclusion. Similarly, Chapter four will provide a brief summary of both the history of film noir and the neo-noir motion picture, informing the reader through an analysis and development of the genres codes and conventions. Joan Copjecs publication explores the origins of this classic period of Hollywood cinema and offers a perspective upon the films themselves, viewed in light of contemporary social and political concerns, and from new theoretical insights. She also analyses the re-emergence of noir cinema in recent years and how neo-noir remains a popular choice for the big film studios. Another publication which has been hugely beneficial during my research is that of Dr Frank Krutnik. Krutniks book combines both theoretical and historical research through the examination of individual films through a generic framework. In a lonely street is an extremely valuable text as it is especially successful in combining both historical research and textual analysis. It is important to note that Chapt er three and four of this dissertation are effectively the foundations before producing a smooth transition into the rise and success of writer and director Christopher Nolan. The vast bulk of the evidence gathered will be contained between Chapters five, six and seven. Chapter five will observe a number of Nolans cinematic trademarks, beginning with non-linear narratives. The International Society for the Study of Narrative states that narrative is the telling of a story or communication of a chain of events, fictive or real. Aspects of narrative include how the story is told, the context in which it is presented, and the construction of the story (Narrative, 2010). Therefore, in order to achieve an in-depth deconstruction of the non-linear narratives of Nolans first two motion pictures, Following and Memento, the aid of a narratological theory will be required whilst an analysis of all aspects of narrative must also be attributed. One narrative theory which has been specifically chosen is that of Tzvetan Todorov. Lacey (2000) argues that one name has become synonymous with that of Narratology over the years, Todorov, who simplified the concept of narrative while allowing a more complex interpretation of film texts with his theory of Equilibrium an d Disequilibrium. First proposed by Russian Formalists, there should be two individual narratological traditions: thematic and modal. According to research by Professor Meir Steinberg (Narrative, 2010) the former is largely limited to a semiotic formalization of the sequences of action told, while the latter examines the manner of their telling, stressing the importance of voice, point of view, transformation of the chronological order, rhythm and frequency. Numerous academics however, have insisted that thematic and modal Narratology should not be investigated separately as they both undoubtedly benefit one another especially when investigating the function and interest of narrative sequence and plot. Therefore, one must ensure that both a modal and thematic stance has been incorporated into the investigation of each text. The study will then progress on to observe the role of the morally dubious protagonist, a feature which dominates the majority of Nolans texts. For this purpose, Memento, The Prestige and Batman Begins have all been chosen for evaluation. This chapter will also undertake a vigorous breakdown of recognisable mise en scene traits and themes which will be identified throughout the volume of Christopher Nolans films. It will be this section of the study that will ensure a balanced debate as we look at the impact of other members within the production process such as Wally Pfister, a cinematographer, who Nolan has hired for all but one of his feature films. We also consider the influence of Chris brother, Jonathan, who has helped co-write several texts. The introduction to the conclusion, if you will, will help summarise and determine the significant influence the noir conventions that have been stated throughout this discussion have had on the development and originality of certain Nolan films. The dissertation will then conclude that despite the fact that Christopher Nolan, like many of his predecessors, has inherited a vast wealth of cinematic codes and conventions, his body of work, all be it relatively small, provides a unique stamp thus establishing Nolan as an auteur alongside the likes of Scorsese and Spielberg. Methodology. (3 pages) The following Firstly the information collected for this dissertation will be purely qualitative rather than quantitative as it focuses upon film theory through the form of textual analysis. The Secondary research will specifically involve the consultation of academic textbooks on the dissertation topic. This will be essential in developing prior knowledge on the subject and will allow discussion in order to reach the overall aim. The opinions of film academics and authors will be utilised in order to validate or oppose various issues raised within the dissertation. By using published or peer reviewed sources it increases the reliability of the information referenced and in turn the dissertation. The dissertation will also consist of narrative analysis of moving image. Stokes states that narrative analysis involves very close reading and is best conducted on a limited number of texts (2003, p. 69) which is why the dissertation particularly examines and deconstructs the works of a sole director and writer. However, there may also be a negative effect of investigating the work of one artist as Stoke (2003) claims there can become a danger of bias by steering away from a critical approach if you admire the work of the particular auteur. She states that one must go through a process of developing a critical distance and a way of watching which is detached and dispassionate. Therefore in order to ensure that the investigations results are as reliable as can be, one must aspire to analyse with complete objectivity. Whether or not this is entirely possible is another matter. Stokes (2003) also offers seven steps in order to conduct narrative analysis effectively. These guidelines will be extremely useful when deconstructing the narratives of Following, Memento and Batman Begins. Chapter 3 The Auteur Theory. More than a theory. In 1954 film critic and film director FranÃÆ'ois Truffaut coined the term auteurism, a concept which would later provoke much controversy and debate within the world of cinema. The politique des auteurs, later referred to as the auteur theory, originated in 1950s France as an abstract aesthetic rooted in the works of prestigious film journal cahiers du cinema. The fundamental works of this cinematic movement were Alexandre Austrucs Un camera stylo and Francois Truffauts Une certain tendance du cinema FranÃÆ'ais. Both of these concepts promoted the idea that as the author of a motion picture, the truly great directors must have a distinct visual style and identifiable themes which ingrain all of their work. (REFERENCE) Alexandre Astruc in his celebrated essay The Birth of the new avant-garde: the camera-stylo, announced that: The cinema is quite simply becoming a means of expression, just as all the other arts have been before it . . . After having been successively a fairground attraction, an amusement analogous to boulevard theatre, or the means of preserving the images of an era, it is gradually becoming a language. By language, I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel (cited by Corrigan and River, 1999, p.159). Caughie (1988) states that as a term, Austrucs camera-stylo (camera pen) failed to take root, however the insistence on film as an individual self-expression, had a considerable polemical importance, forming the basis of Franca Truffauts cinema dauteurs. Traditionally, the reference to the auteur in French film criticism was associated with either the author who wrote the script, or, in the more general sense of the term, the artist who created the text. Before too long the latter sense came to replace the former and the title auteur was attributed to the artist whose personality had been written in the film. Inspired by the critics of cahiers du cinema, US film academic Andrew Sarris demanded a more detailed definition of the term la politique des auteurs and would later transform the notion of an auteur into an acclaimed cinematic theory. The auteur theory was never, in itself, a theory of the cinema, though its originators did not claim that it was. The writers of Cashiers du Cinema always spoke of la politique des auteurs. The translation of this into the auteur theory appears to be the responsibility of Andrew Sarris (Caughie, 1988, p.24). In his Notes on the Auteur Theory in 1962, Sarris proposed three key traits in order to identify an auteur; the first being the technical competence of a director as a criterion of value. The second; the distinguishable personality of the director. Over a group of films, a director must exhibit certain recurring characteristics of style, which serve as his signature. The third premise refers to a more mystic interior meaning: Interior meaning is extrapolated from the tension between a directors personality and his material. This conception of interior meaning comes close to what Astruc defines as mise-en- scene, but not quite. It is not quite the vision of the world a director projects nor quite his attitude to life. It is ambiguous, in any literary sense, because part of it is imbedded in the stuff of cinema and cannot be rendered in non-cinematic terms. (Cited by Pearson, 1997) It is fairly evident when scrutinising the words of Andrew Sarris, that there are in fact numerous weaknesses in regards to his academic approach towards the auteur theory. The first two traits are fairly self explanatory, as he claims that a director mustnt simply be a master of his craft but that he must also present a style which is clearly distinguishable as his own. The weakness in Sarris approach however, lies in his third and final point, as he produces a vague description of what he defines as interior meaning. This definition is simply too unclear making it near impossible for other film academics to evaluate and measure an auteurs interior meaning. This point is indisputable as Sarris himself claims that his third principle is in fact ambiguous (Cited by Pearson, 1997) to say the least. Once Andrew Sarris had developed the notion of the auteur theory, he began to break the boundaries set when analysing auteurism in cinema. He took note of films within Hollywood and the commercial system where a large number of directors whose work, displayed a consistency of under-lying themes and a style which Caughie believes was unusual as it was difficult for a director to express personality and uniqueness within the industries constraints: In fact, the struggle between the desire for self-expression and the constraints of the industry could produce a tension in the films of the commercial cinema which was lacking in the art cinema, encouraging the auteurist critics to valorise Hollywood cinema above all else, finding there a treasure-trove of buried personalities, and, in the process, scandalizing established criticism. Uniqueness of personality, brash individuality, persistence of obsession and originality were given an evaluative power above that of stylistic smoothness or social seriousness (Caughie, 1988, p.10). Despite the director as author approach becoming increasingly popular in the 1960s, its weaknesses soon became apparent as it wasnt long until the notion of auteurism had been extended to include both producers and actors. The auteur theory had now developed to the extent where it would only accept rigorous analysis of films as oppose to unclear references to themes and style; With its emphasis on the importance of systematically analysing a body of texts, auteur-structuralism conceives of the author as a set of structures identifiable within a directors films. (Crofts, 1998, p. 315) Film critics would therefore now attempt to deconstruct the common themes and style of a given director rather than simply producing a vague interpretation. Caughie (1988) states that a weakness of the auteur theory lays in the fact that it requires a means in which to measure value. Sarris suggests films become valuable in so far as they reveal directorial personality. He therefore does precisely what s hould not be done: he uses individuality as a test for cultural value (Caughie, 1988, p.27). After utilising a number of interpretations in regards to the auteur theory, a single definition must be produced in order to validate the conclusion drawn at the end of this investigation. The definition which has been selected is that of John Caughies as it is both simplistic yet precise. Caughie, is his text Theories of Authorship, stipulates that an auteur is purely a valued member of the production team whose personality can be traced in a thematic and/or stylistic consistency over all (or almost all) of his/her films (Caughie, 1988). It is therefore fair to suggest that a personality, arguably a synonym for auteur, simply refers to a number of unique codes and conventions which have been persistently drawn upon for a large percentage of his or her (in this instance, a directors) work. Chapter 4 A History of Film Noir and its progression into the Neo Noir motion picture. More than a genre Paris, summer 1946. This moment marks an incredibly important event in cinema history, not for production but for exhibition. For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw prompted the naming and theorisation of a new phenomenon: film noir (Copjec, 1993). Silver (2004) simply defines classic film noir as one of the most influential movements in cinema history. This definition seems rather basic, however, despite five decades of attempted classification and debate its categorisation still remains problematic as it is marked by what Krutnik (1991) coined as a division between opposing camps of theorists and historians. Perhaps it is easier to suggest what characteristics constitute film noir rather than attempting