Bond Work Research Articles

Grinding characteristics and energy consumption in cryogenic and ambient grinding of ajwain seeds at varied moisture contents

The study on cryogenic and ambient grinding of ajwain seeds was envisaged to understand the energy consumption pattern during different grinding processes as a function of moisture content 8, 12, 16 and 20% (db) for AA-1, AA-2 and AA-93 varieties of ajwain seeds. The grinding time was found to increase from 57.6 ± 0.01 to 180 ± 0.08 s, whereas feed rate was found to decrease from 6.25 ± 0.07 to 2.00 ± 0.12 kg h−1 with the increasing moisture content. This resulted in more power consumption ranging from 0.012 ± 0.08 to 0.037 ± 0.007 kW h−1 in all the ajwain varieties for the selected moisture range under cryogenic and ambient grinding conditions. But the specific energy consumption was found to be higher in case of ambient grinding conditions. Also, the various energy models such as Kick's, Rittinger's and Bond's work index were found to increase significantly (p < 0.05) with increasing moisture content ranging from 1.02 to 13.22 kJ kg−1, 0.55 to 21.92 kJ kg−1 and 15.31 to 195.31 kJ kg−1, respectively. The cryogenic grinding was found to be more energy efficient than ambient grinding. Moreover, cryogenic grinding results in more yield and good quality product with uniform particle size distribution and lower powder density. This study will help the food processing industries while grinding spices and for designing of appropriate grinder specifically for grinding ajwain seeds.

Grinding Characteristics of Coriander Seed with Reference to Physical Properties and Energy Consumption

Coriander (Coriandrum sativum) at three moisture content (5.7, 11.4 and 17.2 %, db) were ground using a micro pulverizer hammer mill with different grinder screen openings (0.5, 1.0 and 1.5 mm) and feed rate (8, 16 and 24 kg/h) at 3000 rpm. Specific energy consumption were found decreased from 204.67 to 23.09 kJ/kg for increased levels of feed rate and grinder screen openings. The highest specific energy consumption was recorded for 17.2 % moisture content and 8 kg/h feed rate with 0.5 mm screen opening. Average particle size decreased from 0.99 to 0.47 mm with increase of moisture content and decrease in grinder screen opening. It has been observed that the average particle size was minimum at 0.5 mm screen opening and 8 kg/h feed rate. Bond's work index and Kick's constant were increased from 0.61 to 3.07 kWh/kg, 0.073 to 0.324 kWh/kg with the increase of moisture content, feed rate and grinder screen opening, respectively. Size reduction ratio and grinding effectiveness of coriander seed were found decreased from 4.92 to 2.29 and 0.002 to 1.600 with the increase of moisture content, feed rate and grinder screen opening. The loose and compact bulk densities varied from 210 to 475 kg/m3 and 231 to 550 kg/m3, respectively for various mass fractions of sieve analysis. Bond's work index and Kick's constants were affected significantly by feed rate and moisture content for all screen openings except 0.5 mm.

Rationalization of energy consumption in the grinding of some ores by using additives

Abstract Grinding is an important operation with various industrial applications. Literature studies indicate that grinding has an immense economic effect on the industry due to its high energy consumption, where approximately 5 to 6 % of the world electricity is consumed in mineral processing plants by using 80 % of this energy for crushing and grinding of raw materials. In this study, the grinding energy consumption was estimated using the Bond's work index by consideration of the effect of some additives on the grinding operations. The results show that the saved quartz grinding energy increases up to 30 % when using 0.04 % ethylene glycol ether as an organic grinding additive at a pH value of 7.