to identify it wholly as genre or a period of history. Silver and Ursini (1998) in their book Film Noir Reader claim that the boundaries of this classic period stretch from John Hustons The Maltese Falcon (1941) to Orson Welles Touch of Evil (1958) and emerged from crime fiction in the United States during the Depression. The iconic visual style of film noir set in the 40s usually tends to be low key lighting with use of dark, dramatic shadowy patterns. This style is particularly noticeable in Carol Reeds The Third Man. In an analysis of the visual approach of Kiss Me Deadly, critic Alain Silver (1995, p.222) describes how cinematographic choices emphasize the storys themes and mood. In one scene, the characters, seen through a confusion of angular shapes, thus appear caught in a tangible vortex or enclosed in a trap. Copjec claims that this new form of cinema that emerged in 1940s America reflected the anxieties of a country entering a new era, an era perhaps dark and ominous. Film noir had therefore become the antithesis of Hollywoods glamour productions of the 30s. Literally meaning black film, film noir was first introduced by the French critic Nino Frank in 1946 as he noticed how dark and often black the settings and themes of these Hollywood films were (Wolfgang, 2003). Unlike other forms of cinema, film noir has no elements that it can truly indentify as its own. Rather, film noir makes use of elements from other forms, most notably from the crime and detective genres, but often overlapping into thrillers, horror, and even science fiction (Copjec, 1993). The primary moods of classic film noir are melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt and paranoia (Wolfgang, 2003). Whereas much work has been published on classic film noirs, produced between 1940 and 1958, little criticism has been written about the newer films, produced between 1966 and 2010, defined as the neo-noir motion picture. For some there has been a tendency amongst film critics to exclusively use the term noir for the classic films of the 30s, 40s and 50s. Although in recent years, there has been an increasing flexibility in regards to the classification of noir, especially as far as a chronological broadening is concerned. Some film academics believe that the genre has expanded from pre-World War Two cinema to the modern day phenomenon of the Neo-noir motion picture. This therefore suggests that the label film noir now has over sixty years of film history behind it. The term Neo-Noir was first coined by Todd Erickson in the 1990s in his widely credited essay Kill Me Again: Movement becomes a Genre where he claimed that neo noir only became a genre in the 80s, when it emerged from its embryonic state in the sixties and seventies (Silver and Ursini, 1998). He also discusses the emergence of noir motifs in films subsequent to the canonical period and suggests studying them as a new genre. Contemporary film noir is a new genre of film. As such, it must carry the distinction of another name; a name that is cognizant of its rich noir heritage, yet one that distinguishes its influences and motivations from those of the bygone era (Silver and Ursini, 1998, p.321) Erickson expanded on his definition stating that Neo Noir encompasses films released after the classic period which fulfil central aspects of the genre but take other different generic approaches (Lee Horsley, Crime and Culture). These central aspects of iconography, to which Erickson refers, a re: The visual style, in terms of cinematography with the use of symbolic lighting on certain characters to portray a particular characteristic. Academic David Watt (2002) highlights these codes and conventions within a framework of David Finchers Fight Club. Watt argues that Fincher has accomplished a particular style of lighting through the relationship between the central characters. In various scenes, Jack is in the foreground of the shot lit in high key with Tyler in the background hidden by shadows, thus representing that Tyler is hiding something from Jack (Watt, 2002). Another piece of iconography within the narrative structure is the common use of flashbacks in film noir where the protagonist will narrate their own story. Watt states that Fight Club fulfils this narrative device and plays on it through creating a flashback from another flashback, setting the film further back and expanding on the convention (Watt, 2002). The third and final key element of film noir is the i nclusion of certain Character types who the audience recognise as a recurrent motif of the genre. For example, perhaps the most identifiable character type in film noir is that of the anti hero, a convention that will be discussed in greater detail later in this study. Watt proclaims in his dissection of Finchers Neo Noir Blockbuster that the anti hero: Poses as the central character but does not follow the rules of society in the diegesis and contrasts heavily to the typical high concept hero. Fight Club immediately introduces the audience to the anti hero through a typical film noir convention of the introductory close up. Fincher has taken this convention to its extreme though and begins the film from literally inside the protagonists brain and then spirals out, disorientating the audience as they are forced to identify with this nameless character. Jack acts as the anti hero but his traits of the character type are expanded and again, took to their ultimate extreme. He does not trust anyone and is a loner, so much so that his name is never clearly identified and he is only recognised as Jack through the narrative voice over of I am Jacks wasted life (2002). The similarities between both the protagonist in Fight Club and Christopher Nolans Memento will be hugely evident when we analyse Nolans use of the anti-hero in his own Neo Noir epic. If we return briefly to the genre itself, many of the Neo-Noir films, especially of those created in the 70s and 80s, including for example Chinatown released in 1974, are what Lacey (2001) considers as pastiches that knowingly, and fondly, recreate the style of earlier noir cinema albeit in colour and with a modern sensibility. These films express a retro and nostalgic avoidance of contemporary experience with the intention of escaping from contemporary issues (cited by Wolfgang, 2003) Horsley (2002) corroborates this statement by arguing that in recent years one question is frequently raised in critical debate, pondering whether the fashionable trappings of neo-noir are themselves symptomatic of commercial postmodern nostalgia. He moves onto suggest that the sense that noir created in the 70s and 80s was a retro and nostalgic avoidance of contemporary experience has been encouraged by the often-cited essay, Postmodernism and Consumer Society, in which Frederic Jameson assigns to fi lm noir a central role in the vocabulary of commercialized postmodernism. However, Lacey (2001) claims that there are also numerous Neo Noir motion pictures which push the genre forward and avoid pastiche. One director whose films arguably fit this mould is Christopher Nolan, a writer and director whose work has instigated this very investigation. Leaving aside for the moment the matter of nostalgic pastiche it could be argued that Neo noir is not so much a genre of film but rather an identifiable visual style which has been adopted by a large number of contemporary film makers. As an aesthetic and ideological set of principles, the traditional conventions of noir are very visible in the works of modern auteurs: David Lynch, Michael Mann and David Fincher. However, there is still an obvious difference between both Film Noir and Neo noir as they each have their own underlying social and political context which undoubtedly affects a films perspective. As stated earlier, Film noir is very much a response to post war disillusionment and can be categorised into certain distinct phases, Neo noir on the other hand is far more difficult to isolate as the genre itself continues to evolve. Despite the 60s and 70s providing some telling illustrations of Neo noir, it was not until the early 80s that the genre gained widespread acceptance and credibility. This could arguably be down to the success of Ridley Scotts Blade Runner which would later be followed by other influential directors David Lynch (Blue Velvet, Mulholland Drive) and David Fincher (Seven, Fight Club). As Lee Horsley suggests: The contemporary refashioning of noir themes is a manifestation of the flexibility and responsiveness to social change that have characterised noir from its inception and of the continued vitality of the form. The transformations of the genre in neo-noir have helped to clarify some of the constant, recognisable elements of the noir vision, most importantly the moral ambivalence of the protagonist and his (or in neo-noir often her) ill-fated relationship with a wider society that itself is guilty of corruption and criminality. (Horsley, 2002) One director whose body of work notably contains recognisable elements of the noir vision is that of Christopher Nolan. Thanks to his unique, stylised, time-bending reformation of film noir conventions, Christopher Nolan has established himself as a creator of psychologically demanding films that defy categorization. When Nolan spoke to journalist Chris Roberts in October 2000 he was asked Have you always loved film noir?: Very much. Im a big fan, but interested in making those materials live for this time, this place. To create something new, whilst not abandoning the things I love about the genre. Which include the intrigue you can get out of that triangular relationship between three main characters. Who does what to whom is the driving force of both the narrative and the psychology. You judge them on their actions, rather than a lot of back-story and conversation. I just think it would be a marvellous thing for film-makers to have some of the narrative freedom that novelists have had for hundreds well, thousands of years. In other media, its always been accepted that you dont have to tell stories chronologically. In films, you have the flashback concept, but Stanley Kubrick and Nicolas Roeg were pioneering and pushing other boundaries in the Seventies, and it seems criminal to me not to keep using the freedoms they hard-earned. You should always be a little ahead of your time. I dont mean in a me dicinal, here-take-this-its- good-for-you way, but keeping people on their toes is a fun thing to do. Citizen Kane pushed things forward ambitiously, but in a real, instinctive, not gimmicky sense. And some of the aggressive, avant-garde devices Godard patented are accepted mainstream tricks now (Roberts, 2000). This insightful interview helps display some of Nolans key influences and motivations and yet the man himself remains in many respects an enigma. Before discussing the key conventions which comprise his work, lets begin with the man himself. Chapter 5 The Rise of Christopher Nolan More than a director Christopher Jonathan James Nolan was born in London on the 30th July 1970 as a child of a British Father and American Mother. Nolans introduction to film production began as early as seven when he began making war movies with his older brother using his fathers super 8mm camera and an assortment of male action figures. His passion for films increased with age whilst he is said to have been influenced to produce short science fiction films in the same vein of George Lucas space saga, Star Wars. After spending his childhood years residing in Chicago, Nolan returned to England to attend boarding school at Haileybury College, he then progressed to University College London where he studied literature. While an undergraduate, Nolan shot the surreal shorts Tarantella and Doodlebug with young actor and friend Jeremy Theobold starring in the lead for both films. Theobold would also take up the role in Nolans first feature film, Following, a no-budget black-and-white movie produced in London over a one year period. This ultra-low budget indie received wide acclaim receiving numerous awards such as the prestigious Rotterdam International Film Festivals Tiger Award and the Slamdance Black White Award. Despite Nolans success within Europe, it wasnt until he wrote and directed Memento (2000), a cult classic revenge story with its unique narrative structure, which held him up on the global stage. Hailed by critics, Nolans reputation almost changed overnight leading to him becoming a highly sought after talent. Returning in 2002 with Insomnia, a remake of Erik Skjoldbjaergs 1997 film of the same name, he proved he could direct some of the worlds top actors such as Al Pacino and Robin Williams. It was in 2005 however, with a reimagined take on a long-defunct film franchise, Batman, that propelled Nolan to the upper tier of Hollywood directors. His dark, brooding take on the avenging crusader was much more aligned with its original intention than any other subsequent incarnation. (Screenrush, 2010) With more recent box office successes, The Prestige (2006) and The Dark Knight (2008), Nolan has undoubtedly secured his reputation as a one of the top directors and writers working in Hollyw ood today. Now we know the man behind the lens, lets start dissecting the key conventions which comprise his work. We begin with Nolans use of the non-linear narrative. Chapter 6 Narrative More than a story. When Christopher Nolan released Memento in the autumn of 2000, few suspected the impact it would have on cinema goers worldwide and its significance not only on neo-noir as a genre, but also its effect on how audiences and critics perceive narrative within film. As a fragmented, non-linear narrative structure, Memento is a text which has received broad investigation in recent years. Its true meaning however, if in fact there is one, remains very much an enigma even a decade after its initial release. Nevertheless, the use of a non-linear narrative is nothing new, as stated earlier, as it has often been used in the past by noir directors to slowly reveal relationships among characters and circle the story back to a key precipitating event. What makes Memento special however is that its non-linear narrative structure puts the audience into the shoes of the protagonist. Through this device the viewers become detectives themselves. For the most part the audience struggle as much as Leonard does, creating a coherent narrative out of all the evidence they witness. Nolan gives the film noir genres tendency to confound the viewers expectations a conceptual twist by linking the flow of the narrative to the condition of the protagonist. (Wolfgang, 200 3) Memento would not be the first film Nolan would experiment with narrative structure as his first feature film, Following, applied this tool by using visual clues to aid the viewer in re-ordering the story chronology. This device would be something Nolan would return to in Memento, using the scratches on Leonards face as a marker-point for the time-line, rather than indicating the passing of day or night (Mottram, 2002, p.78). Christopher Nolan gives an insight into his trail of thought during the production process: When I had written the script, which seemed to work on the page, the feeling was if youre going to use this unconventional structure, such as the three time-lines in the Following, then my impulse at script stage was to teach the reader the structure, to do it very quickly with small scenes,

Narrative Essay :: Personal Narrative

David The chaos from my teenage sister’s birthday party was deafening. Somehow through the noise, I registered that the phone was ringing. Jumping up, my sister answered it in hopes of hearing her boyfriend’s voice. A look of concern and confusion crossed her face as she handed me the phone. She mouthed the word "David" as I placed the receiver to my ear. Immediately I began fighting off a panic I could not yet explain. Dead. David. Crying and screaming assaulted my senses. "He's dead. He's dead," were all I could hear. I wondered briefly if this was someone’s idea of a cruel joke. But, within moments, the cold reality of this life changing nightmare set in. How could something like this happen to someone I was so close to? I had just talked to him that morning. We were supposed to meet up later to hang out like always. My heart hurt; I couldn’t breathe. It was like I was stuck in a bad movie and I couldn’t turn it off. The tears just wouldn’t stop. I had to see for myself. I slipped my shoes on, grabbed my keys, and rushed to my car. The drive to David’s house was agonizing. I could barely see the road through my tears. The whole drive my mind was racing, trying to grasp the reality of what just happened. Once I got there and saw the ambulances, the policemen, and the look in his family’s eyes it hit me like a ton of bricks. He was really gone and not coming back. I've never seen a body bag with a real body in it. Not in real life and not with one of my friends inside. But there he was surrounded by detectives as the Emergency medical technicians were loading him into the ambulance. I'll never be able to erase that image from my mind and believe me, I have tried. David was a close friend of mine. We had known each other since elementary school. He was the one that could make me laugh nonstop and without even trying to. I could always depend on him to lift my spirits. He had the most amazing caramel eyes that seemed liked they stared into your soul.

summer flower :: essays research papers

As we walked among the flowers we began to tremble. He said to her what a wonderful world. Oh my she explained to her husband of fifteen thousand years. And from there on they became universally involved. After reading Mervyn Peake’s short story â€Å"Same Time, Same Place,† it is apparent that the author intended to create a story based around fantasy. Customarily, fantasy is mistaken for stories that include abstract creatures and inconceivable story lines. Under these circumstances one would then conclude that Peake’s short story may not in fact be categorized to such an extent. However, when the formal definition of fantasy is applied to this story it becomes evident that Peake does more than hint at a story based around make believe. Fantasy can be better understood as one of two types of non-realistic fiction, the other being science fiction. In this case fantasy resembles the psychological state of fantasy in that it provides the reader with an experience of liberation similar to that provided by a daydream. Fantasy typically contains 1) a magical world in which liberating events can plausibly take place and 2) main characters with whom the reader closely identifies and through whom he or she enters the magical world. Now, in order to relate this formal definition to Peake’s short story, it is more applicable to break down the definition of fantasy and apply necessary parts from the short story.   Ã‚  Ã‚  Ã‚  Ã‚  Of the many characters mentioned in the story, only one proved identifiable. From the opening lines, the narrator and main character is the first character the reader is able to identify. The young man we first come across seems responsible for the curious and sympathetic feelings the reader obtains. The narrator proclaims that his life of twenty three years has been nothing more than a bore to him, and perhaps he is having trouble with his own personal identification among his family. His time spent at home has left him to deal with hatred that has accumulated from being around his parents and not knowing his role in the family. Specifically, he deals with a father who is constantly consumed with cigarette smoke and a moustache that drives him crazy. He hates his mother who wears â€Å"tasteless and fussy† clothes and he even hates â€Å"the way the heels of her shoes were worn away on their outside edges.† The way in which he describes his hatred p rovides more reasoning as to why the reader is apt to feeling sorrow and sympathy.

Rembrandt a Religious Painter :: Essays Papers

Rembrandt a Religious Painter â€Å"The beauty of the images moves me to contemplation, as a meadow delights the eyes an subtly infuses the soul with the glory of God.† (CCC 1162 found on Art as a form o Christian Meditation http://landru.i-link-2.net/shnyves/Art_in_Meditation.html ) Rembrandt Harmenszoon van Rijn was born on July 15 of the year 1606 in the university city of Leiden. His family was Catholic although his father was the only member of his family who converted from Catholicism to Calvinism in the late 16th century. His parents had 9 children, Rembrandt being the second youngest. â€Å"At the age of seven, he was sent to the Leiden Latin School to prepare for the university†¦ as his brothers were sent out to learn a trade. This suggests that at an early age Rembrandt showed a more than average intelligence and that his parents were willing to educate him for a profession, very likely as a city administrator.† (The new Encyclopedia Britannica 1974) Rembrandt left the Latin School, at 14; he was very well trained in classical literature and a â€Å"well-trained Latinist.† Rembrandt then went to Leiden University were he found that his true love was for painting. His parents then removed him from the University and had him sent to a painter, Mr. Jacob Isaacxsz van Swanenburch. After three years with the painter his father took him to Amsterdam to the painter Pieter Lastman where he became an apprentice. His parents did this because Rembrandt showed more a liking in drawing and painting historical and biblical scenes and images and there was no painter in Leiden who was proficient in religious subjects. â€Å"1624 Six months further education at Pieter Lastman in Amsterdam, perhaps also for a short while at Jacob Pynas.† (Rembrandt’s Life- His Biography http://www.screendesign.de/remfus.htm) Rembrandt then returned to Leiden to become an independent painter. He then moved to Amsterdam and was paid high commissions to paint portraits. Rembrandt met a man named Hendrick van Uylenburgh an art dealer in Amsterdam. â€Å"Rembrandt became an immediate success in Amsterdam.† (The new Encyclopedia Britannica 1974) Rembrandt then married Hendrick van Uylenburgh’s cousin Saskia van Uylenburgh in June 22, 1634. â€Å"His religious works were also in demand, and as early as about 1632 he received a commission from Prince Frederik Hendrik in The Hague to paint five scenes from the Passion of Christ, which was completed in 1939.† (The new Encyclopedia Britannica 1974)

Houston Crime Stopper Proposal Essay

Description: This Crime Stopper Awareness presentation will be given to a small group of family and friends. This presentation is based on informing the audience members about the Crime Stoppers Organization in hopes of raise their awareness of Crime Stoppers and to get them more involved in stopping crime in our area. It is an opportunity for the audience members to learn about the many accomplishments of Crime Stoppers, and what makes this organization so successful. The audience will come to understand about how Crime Stoppers is able solve crimes and reduce the crime rates in the area. There will also be a segment focusing on the Safe School Program and how audience members can also get involved to help fight crime. All information in this presentation was obtained from the Crime Stoppers website: www.crime-stoppers.org Crime Stoppers Awareness Presentation The first Crime Stoppers program was implemented in New Mexico in 1976 and they have been growing ever since. Today there are over 3100 Crime Stoppers chapters across the United States, and an additional 1000 more scattered throughout other areas of the world. The Houston Crime Stoppers program was set up by local businesses in 1981 due to the increased level of crime in the greater Houston area. Crime Stoppers is a community-based program that works with law enforcement to solve crimes, ensure safer neighborhoods and schools for our children and also to provide people with the tools they need to help create a safer community. Houston Crime Stoppers has not only had a big impact on Houston, but also on other parts of the world. Thus, 10% of all worldwide arrests have come from tips that came in through the Houston chapter. For example, in 2007 Houston Crime Stoppers was responsible for solving over 30,000 crimes and received tips that led to 25,000 felony arrests. Also, Crime Stoppers has paid out over $10 million in rewards for tips leading to successful arrests. All the money Crime Stoppers has paid out is dependent on the donation from the community and fund raising events held by Crime Stoppers such as their â€Å"Brighter Tomorrow Gala†. Crime Stoppers goal is to create a safer community by helping to capture criminals and get them off Houston streets. In 2012, Crime Stoppers help to led to 684 felons arrests and solve 751 crimes such as: 18 murders, 10 capital murders, 79 robberies and 32 burglaries. Also, there were 34 cases solved in 2012 involving sex crimes against children. In addition, since 2007 Houston Crime Stoppers has assisted in helping to put criminals behind bars, to date the totaling jail time is 10,859 years in prison, 45,018 days in county and 24 life sentences. All these criminals were arrested, taken off the streets, and incarcerated thanks to the tips received from the community trying to stop crime. Another important program sponsored by Crime Stoppers is their Safe School Program that was started in 1997 and their motto is â€Å"Safe School Program is to cultivate and educate the youth of today and prevent the crimes of tomorrow†. This program has helped to remove guns from schools and in 2011 and 2012, Crime Stoppers helped solve 186 school related crimes. The goal is to not only fight the crimes occurring at public schools but also to educate students and thus far, Safe School, has provided over 1,000,000 students with safety training. This not only cuts down on crimes within the schools, it also leads to fewer student dropouts. Safer school led to safer neighborhoods, which increases property values and community job growth in the area. Therefore, protecting your children, schools and neighborhood from crime is an investment to the entire community! Crime Stoppers has been so successful not only because they work with law enforcement, but also due to the support they receive from the community. It is the tips from everyday people that allow the crimes to be solved and for the criminals to be apprehended. For instance, in the past many people had been afraid to contact the police to report information about a crime for the fear of retaliation or from fear of consequences from law enforcement. The key element in reporting tips to Crime Stoppers is that the individuals can remain anonymous; no questions asked. Also, any tip that results in a felony arrest, Crime Stoppers will pay a reward of $5,000 in cash, and again, no questions asked! By offering this reward incentive and allowing people to report their tips anonymously, more information is being reported, and more crimes are getting solved. Crime Stoppers is able to receive tips several way: by phone through their tip line at 713-222-TIPS, and also by text and email. So, Crime Stoppers offers a cash incentive for reporting tips and in doing so, have made it safe from anyone’s identity being revealed and easy for the various channels tips to be reported. In addition, Crime Stoppers has several other active programs in the efforts of making the greater Houston area safer. The newest society is Mothers Against Crime, which started in 2006 in hopes for safer neighborhoods for our children. Also, Crime Stoppers and the Gulf Coast Offenders Task Force have launched a campaign in arresting criminals with outstanding warrants for crimes against children. All that Crime Stoppers are able to do cannot be done without the involvement of the community, and the financial support of local businesses and individuals. Therefore, to help stop crime in our area please join in the fight with Crime Stoppers by getting involved in their local programs and/or donate to Crime Stoppers to help them continue to make Houston a safer place to live. It takes everyone in the community, working together to fight crime! Thank you.