Prediction of Bond's work index from field measurable rock properties

In mineral beneficiation, grinding is the final stage in the process of size reduction. The power consumed in this stage is higher when compared to other stages, owing to increased size reduction ratio. The primary purpose of grinding is to reduce the particle size to optimum so that mineral particles can be extracted more economically. Decision making plays an important role here, as it involves determining and comparing the energy that is required to perform the grinding process and also determining the amount of minerals lost as the coarser size particles are arrived at in mineral beneficiation. In general, Bond's work index is used to determine the grinding efficiency and also to calculate the power requirement. The process is very time consuming and it requires skilled labor and specialized mill. A systematic investigation was carried out to predict Bond's work index using simple field measurable properties of rocks. Tests were conducted on Basalt, Slate and Granite using a laboratory scale ball mill and rock properties namely density, Protodyakonov's strength index and rebound hardness number were determined. The results were analyzed using artificial neural networks and regression analysis. Mathematical equations were developed to predict Bond's work index based on rock properties using regression analysis, which resulted a very good correlation co-efficient values.

The aesthetic meaning of the ‘grotesque’ in Edward Bond's work

The aesthetic meaning of the ‘grotesque’ in Edward Bond's work

Grinding of Coriander Seeds: Modeling of Particle Size Distribution and Energy Studies

Coriander seeds were ground in an impact type hammer mill and a pin mill to study the pattern of particle size distribution and their relationship with energy consumption. The particle size distribution for all samples was best described by the Rosin-Rammler-Bennett (RRB) and model with high degree of correlation coefficient compared to the Gaudin-Shumann (GS) model and Log-normal function. Particle size distribution was also characterized by various size parameters such as: uniformity index, size range variation coefficient, mass relative span, skewness, kurtosis, size guide number, coefficient of uniformity, and the coefficient of gradation and geometric standard deviation. Energy consumption for grinding was studied based on classical grinding laws, namely, Bond's, Rittenger's and Kick's law. Bond's Work index varied from 0.5 to 4.3 kJ kg−1 depending on the size reduction ratio. Energy consumption followed a linear relationship with size reduction ratio.

Physical, gravimetric and functional characterization of various milling fractions of popped gorgon nut (Euryale ferox)

Studies were carried out on the milling characteristics to increase the usability of popped gorgon nut (makhana). It was conditioned to 6.2, 9.4 and 12.3% (db) moisture content and ground in a hammer mill at feed rates of 3, 6 and 9kg/h. The differential screen analysis showed that increase in moisture content decreased the percent weight retained in the pan and produced more medium sized particles (0.592-0.157mm). The Bond's work index, Kick's constant and average particle size increased but total surface area decreased with the increase of conditioning level. However, feed rate showed the antagonistic effect on these parameters. Various grinding characteristics were significantly affected either individually or in combination (interaction) by the conditioning level as well as the feed rate and could be well correlated in terms of Bond's work index, Kick's constant, total surface area, average particle size, effectiveness of milling and bulk density for popped makhana.

Quarrelling with Brecht: Understanding Bond's post-structuralist political aesthetic

This article challenges David Allen's conclusion, following his production of Edward Bond's The Children, that the play is essentially didactic, a ‘new form of Lehrstück’ (Allen 2007). I will focus on one particular action (the slow raising of a towel from this production) to argue that Brechtian denaturalisation (which comprises a modernist challenge to social values by championing their binary opposites) is unhelpful when applied to Bond's work. This is because Bond acknowledges the post-structuralist collapse of binary (moral) values. All drama uses a live combination of language and image, opening up an (Oedipal) gap between symbolisation and sensation. It is argued here that the Verfremdung sutures this gap, fulfilling the role of ideology by prioritising rational thought. The Bondian ‘centre’, on the other hand, can be seen to technically incorporate Jacques Lacan's ‘lack’ into the symbolic by challenging the logic of the signifier with physicality.

‘Going to the Centre’: Edward Bond's The Children

Edward Bond argues that every play has a ‘centre’—a basic problem or paradox, which ‘it is difficult for the audience to disentangle’. The centre, for Bond, is always an extreme situation. ‘Extreme’, in this context, does not necessarily mean violent. Rather, extreme situations are those in which individuals have to make critical choices. The concept of ‘centre’ has a particular meaning in Bond's work. For him, the central problem of all drama is justice. He argues that we have a basic existential need for justice (which he terms our ‘radical innocence’); but the societies we live in are unjust. This, for Bond, is the human dilemma; and in extreme situations, the antinomy is exposed. Bond goes so far as to argue that drama does not teach us about the need for justice; rather, we experience it. Faced with extreme situations, we have to make our own dialectical choice between justice and injustice, the human and the inhuman.This paper interrogates the validity of Bond's arguments. It is argued that extreme situations do not function, as he claims, to reveal some basic human need for justice. Rather, Bond's purpose is didactic. He is using a range of techniques to teach us about ‘the need of justice’. The paper focuses, in particular, on his play The Children (2001), which was written to be performed by a cast of young people, working with two adult actors. Semi-improvised, it is designed to put young people through ‘extremes of experience’, and put them in ‘fundamental, searching situations’. A production of The Children was staged by Midland Actors Theatre in 2004–2005. The paper looks at how the company worked on the play in rehearsal. It draws on extensive interviews and discussions with cast members, as well as on unpublished letters and materials by Bond.

Relationship between Bond's work index ( Wi) and uniformity constant ( n) of grinding kinetics on Tower mill milling limestone

In the theory of grinding kinetics, the grindability of a material is the only factor used to determine the required size of a grinding machine. So for users of the Tower mill, this grindability is expressed through Bond's work index ( W i). However, the uniformity constant ( n), which is found empirically by using a small Tower mill and is expressed also as the grindability of material, can be of great help to designers in the determination of the real parameters of a Tower mill. The present study is an approach to establish a relationship between the Bond's third theory of comminution and the above-mentioned constant of grinding kinetics. The validity of the obtained relationship, [n]=1.47−0.309 ln[W i ], has been confirmed with a correlation coefficient of 0.855** through a regression analysis of 22 samples of limestone.

Applications of grinding kinetics analysis to fine grinding characteristics of some inorganic materials using a composite grinding media by planetary ball mill

A series of wet grinding experiments using calcite, pyrophyllite, and talc powder by a vertical type planetary ball mill, in which the size and distribution of grinding balls were varied with the Gaudin–Schuhmann equation, were carried out and the grinding rate constant K′ in equation of grinding kinetics was examined based on the grinding kinetics analysis of experimental particle size distribution of ground products obtained in various grinding conditions. The regression equation for the grinding rate constant K′ was expressed by an empirical equation involving the mean diameter of composite grinding balls d̄ B [mm], the median diameter of feed x mo [μm], and Bond's work index W i [kW h/t] as follows: K′= c 1 (W i x mo ) 2 x mo d ̄ B exp −c 2 W i x mo d ̄ B where the values of the empirical constants c 1 and c 2 were 592, 0.0438, respectively, within the experimental ranges.

粉砕速度論によるタワーミルの設計

In the early stages of meeting with potential users of Tower Mills, it is extremely difficult to obtain enough required information to determine the mill size. This lack of information happens in most cases. With only limited information of the mill capacity, finished particle size and the Bond's Work Index, a way of determining the mill size has been established by means of our analysis of by-gone operational data combined with the theory of Grinding Kinetics.From the analysis, the mill size (mill diameter, screw revolution speed, ball amount, etc.) can be properly determined.