The Environmental And Sustainable Policy Of Abb Environmental Sciences Essay

ABB has been committed to the betterment of the production public presentation for both public public-service corporation and industry clients every bit good as lower negative effects to the environment. While cut down the ingestion of energy and natural resorts utilizing, the nucleus operation for ABB is to supply higher efficient systems, merchandises and services. That is why environmental direction is one of the most anterior concern. The environmental policy is considered to be summed up to several facets: Constructing up the environmental direction system ( ISO14001 ) , ABB carries out the environmental rule, and keeps promises to go on with invention, observant and the instruction of staffs, supports environmental friendly manner in their concern. Promoting their clients and providers to utilize international environmental criterions, ABB now has put environmental elements into the hazard appraisal of large clients. As a nucleus operation, the efficiency of energy and resources is assisting to the betterment of industry engineering. Innovation and publicity of the production which can better utilize the clean energy and raise the efficiency are the focal point of ABB The environmental public presentation of ABB mills is examined and verified in a certain period. It is to be published that the environmental declaration of the production and the environmental public presentation of the nucleus production. Sustainability study is supposed to be made every twelvemonth. The independent bureau will look into to maintain the transparency of the study. High eco efficient engineerings will be sold to the developing states. By and large talking, ABB now is utilizing 4 methods to increase the its sustainability: increasing the economic benefit, spread outing the environmental direction system, transporting out societal policies and advancing electrization undertakings. While accomplishing the end of economic growing, It is seeking to minimise the negative impacts to environment. However if we look into the environmental policy, it is non difficult to happen that after probe, the duty, that if the environmental direction system of ABB does non run into the demand of international criterions, is non distinguishable. The missing of duty committedness causes an unexplainable behavior in the environmental direction. The energy losingss in 2008 is much higher than that in 2007 or 2006. Fossil fuel, as the chief type of energy, is still widely used in the productive procedure. As the taking company in the field of high efficient production, evidently ABB does non pay much attending to the higher per centum of energy losingss, compared with 2007 and 2006, in the production procedure. The declaration of the public presentation merely focuses on nucleus merchandises. As a affair of fact, if we check from the GRI indexs of ABB in 2008, It is shown that the risky substances are much more used than earlier. The ignore of the accessory merchandises hinder the betterment of sustainability scheme. The sensible border-crossing development scheme is non even mentioned in the sustainable policies. Transportation system of the merchandises now caused a immense emanation of C dioxide. The location of the subdivision companies and the energy supply scheme for the mills are supposed to follow the rule that can minimise the transit distance.Environmental policy of ABB related ISO14001 guidelinesISO14001 is a international criterions for Environmental Management Systems ( EMS ) , so the demands of ISO have incorporated with the different involvements of companies. Since ABB is a immense international group, it is difficult to acquire a incorporate criterion for the whole company. The guidelines we are speaking about now bases on the simple demands of the EMS. The committedness and environmental policy The committedness of an organisation should include two chief parts: the ground why the organisation wants to go green and what is the general thought of the how to command the environmental impacts. The environmental policy is supposed to see all the stakeholders in the system. Initial environmental reappraisal In this portion, organisation should do a deep research of the environmental state of affairs, and have a better apprehension of the challenges that they are confronting. The advantages and disadvantages of former environmental direction system need to be considered. Planing the environmental policy For shaving a comprehensive environmental policy, the impact made by the organisation ‘s activities must do certain every bit good as the feedback from environment. Not merely legal demands need to be met, besides some higher demanding 1s. Environmental direction plans are made to accomplish the environmental aims and marks. The duties and clip tabular array for the plan are besides of import. Implementing the environmental policy The transporting out of the environmental policy requires most of the attempt. The environmental undertaking is assign to everybody, the resources to back up the environmental plans are transmitted to forces. The duties of forces are affirmed, tested by a particular authorization which has the rights to describe to the top of the organisation. Eduction to the forces that makes sure of every organic structure understanding their undertakings and moving as the environmental public presentation requiring, need to be ensured by the organisation. Daily concern integrates the environmental plans The direction plan demand to be documented for the external hearers, so that the activities of the organisation are wholly known by the populace. Information about environmental direction is updated on clip. Productive procedures and activities which have a important impact to envronment are supposed to be examined by the organisation, besides with the goods and services. Potential environmental hazards and accidents should be identified. Methods of bar and security are tested and carried out. Measurement and rating All the equipments utilizing a proctor look intoing the productive activities need to be ensured about their truth. The duties to cover with the actions which has a negative impacts to the environment demand to be defined. Audited accounts and reappraisal The reappraisal of the EMS purposes to look into the efficiency of the system and besides find the topographic points need to be evaluated. External environmental communicating The environmental study are supposed to be made for the external stakeholders, from which the environmental public presentation of the organisation are established. Then communicating with the stakeholders about the effects and impacts provides an overall public thought of the EMS. Now if we relate the ABB environmental policy to ISO14001, several jobs showed up. Duties and clip frame The duties of the environmental public presentation for forces are non clear and definite. First of wholly, the undertaking and attempt for forces are non mentioned in the environmental policy, in which instance the from the policy we can non acquire information about the mark and disposal on the employee degree. Second there is no scheme with a clip bound. The missing of timetable causes an unsure orientation in the audits and reexamine portion. This eventually leads to a lower dependable The high ecoefficiency engineering reassigning to developing states The measurement and rating in ABB ‘s subdivision companies does non turn out to be trumps. More than 5,000 employees are traveling to be advertised in China, but the energy efficiency becomes lower. Carbon dioxide emanations which come from energy utilizing takes up a higher per centum of the whole C dioxide emanations. The lower ecoefficiency gives a fact that while be aftering the environmental policy, ABB dainty different part otherwise. As to the environmental direction system, non a higher degree than legal one, ABB is utilizing in their production procedure. Interaction with the environment and communicating with stakeholders The interaction with the environment is worth more attending. The merchandises and services of ABB have a important impact to the environment, while the scheme of cut downing the negative impacts are non given a deep look. The overall thought of the environmental consequence to the productive procedure are non in a to the full reading, which causes an unconvinced thought of the ABB environmental mark. Communication with the stakeholders helps to maintain a comprehensive and rational thought of the environmental system. However this is non included in ABB environmental policy.Environmental policy related to specific merchandise and service profile of the companyABB is the taking company in the universe bring forthing energy merchandises. The solar power works in Spain now is supplying clean electricity for 50,000 Spanish households, which is the largest solar power works in the Europe. However the clean clean electricity used in ABB ‘ productive advancement is less than 6.3 % . Besides the electricity grids made by ABB can minimise the electricity loss in the transmittal. The high-potential current transmittal grids now being used in Three Gorges Dam in China, have a high energy efficiency. The electricity it saves in one twelvemonth can run into the demand of 500,000 Chinese households ‘ electricity demands. The control system and high efficient equipment in DuBai cut the energy loss by 46 % in aluminium industry. But if we check in the GRI study in 2008, it is non difficult to happen that the energy loss for ABB in 2008 is much more than 2007 and 2006. The universe largest submerged power line linking Norway and Netherland saves 1.7million dozenss of C dioxide emanations. While the C dioxide from ABB are increasing, which means the chief energy ingestion is still fossil fuel. ABB put much investing and attempt on the research on new merchandises which have high energy efficiency and lower energy loss, but the production advancement of ABB is non to the full following the energy and environmental scheme. The implementing of environmental direction system need more attempt and the initial reappraisal of the EMS has non put focal point on the energy efficiency.ABB long term programWith the fast turning demand of electricity, the accent is still electricity product.s. The corporation with authorities will be enhanced. Governments all over the universe now are confronting a higher force per unit area with the energy deficit. So high energy efficiency equipment and system will derive more benefit for ABB. The merchandise which improves the productiveness and uses less energy is still the development way. Renewable energy is another tendency for ABB. Since the development of the clean energy expands a new energy market, ABB will lodge to its consistent energy sc heme and do great attempt on the contraption of renewable energy merchandises.

Flame Detector

INFRA-RED FLAME DETECTION 123 S200+ SERIES TRIPLE IR FLAME DETECTORS USER MANUAL S200+ USER MANUAL INDEX PAGE A) INTRODUCTION 1 1. 1 Flame Detection Operation 1 3. B) Introduction 2. General Construction 4 PRODUCT APPLICATION 5 1. C) Application 5 2. Benefits of the S200+ Series 6 8 Introduction 8 2. Electrical Characteristics 8 3. Mechanical Characteristics 13 4. Environmental 16 5. Operation 17 6. Performance Characteristics 22 7. Design of System 30 8. D) SYSTEM DESIGN INFORMATION 1. Approvals and Compliance with Standards nd Patents 31 INSTALLATION 38 1. General 38 2. Mounting a Detector 38 3. E) Detector Wiring 40 4. Initial Wiring Check 55 57 1. System Checks 57 2. F) COMMISSIONING Connecting and Commissioning the Detectors 57 64 1. G) MAINTENANCE 64 General ORDERING INFORMATION APPENDIX 1 CONNECTING S241+ AS A CURRENT SOURCE DEVICE 66 67 SECTION A 1. INTRODUCTION INTRODUCTION The S200+ range of triple IR flame detectors comprises five flame detector variants. The detectors sha re the same flame detection circuitry, optics and main mechanical housing.Each variant is available as an Intrinsically Safe (i) or Flameproof (f) version except the S261+ which is available only in the Flameproof version. The five variants are: VARIANT Conventional 2-Wire Interface 4-20mA Current Loop Interface Analogue Addressable Loop Interface Relay Interface MX Digital Interface INTRINSICALLY SAFE S231i+ S241i+ S251i+ S271i+ FLAMEPROOF S231f+ S241f+ S251f+ S261f+ S271f+ The S200+ Advanced Flame Detector offers a major improvement in both flame detection capability and immunity to blackbody radiation.The S200+ is available in intrinsically safe and flameproof models except for the S261f+ which is available only as a flameproof version. In particular, the range incorporates models for conventional detection circuits (S231i+, S231f+), models for connection to 4-20 mA current loop (S241i+, S241f+), models for connection to Thorn Security Minerva analogue addressable systems (S251i+ , S251f+), a flameproof model with relay outputs (S261f+) and models for connection to Minerva MX Digital systems (S271i+, S271f+).The output of the S241+ provides a truly analogue current output and the S251+ and S271+ provide an additional level of signalling to indicate a pre-alarm condition. The detectors have been tested by LPCB to EN 54 : Part 10 and have been classified as Class 1 flame detectors on the 50m and 25m range settings and as Class 3 on the 12m range setting. For marine applications, the detectors have been tested to Lloyd’s Register Test Specification Number 1 (2002). Environmental Category ENV1, 2, 3 and 5 and to DNV Certification Notes No. 2. 4 (April 2001). 2.FLAME DETECTION OPERATION The S200+ detectors analyse radiant energy at three different wavelengths and as such offer the full benefits of the triple IR flame detector. The detector uses a well proven, flame detection technique. This is based on monitoring for modulated infra-red radiation in the 4. 3? m waveband corresponding to CO2 emission. It incorporates Thorn Security patented techniques for improved rejection of solar energy by using a combination of two 4. 3? m filters for Gaussian noise rejection by averaging the output signal of two separate sensor elements.Three different alarm delays of 3s, 6s and 12s are provided in all versions of the S200+. 2. 1 BLACKBODY REJECTION The S200+ implements a new concept for eliminating nuisance alarms from modulated blackbody sources. The new design incorporates a novel optical filter(1) which enables a single electronic infra-red sensor to measure the radiated energy present in two separate wavebands placed on either side of the flame detection waveband, at 3. 8? m and 4. 8? m respectively (see Fig A-1).The signal obtained from this ‘guard’ channel is cross-correlated with the signal from the flame detection channel to provide an accurate prediction of the non-flame energy present in the flame detection waveband. This prediction is independent of the temperature of the radiation source, allowing the S200+ to provide blackbody rejection over a wide range of source temperatures. (1) Patented (see Section C, 8. 4). 1 Fig. A-1 shows the amount of energy given by a ‘hot’ object (blackbody) as viewed in the electromagnetic spectrum. This curve has a peak which moves further to the left with higher temperature objects.The amount of energy seen between 3. 8? m and 4. 8? m can be approximated to a linear function. Thus, a measurement of the energy at these two wavelengths provides information to calculate with sufficient accuracy the level of blackbody radiation at the intermediate flame detection wavelength of 4. 3? m. The energy due to the emission from hot carbon dioxide given by a flame is superimposed on that from any blackbody in the detector field of view without adding any significant emissions at 3. 8? m or 4. 8? m, thus enabling proper segregation between non-flame signals and flame signals.Because a large fire will possibly produce a large amount of black smoke which will behave like a blackbody and may weaken the carbon dioxide peak, signals greater than a pre-determined upper limit will be classed as a fire. The use of an optical processing technique, as opposed to the use of two separate electronic sensors for the guard channel, improves the overall reliability of the detector by reducing the number of components and eliminating the need for complex calibration procedures during manufacture. TEMPERATURE MOVEMENT FLAME ENERGY HOT BLACKBODYCOLD BLACKBODY 3. 8? m 4. 3? m 4. 8? m WAVELENGTH Fig. A-1 Radiation from Objects 2. 2 DETECTION RANGE The S200+ range can detect on axis a fully developed 0. 1m2 n-heptane or petrol pan fire at up to 50m and the same fire up to 25m on the 25m setting. A 12m setting is also available. 2 2. 3 DETECTION OF FLAME IN THE PRESENCE OF BLACKBODY RADIATION The ability of the detector to determine accurately the amount of non-flame radiation received at any one time by the flame detection channel allows a variable alarm threshold to be determined (see Fig. A-2).This threshold is positioned so as to minimise the possibility of a false alarm due to the presence of modulated blackbody sources of different temperature and intensity. FLAME ENERGY ALARM THRESHOLD FLAME SIGNALS BLACKBODY SIGNALS CROSS-CORRELATED ENERGY Fig. A-2 2. 4 Signal Processing DETECTOR CONDITION SIGNALLING The S200+ incorporates two different colour light emitting diodes, red for Alarm and yellow for Fault. By using different flashing rates for the yellow (Fault) LED, separate indication of detector (electronic) fault and ‘dirty’ window (optical integrity monitoring) is provided.The yellow LED is not fitted to the S251+ and S271+ detectors. The S241+ provides an analogue output current, in the range 4-20mA, proportional to the flame detection signal. The S251+ provides two pre-set current values to signal alarm and pre-alarm cond itions. Pre-set currents, in the range 0-4mA, are used to separately signal detector (electronic) fault and ‘dirty' window for both detector types. The S271+ shows the same signalling conditions as the S251+ but instead of the units being in mA, they are signalled digitally using the MX protocol. 3 3. GENERAL CONSTRUCTION Fig. A-3 shows a general view of a complete detector.Fig. A-3 S200+ Detector – General View The detector is of robust construction to allow its use in harsh environments. The detector comprises a two-part stainless steel enclosure. The front section of the enclosure contains the encapsulated electro-optical assembly which is connected to the terminal board on the rear section by a small cableform. A sapphire window is fitted in the front of the housing. The window allows infra-red radiation to fall on the sensors, the LED alarm and fault indicators are visible through the window. The front section of the enclosure is attached to the rear section by fou r captive screws.A seal provided between the front and rear sections ensures protection to IP66 and IP67. Two 20mm cable entries are provided at the bottom. All electrical connections are made to three 4-way terminal blocks (four 4-way terminal blocks for the S261f+). The detector may be fitted directly to a suitable surface or an optional adjustable mounting bracket may be used. A stainless steel guard is fitted to the ‘flameproof’ versions to protect the integrity of the window (shown in Fig. A-3). Until the end of 2004, the detectors had two cable entries at the bottom and one at the top.The detector design has been changed to remove the top cable entry due to problems with water ingress where the top cable entry has not been sealed properly during installation. 4 SECTION B – PRODUCT APPLICATION 1. APPLICATION 1. 1 GENERAL The detectors are intended for the protection of high-risk areas in which accidental fires are likely to result in flaming combustion with the production of carbon dioxide. Typical materials in this type of risk are: a) Flammable liquids, including petroleum products, alcohol, and glycol etc. b) Flammable gases including methane. c) Paper, wood and packing materials. ) Coal. e) Plastics. These substances ignite readily and burn rapidly, producing flame, often accompanied by large volumes of dark smoke. Note: The detectors are not designed to respond to flames emanating from fuels which do not contain carbon eg, hydrogen, ammonia, metals, and should not be used for such risks without satisfactory fire testing. The S200+ series, by virtue of their construction and rejection of spurious radiation, are suitable for use both indoors or outdoors in a wide range of applications. Note: 1. 2 The detectors must be mounted to a rigid support which will not move in windy conditions.This is to avoid false alarms due to detector movement modulating radiation from hot bodies at the edge of the field of view. Avoid mounting detectors where they are subject to high levels of vibration. USE IN HAZARDOUS ATMOSPHERES The S200i+ series detectors are ATEX/IECEx certified intrinsically safe, and are classified E Ex/ Ex ia IIC T5 or T4 (-40 °C ? Ta ? +80 °C). In an intrinsically safe system the detectors are suitable for use in hazardous zones 0, 1 and 2 where group IIC gases and vapours are present in explosive concentrations. See Section 8. 1 for full details. The S200f+ series detectors are ATEX certified ‘flameproof’.They are classified E Ex d IIC T6 or T5 (-20 °C ? Ta ? +80 °C) and are suitable for use in hazardous areas zones 1 and 2. The S200f+ detectors are also IECEx certified flameproof. They are classified Ex d IIC T6 or T5 (-20? C ? Ta ? +60? C) and are certified for use in hazardous areas zone 1 and zone 2. See Section 8. 2. 5 1. 3 USE IN NON-HAZARDOUS AREAS In non hazardous ares it is recommended the following detectors are fitted: S231i+, S241i+ and S251i+ without a barrier. These det ectors are electrically the same as the f+ versions. They are less expensive and have a wider field of view as they do not require the window guard.S261f+ (has no intrinsically safe version available). S271f+ Do not fit the S271i+ as for this detector the MX communications is optimised for use with an IS barrier. Its performance without a barrier is not characterised. Note: 1. 4 The S271i+ will not communicate without the EXI800 and barrier fitted. FEATURES †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ 2. A self-test facility is incorporated to test a number of characteristics, including the cleanliness of the window. The self-test may be initiated remotely. Switch selectable range settings. Switch selectable time to alarm settings.Operational range up to 50m, fuel dependent. Remote control of range. S271+ has fast detection using MX interrupt facility. Remote control of delay, range and remote test on S271+. Completely solar blind. Very low quiescent power consumption. High sensitivity to hydrocarbon fire in oily environments. Rugged stainless steel 316 housing and mounting bracket. Flexible mounting and angular adjustment. Ease of installation. Connection for remote LED. Selectable latching/non-latching alarm output (not S251+/S271+). Selectable latching/non-latching fault output (not S251+/S271+). BENEFITS OF THE S200+ SERIESInfra-red flame detectors offer certain benefits over detectors working in the visible or ultra-violet regions of the spectrum. For example they are: †¢ †¢ 6 Highly sensitive to flame thus increasing probability of early detection of hydrocarbon fires. Not greatly affected by window contamination by dirt and oil deposits thus decreasing maintenance frequency leading to operating cost reduction. †¢ †¢ Able to see flames through smoke, and able to see flames through high densities of solvent vapours thus increasing the probability of earl y detection of hydrocarbon fires over other (ultra-violet) detectors in the same conditions.Several detectors on a single 2-wire conventional or analog addressable circuit. The S200+ series have all the above benefits and additionally are: †¢ †¢ †¢ †¢ Completely â€Å"solar-blind† in normal conditions, thus, eliminating false alarms due to direct or indirect sunlight. Insensitive to electric arcs thus eliminating false alarms from welding operations. Insensitive to artificial light sources. See Section C (6. 4) for more details on false alarm performance. Sealed to IP66 and IP67 (when suitable cable glands and sealant are used) ensuring long term reliability in harsh environments. 7SECTION C – SYSTEM DESIGN INFORMATION 1. INTRODUCTION The electrical, mechanical, environmental characteristics and the performance of the S200+ series flame detectors, must be taken into account when designing a system which uses these detectors. This information is give n below, together with guidance on detector siting. 2. ELECTRICAL CHARACTERISTICS 2. 1 S231i+/S231f+ The S231i+/231f+ detectors are two-wire devices, designed to operate on any typical conventional fire detection control equipment providing a regulated 20V dc current monitoring loop, including controllers manufactured by Thorn Security.Compatibility should be assessed using the technical data below and it is recommended that evaluation tests are carried out prior to siting and installation. The quiescent current drain is very small and the alarm condition is signalled by a large increase in current demand. Resetting is achieved by removing the supply voltage for a period greater than 0. 5 seconds. 2. 1. 1 COMPATIBILITY WITH OTHER THORN SECURITY CONVENTIONAL DETECTORS The connection of Thorn Security’s plug-in conventional detectors, ie M300 and M600 ranges, in the same circuit as S231+ flame detectors is not generally recommended.S231+ flame detectors may be connected in the same circuit as S131/S161 type detectors. The number of S231+ detectors per zone should be assessed taking account of good engineering principles, controller characteristics and cable parameters. As a guide, most controllers will permit 4 S231+ units per zone. We do no recommend exceeding 6 x s231+ units per zone. Note: 1) S161 flame detectors may be connected in flameproof circuits and can, therefore, be connected with S231f+ flame detectors. 2) If detectors are mixed, then an S231+ detector must be the last detector n the zone or a fault condition on an S231+ detector will not be signalled to the controller. 2. 1. 2 TECHNICAL DATA Supply Voltage: Quiescent Current: Alarm Current: Alarm Output Mode: Reset Time/Voltage: 8 15V to 28V. (Voltage at the detector when not in alarm). 350? A (typical). 33mA (typical) at 24V source, supplied via 330 ohms. 38mA (typical) with remote LED fitted. 18mA (typical) with MTL 5061 barrier fitted. See Fig. C-1. Operation must be restricted to the saf e area shown by use of external resistance if necessary. Supply must be reduced to less than 2V for greater than 0. 5 seconds. Stabilisation time after eset/ power up: Equivalent Inductance: Equivalent Capacitance: 60 seconds (typical) to 90 seconds (maximum). 0mH. 1. 5nF. Note: 1) The maximum number of detectors that may be connected to a zone circuit is 6 (see 2. 1. 1). 2) The alarm currents shown above include current through a 4k7 end-of-line resistor. 3) In general, it is not possible to use a remote indicator on detectors which are supplied via a shunt barrier safety diode or galvanic isolator. 4) Where a remote LED is used, a 33 ohm resistor should be fitted in series with it to limit the current through the LED to approximately 30mA. 80REMOTE LED FITTED WITH SERIES 33OHM RESISTOR TOTAL CURRENT IN ALARM (mA) 70 60 50 40 SAFE OPERATING AREA 30 NO REMOTE LED 20 10 0 2 4 6 8 10 12 14 16 18 20 22 24 VOLTAGE AT DETECTOR (V) NOTE: 4k7 END-OF-LINE RESISTOR FITTED Fig. C-1 2. 2 Load Characteristics in Alarm S241i+/S241f+ The S241i+/S241f+ detectors provide a 4-20mA current sink output, suitable for standard programmable logic controllers. 2. 2. 1 TECHNICAL DATA Supply Voltage: 15V to 28V (Voltage at the detector). Quiescent Current: 350? A (typical), excluding signalling current. 9 Supply Current in Alarm: 12mA (typical), at 24V supply. 0mA (typical), with remote LED fitted. 10mA (typical), with 600 ohm barrier. 12mA (typical), with 600 ohm barrier + remote LED. Alarm Output Mode: 4-20mA CURRENT SINK. (See Appendix 1 for S241+ wired as a current source output). Signalling Currents: DISCRETE SIGNALLING (OLD SYSTEM) CONDITION AFD CURRENT TYP. (mA) Fault Normal Alarm 1. 5 4. 5 17. 0 Table 1: S241+ Discrete Signalling (Old System) CONTINUOUSLY VARIABLE SIGNALLING (NEW SYSTEM) CONDITION AFD CURRENT TYP. (mA) Non Window Fault Window Fault Normal Flame Sensing 0. 0 2. 0 4. 0 5. 7 to 17. 0* Table 2: S241+ Continuously Variable Signalling (New System) * See Para 5. for Sensitivity (Range) Selection Note: The signalling mode is selected by means of a DIL switch, see section E 2. 1. In both discrete and continuously variable signalling the alarm LED will come on when a 4-20mA output exceeds 17. 0mA. Reset Time/Voltage: Supply must be reduced to less than 2V for greater than 0. 5 seconds. Stabilisation Time after reset /power up: 60 seconds (typical) to 90 seconds (maximum). Equivalent Inductance: 0mH. Equivalent Capacitance: 1. 5nF. Note: An external 33 ohm resistor should be fitted in series with a remote LED. S241+ is designed with a 4-20mA current sink output.However, it can be wired as a current source device with limitations. See Appendix 1 for details. 10 2. 3 S251i+/S251f+ The S251i+/251f+ detectors are analogue addressable devices which are designed to operate with the Minerva range of analogue addressable fire control equipment currently manufactured by Thorn Security Limited. 2. 3. 1 TECHNICAL DATA The maximum number of detectors that may be connected to a Minerva system loop is 50. The maximum number of detectors that may be connected to each barrier in a Hazardous Area circuit is 10. Average current consumption: 350? A Stabilisation Time after eset /power up: 60 seconds (typical) to 90 seconds (maximum). S251+ analogue addressable signalling currents: DISCRETE SIGNALLING (OLD SYSTEM) CONDITION AFD CURRENT TYP. (mA) MINERVA MEASUREMENT (mA) MINERVA LIMITS (mA) Fault Normal Alarm 0. 75 2. 25 9. 0 1. 5 4. 5 18. 0 0 to 3. 0 3. 0 to 10. 4 16. 2 minimum Table 3: S251+ Discrete Signalling (Old System) ENHANCED SIGNALLING MODE CONDITION AFD CURRENT TYP. (mA) MINERVA MEASUREMENT (mA) MINERVA LIMITS (mA) Non Window Fault Window Fault Normal Pre-Alarm Alarm 0 1. 5 3. 0 7. 0 9. 0 0 3. 0 6. 0 14. 0 18. 0 0 to 2. 0 2. 0 to 4. 0 4. 0 to 12. 12. 0 to 16. 0 16. 0 minimum Table 4: S251+ Enhanced Signalling (New System) Note: 1) The signalling mode is selected by means of a DIL switch, see Section E 2. 1, Table 3. 2) ‘Remote Ra nge’ and ‘Self Test’ selection is not available for the S251i+ when used with a shunt diode safety barrier. CAUTION: IF USING AN S251+ WORKING IN THE ENHANCED SIGNALLING MODE TO REPLACE AN S251, THE S251+ MUST BE CONFIGURED IN ‘CONSYS’ VERSION 12. 0 OR LATER. 11 2. 4 S261f+ The S261+ is only provided in a ‘flameproof’ version. The S261f+ provides a relay interface for alarm and fault conditions. 2. 4. 1TECHNICAL DATA Supply Voltage: Fault relay: Alarm relay: Quiescent Current: Alarm Current: Fault Current: Reset Time/Voltage: Stabilisation Time after reset /power up: 15V to 28V. (Voltage at the detector). Normally closed, opens under fault conditions. Normally open, closes under alarm conditions. 11mA. (typical) at 28V supply. 30mA. (typical) at 28V supply. 37mA. (typical) at 28V supply with remote LED fitted. 350? A. (typical). Supply must be reduced to less than 2V for greater than 0. 5 seconds. 60 seconds (typical) to 90 seconds (maxi mum). Note: 1) The relay contacts are rated 2A at 28V dc. ) An external 33 ohm resistor should be fitted in series with the remote LED. 2. 5 S271i+/S271f+ The S271+ is designed to operate with the Minerva MX range of digital addressable fire control equipment currently manufactured by Thorn Security Limited. 2. 5. 1 TECHNICAL DATA For the Maximum number of S271i+ detectors and maximum cable length connected to the MX Intrinsically Safe loop, refer to document 17A-02-ISLOOP MX Intrinsically Safe System – Loop Loading Calculation. Stabilisation Time after reset /power up: 60 seconds (typical) to 90 seconds (maximum). The average current consumption is 500?A. The S271+ digital signalling: CONDITION Non-Window Fault Window Fault Pre-Alarm Alarm Normal DELTA OUTPUT (Bits) ?10 ?51 and ? 11 ?153 ?190 ?68 Table 5: 12 3. MECHANICAL CHARACTERISTICS 3. 6 TECHNICAL DATA Dimensions (see Fig. C-2) Height: 167mm Width: 167mm Depth: 89. 5mm max (maximum depth with flameproof guard fitted 94m m) Weight: 3. 8kg Mounting Bracket Weight: 1. 1kg Materials Enclosure: Stainless steel 316L, ANC4BFCLC to BS3146 Part 2 Window: Sapphire Mounting Bracket: Stainless steel to BS1449 Part 2 316 S16 Screws etc. exposed to the elements: Bright stainless steel 316 Electronic Module:Encapsulated. Electrical Access: Standard M20 gland holes (two) 13 3 X FLAMEPROOF GUARD MOUNTING POSTS 4 x M8 SURFACE MOUNTING HOLES OPTICAL MONITORING REFLECTOR SAPPHIRE WINDOW 167 100 149. 3 167 76. 5 TAG LABEL 52. 5 2 X 20mm GLAND HOLES NOTE: MAXIMUM HEIGHT WITH FLAMEPROOF GUARD FITTED (94mm) Fig. C-2 S200+ Series – Overall Dimensions 14 89. 5 max ‘SEE NOTE' 0 50 ADJUSTMENT 68. 5 RAD 4 x M8 SURFACE MOUNTING HOLES 100 22 0 149. 3 SURFACE MOUNTING DIMENSIONS 45 0 200mm CLEARANCE REQUIRED FOR FULL ADJUSTMENT Fig. C-3 Adjustable Mounting Bracket and Surface Mounting Dimensions 15 4. 4. 1 ENVIRONMENTAL GENERALThe design and construction of the S200+ series detectors are such that they may be used ov er a wide range of environmental conditions. Relevant limits are given in Para 4. 2. 4. 2 4. 2. 1 TECHNICAL DATA TEMPERATURE, HUMIDITY, PROTECTION AND PRESSURE Operating temperature range For non hazardous installations: For hazardous installations using flameproof S200f+ detectors in ATEX certified applications: For hazardous installations using flameproof S200f+ detectors in IECEx applications: For hazardous installations using intrinsically safe S200i+ detectors in ATEX or IECEx applications: Storage temperature range:Relative humidity: Enclosure protection: Normal operating atmospheric pressure: Heat radiation from sun: -40 °C to +80 °C (110 °C for short durations) -20 °C to 80 °C -20 °C to 60 °C -40 °C to 80 °C -40 °C to +80 °C Up to 95% RH (non-condensing) Tested to IP66 and IP67* 910mbar to 1055mbar 0 to 1000Wm2 typical * Cable gland entries must be suitably sealed to achieve the required IP rating (see 3. 4 Section D). 4. 2. 2 VIBRATION AND SHOCK The S2 00+ series detectors are designed and tested for vibration and shock to EN54-10 (the Standard for flame detection components of automatic fire detection systems).For marine applications, the detectors have been tested to Lloyd’s Register Test Specification Number 1 (1996) Vibration Test 1 and to DNV Certification Notes No2. 4 (May 1995) Class A. 4. 2. 3 ELECTROMAGNETIC INTERFERENCE The detector is insensitive to radio frequency interference. It has been designed and tested to the requirements of EN54-10 (the Standard for flame detection components of automatic fire detection systems) and BS EN 61000-6-3 Generic Emissions Residential Commercial and Light Industry and EN 50130-4, the generic standard for electromagnetic immunity within the European Union.The detectors have been tested to the product family standard for fire alarm systems, EN50130-4. Tests have proved the operation in field strengths of 10V/m at frequencies from 150kHz to 2000MHz with amplitude and pulse modulat ion, when installed in accordance with this manual. For Marine applications the detectors, have been tested to Lloyd’s Register Test Specification Number 1 (1996) E. M. I. Immunity for Electronic products and to DNV Certification Notes No. 2. 4 (May 1995) Electromagnetic Compatibility Tests. To comply with the above standards, ferrite tubes must be fitted to the detector base as shown in Fig. D3, Page 40. 16 4. 2. 4IONISING RADIATION The S200+ series, like other infra-red detectors, is insensitive to X-rays and gamma radiation as used in non-destructive testing. The detector will operate normally and will not false alarm when exposed to this type of radiation although long term exposure to high radiation levels may lead to permanent damage. 4. 2. 5 CORROSION The detector is able to withstand the effects of corrosion conditioning with sulphur dioxide (SO2) concentration as specified in EN54-10. For Marine applications the detectors have been tested to Lloyd’s Register T est Specification Number 1 (1996) Salt Mist test and to DNV Certification Notes No. . 4 (May 1995) Salt Mist Test. 5. OPERATION 5. 1 ALARM INDICATION A red LED is visible through the front window which gives the same indication for the S231+, S241+ and S261+ variants. Illumination indicates an alarm. The S251+ (analogue addressable variant) and the S271+ (digital addressable variant) indicate in the same manner as the other variants, but the LED is driven by the controller. In normal conditions the LED is pulsed at two second intervals for the S251+ and 5 seconds for the S271+. Continuous illumination indicates an alarm under control of the Minerva controller. 5. 2 ALARM SIGNALLINGThe detectors signal an alarm condition as follows: †¢ †¢ †¢ †¢ †¢ S231+ – Increase in current drawn from supply, see Fig. C-1. S241+ – Current drawn on the loop will be between 5. 7-17. 0mA. (A single value between 16. 0-19. 0mA is drawn for the S241 compatible mode) . S251+ – Returned current will be between 8. 3 and 9. 7mA. A pre-alarm function is also available which returns a current value between 6. 5 and 7. 5mA. The latter is not available for the S251 compatible mode. S261+ – Alarm relay will close. S271+ – Returned values will be ? 190 bits. A Pre-alarm function is also available which returns values of ? 153 bits.The S231+, S241+ and S261+ may be set as alarm latching or non-latching. When the S241+ is operated in the Continuously Variable Signalling mode, the alarm latching function is inoperative. The S251+/S271+ have only the non-latching mode. In the non-latching mode, if the alarm source is removed for greater than 5 seconds, then the detector will stop indicating an alarm. In the latching mode the controller must be reset to remove the alarm condition. Note: The use of an S231i+ in a non-latching mode is generally possible when the detector is connected after a shunt diode safety barrier but evaluation tests a re recommended. 7 5. 3 FAULT INDICATION For the S231+, S241+ and S261+ variants the yellow LED will flash indicating a fault. Different flashing rates are used to indicate different faults, as follows: †¢ †¢ Window obscuration: 0. 5Hz Detector fault: 2. 0Hz The S251+/S271+ will not provide a local indication for a fault, instead the fault indication will be displayed on the controller. 5. 4 FAULT SIGNALLING The detectors signal a fault condition as follows: S231+ – Open circuit fault band ie, the EOL resistor is made open circuit.The faulty detector puts 4 pulses of total width 45ms and level 55mA on the line which is detected by the S231+ connected at the end of the zone. This detector open circuits the EOL resistor. Note: The end detector in the zone must be an S231+ with the EOL fitted as it is this device which will signal a fault, the faulty detector will indicate with a flashing yellow LED. †¢ †¢ †¢ †¢ S241+ – Current drawn on the lo op will be as follows: †¢ 0. 0 to 0. 5mA for a detector fault †¢ 1. 8 to 2. 2mA for a window fault †¢ 1. 3 to 1. 7mA for any fault in the S241 compatible mode S251+ – Analogue returned current will be as follows: †¢ 0. 0 to 0. mA for a detector fault †¢ 1. 3 to 1. 7mA for a window fault †¢ 0. 65 to 0. 85mA for any fault in the S251 compatible mode S261+ – Fault relay will open S271+ – Digital returned values will be as follows: †¢ between ? 51 and ? 11 bits for a window fault †¢ ? 10 for a non-window fault The S231+/S241+/S261+ detectors may be selected as fault latching or non-latching. In the nonlatching mode, the fault condition will be cancelled up to 80 seconds after the fault has been removed. The S251+/S271+ have only the non-latching mode. 18 5. 5 SENSITIVITY (RANGE) SELECTION The range is switch selectable on a 6-way DIL (4-way S271+) switch (S1, Fig.C-4) on the backbox terminal PCB. The following nominal ranges a re available: †¢ †¢ †¢ †¢ Extended range. (50 metres) Normal range. (25 metres) Reduced range (12. 5 metres) 6m (S251f+ and S271f+ only) These ranges are for an n-heptane fire in a 0. 1m2 pan located on the main axis of the detector field of view. With the S241+ set to Continuously Variable Signalling mode (see Section E 2. 1), the nominal ranges above correspond to an alarm threshold set to 17mA. Laboratory tests indicate that setting the alarm thresholds at 9 and 15mA (as opposed to 17mA) will increase the range a fire is detected at by approximately 20 and 10% respectively.For the S251+/S271+, the detection distance for the PRE-ALARM function is approximately 18% higher than the ALARM distance. Range can also be selected in MX CONSYS and will take effect if all switches are in the OFF position from the controller for the S271+. There is provision for halving the range value selected by the switches. If the terminal connector ‘Range’ is connected t o 0V then the detection range is reduced to half that of the switch setting. This may be done by taking cables to a remote contact the other side of which is connected to the same 0V as the reference for ‘Line In’ supply. . 6 DELAY TO ALARM The minimum delay to alarm is 3 seconds from a fire being present in the field of view that is large enough to be detected. This delay is also switch selectable using 6-way (4-way S271+) DIL switch (S1, Fig. C-4), the following additional values are available: †¢ †¢ Note: 6 seconds. 12 seconds. The minimum delay to alarm is 3 seconds. However, with this setting, the detector requires that the alarm threshold level has been exceeded throughout for a minimum of 3 seconds in any given 5 second window. Therefore, for fires where the intensity varies, the time to alarm may be longer.Similarly, for the 6 second setting, the alarm threshold level must be maintained for a minimum of 6 seconds in any 8 second window and for the 12 s econd setting, the alarm threshold level must be maintained for a minimum of 12 seconds in any 14 second window. When the S241+ is operated in Continuously Variable Signalling mode, the delay to alarm switches on S1 are inoperative. This means that in windy conditions where the fire signal varies over time, the detection range will be reduced on the longer time to alarm settings.The signal is smoothed to reduce jitter and this results in a settling time of between 3s and 5s. Further delay could be added by the controller if required. 19 In the case of the S251+, there is additional delay to alarm introduced by the confirmation procedure of the Minerva control panel. This extra delay is between 4 and 6 seconds. For the S251+/S271f+ PRE-ALARM function, the delay to alarm settings on switch S1 are inoperative, the only delay is that introduced by the Minerva/MX panel. For the S271+, the delay may be set from MX CONSYS via the controller if all the switches are in the OFF position.SWITC H S1 (S271+ ONLY) SWITCH S2 (S251+ ONLY) SWITCH S1 SWITCH S2 (S271+ ONLY) ON S1 ON S1 ON S2 ON S2 1 4 1 6 1 7 1 8 INTERFACE PCB CONNECTOR BLOCKS RELAYS AND CONNECTOR BLOCK (S261+ ONLY) Fig. C-4 Switch Location 5. 7 SELF-TEST The detector normally carries out a complete self-test every 20 minutes. The self-test exercises the pyro-electric sensors, electronics and monitors the window for cleanliness. If the window cleanliness test fails on 20 successive occasions (6 hours 40 minutes), a fault condition is generated and the fault LED, where fitted, flashes at the rate of 0. 5Hz.In this condition, the window self-test only is automatically repeated every minute until the window clears and window self-test passes. If the window test continuously fails then the complete self-test will still be repeated every 20 minutes. Other self-test failures will be indicated on the first test after they have occurred. For the complete ‘self-tests’ to be run automatically, the ‘self- test’ connection on the terminal board must be left open circuit when the unit is powered up. In this mode, additional self-tests may be initiated remotely by connecting 0V to the ‘self-test’ terminal, refer to the wiring diagrams in Section D. 0 The detector may be powered up in such a condition that the window ‘self-test’ can only be initiated remotely on demand (the automatic window ‘self-test’ is disabled). In order for this to be achieved the detector must be powered up with the ‘self-test’ terminal connected to 0V (terminals 3 or 5). To initiate the test for the first time after power up, the connection to the ‘self-test’ terminal must be opened for at least 5 seconds and then closed again. This ‘self-test’ function (which takes 10 seconds) will commence within 2 seconds of the closing and the result of the test indicated for as long as the connection remains closed.If the test passes, an alar m condition will be indicated and if it fails a fault condition will be indicated. To remove the test indication, the connection to the ‘self-test’ terminal must be opened. A self-test fail indication due to a window fault will remain until a window ‘self-test’ is successful and will then unlatch after a 1 minute delay. The ‘self-test’ should not be repeated more frequently than every 20 seconds (to allow the ‘self-test’ circuitry to recharge) as erroneous results may occur. Note: that if a unit is poorly sited such that sunlight can reach the window test detector element, the receive amplifier may saturate.In this event, that particular test is aborted and if this situation persists for 6 hours 40 minutes, the unit will register a fault condition. CAUTION: A REMOTELY INITIATED TEST WILL PRODUCE AN ALARM SIGNAL FROM THE DETECTOR IF THE TEST SHOWS THAT THE WINDOW IS CLEAN. TAKE THE NECESSARY STEPS TO INHIBIT A FULL ALARM CONDITION A T THE CONTROL PANEL BEFORE PROCEEDING. IF THE SELF-TEST CONNECTION IS NOT OPENED AFTER A SELF-TEST THE DETECTOR WILL REMAIN DISABLED. The window ‘self-test’ may be disabled by permanently connecting the ‘self-test’ terminal to 0V (pins 3 or 5) before power up.This may be desirable in those conditions in which contaminants may make the window appear dirty but which may not affect the ability of the detector to otherwise function normally. The detector may be reset by reducing the voltage to less than 2 volts for greater than 0. 5 seconds. A remote LED may be used with the detector except for the S251i+ and S271i+ when the detector is used through a shunt diode safety barrier or galvanic isolator. A ‘self-test’ may be initiated remotely from the controller for the S271+ (dependant on MX firmware version). 1 6. PERFORMANCE CHARACTERISTICS 6. 1 GENERAL A large number of fire tests have been carried during the development phase of the S200+ Series d etectors to determine their response limits. The results of these tests are summarised below. In order to appreciate their significance, an understanding of the mode of the operation of the detector is necessary, and a brief explanation follows: 6. 2 MODE OF OPERATION – BEHAVIOUR IN FIRE TESTS Flaming fires involving carbonaceous materials produce large quantities of carbon dioxide.This part of the combustion process gives rise to a very high level of infra-red radiation in a narrow wavelength region centred upon 4. 3? m. The radiation from a fire flickers in a characteristic way and the detector uses this flicker signal in conjunction with the black body rejection technique described in Section A to discriminate between flame and non-flame signals. The level of the signal depends upon the size of the flame and its distance from the detector. For liquid fuels the signal level increases as the surface area of the burning liquid increases.For any type of fire the signal level g enerally varies inversely with the square of the distance. For convenience, fire tests are normally carried out using liquid fuels burning in pans of known area in still air. Note: The results of fire tests can be significantly affected by weather conditions prevailing at the time, eg, – wind. The sensitivity of a detector can then be conveniently expressed as the distance at which a particular fire size can be detected. While the S200+ will reject modulated signals from blackbody sources, the presence of such sources of high intensity may affect the sensitivity of the detectors.It is important to think in terms of distance rather than time because of the different burning characteristics of different fuels. Fig. C-5 shows the response to two different fuels which ultimately produce the same signal level. The signal level given by n-heptane quickly reaches its maximum and produces an alarm within about six seconds of ignition. Diesel, on the other hand, being less volatile, t akes about a minute to reach equilibrium and an alarm is given in about 60 seconds from ignition. Note: 22If a fire test is carried out using non-miscible fuels then it is strongly recommended that water be placed in the bottom of the pan to keep it cool and prevent it deforming. A sufficient amount of fuel must be placed in the pan to ensure combustion occurs over all of its area throughout the intended duration of the test. 2 a) 0. 1m N-HEPTANE PAN FIRE b) 0. 1m 2 DIESEL PAN FIRE c) 0. 1m 2 METHANOL/ETHANOL PAN FIRE a) c) ENERGY FROM FIRES a) and c) at 25m FIRE b) AT 15m ENERGY b) 0 10 20 30 40 50 60 TIME SECONDS Fig. C-5 Burn Characteristics of Pan FiresThe time taken by the fire to reach equilibrium depends on the initial temperature of the fuel. If diesel were to be pre-heated to a temperature above its flash point then its behaviour would be more like that of n-heptane at 25oC. The test data presented below refers to fires which have reached their equilibrium condition. 6. 3 F IRE TEST DATA The S200+ range has been tested by LPCB to BS EN 54 Part 10 : 2002 and classified as a Class 1 flame detector on the 50m and 25m range settings. The S200+ is certified as Class 3 on the 12m range setting. 6. 3. 1 N-HEPTANEThe most convenient fuel for fire tests is n-heptane since it is readily available and quickly reaches its equilibrium burning rate. The range figures specified in Para 5. 5 relate to a n-heptane fire in a 0. 1m2 pan on the main axis of the detector field of view. 6. 3. 2 OTHER LIQUID HYDROCARBONS Typical ranges achieved with other fuels burning on 0. 1m2 pans, relative to that for n-heptane, are as follows: Alcohol (Ethanol, Meths) Petrol 100%* 95% Paraffin, Kerosene, JP4 70%** Diesel fuel 52% * Test performed using meths in a 0. 25m2 pan. ** Test performed using paraffin.The detection range is also a function of pan area. Field trials using n-Heptane fires indicate that the detection range increases by approximately 20% when the pan area is doubled. 23 Note: 6. 3. 3 When testing at the limits of the detectors range, the delay in response will vary due to the ambient conditions and may be significantly longer than the minimum response times, as described in 5. 6. GAS FLAMES The S200+ will not detect a hydrogen fire as it does not contain carbon. The S200+ will detect gas fires from inflammable gases containing carbon and hydrogen providing its flame produces flame modulation in the 1 to 15Hz ange. Fires burning a premixed air/gas mixture may be difficult to detect as they may produce little modulation. Tests show that an S200+ detector set to the 50m range will typically detect a 0. 8m high and 0. 2 sqm area methane/natural gas flame (venting from an 8mm diameter gas vent at 0. 5Bar (7. 5lbs/sq in) as below: Range 6. 3. 4 30m 40m 50m Time to Respond 3 seconds 6 seconds 15 seconds DIRECTIONAL SENSITIVITY WARNING: WHEN MOUNTING THE FLAMEPROOF VERSIONS OF THE S200+ DETECTORS, ENSURE THAT THE PARTS OF THE FLAMEPROOF GUARD INDICATED IN FIG.C-6 ARE NOT DIRECTED AT THE RISK AREA BEING PROTECTED, AS THE FIELD OF VIEW IS RESTRICTED. MIRROR COVER DO NOT MOUNT THE FLAMEPROOF VERSION OF THE S200+ DETECTOR WITH THIS PART OF THE GUARD (WINDOW PROTECTOR) DIRECTED AT THE RISK AREA BEING PROTECTED. RESTRICTED FIELD OF VIEW DUE TO WINDOW GUARD METAL PROTRUSION 24 Fig. C-6 The sensitivity of the S200+ is at a maximum on the detector axis. The variation of range with angle of incidence is shown in (Polar Diagrams) Figs. C-7 and C-8 for open air tests using 0. 1m2 pan fires with the detector operating at normal range. 90 80 DETECTOR o PLAN VIEW 90 o