Microwave drying and grinding characteristics of gum karaya ( Sterculia urens)

Samples of gum karaya ( Sterculia urens) of approximately 35 g each were dried in a domestic microwave oven for different time periods ranging from 10 to 90 s. The samples showed an average moisture loss of 7.5 × 10 −4 kg of water/kg of dry weight of solids per second. The dried samples were ground in a domestic dry grinder and the ground samples were subjected to sieve analysis to calculate the average final particle size. The grinding characteristics were evaluated by calculating the Bond's work index. The microwave-dried samples were crisp and consumed less energy for grinding compared to the control samples. This was evident from the bulk drying of gum samples of 1.5 kg (initial moisture content 16%) for 20 min. The Bond's work index for this sample was 0.4786 compared to 0.7567kWh kg −1 for the control of the equal moisture content. Studies were also made on the effect of the microwave power supply on drying and grinding, and this was found to have no effect on the latter. These studies have all indicated that microwave drying is a good candidate for drying of gum samples. The rheological studies were carried out with 1% suspensions. They indicate non-Newtonian pseudoplastic flow behaviour and the data fit well to the power law fluid model. The effect of drying time on the flow behaviour index was assessed.

Dilatation, density and nitrogen content in type Ia diamonds: previous work and proposed experiments

Experimental data on relations between physical density, lattice parameter and the nitrogen impurity dependent optical absorptions of natural diamonds are assessed, concentrating on diamonds of infrared absorption spectral type IaA, in which nitrogen impurity is taken as residing solely in point defects of 'A' type: a pair of nitrogen atoms substituting for a pair of carbon atoms on adjacent sites. The large disagreement (by the factor 1.9) in the quantitative relation in type IaA diamonds between nitrogen concentration and infrared absorption coefficient at 1282 cm-1 determined by Kaiser and Bond compared with that recently found by Woods et al is discussed. A reinterpretation of Kaiser and Bond's work is presented that significantly lowers the reported figure for nitrogen concentration, but still leaves it an unexplained 1.5 times larger than that of Woods et al. The need for combined density, lattice parameter and impurity assaying experiments on diamonds is emphasized and a new technique for diamond density measurement is proposed.

Work Index and Physical Properties of Slage Produced in Non-ferrous Metallurgical Processes.

The slag samples from various non-ferrous metallurgical smelters have been characterized by determining Bond's work index, density and Vickers hardness coupled with X-ray powder diffraction and optical microscopic observation. Bond's work index for a slag consisting almost of glassy phase shows relatively higher index value than that of the crystalline slags and brittle minerals like quartz and feldspar, although a consistent index for zinc slag could not be obtained due to a large amount of co-existing metallic phase.The following empirical equation for crystalline brittle materials has been developed to describe the correlation between work index; Wi [kWh/t] and the product of Mohs' hardness; HM and density;ρ[Mg/m3]. Wi=0.42 (HM·ρ) +6.56This equation is suitable for the range up to 30×103 in the values of HM·ρ with corresponding correlation coefficient of 0.83. Using this equation, the work index for the brittle portion of zinc slag, which is mainly constituted of oxide and silicate minerals, was estimated to be 16 kWh/t.

The Sea: Anarchy as Order

Critical opinion, so fractious in its assessment of the plays of Edward Bond, is remarkably cohesive about his stated dramatic aims: whether they call it "propaganda" or "politics," critics agree that Bond has something urgent to say about the way we live in our world. A characteristic of this criticism is the assumption that it is possible, and desirable, to align Bond's plays with the ideas stated in his Prefaces. To this end, Richard Scharine dedicates his book "To Edward Bond: May This Book Help His Ideas Gain the Audience They Deserve"; and Malcolm Hay and Philip Roberts state in their Preface, "What we hope emerges is some sense of the ideas in Bond's work , and the means whereby those ideas are rendered in performance." The result is a coherent criticism of Bond's plays as vehicles for his ideas.

Horace Mann Bond's Negro Education in Alabama

The recent opening of the Horace Mann Bond Papers to scholars, along with publication of an article on Bond's early career which used those papers, should spark renewed interest in the work of this noted teacher, scholar, and educational administrator. Visitors to the Bond Papers, housed at the University of Massachusetts at Amherst, will find a wealth of unpublished and published material relating to many notable events in the educational history of the twentieth century. Bond's interests were broad, encompassing both humanistic and social scientific approaches to the educational and social problems of blacks. He wrote noted critiques of the mental testing movement at several stages of his long career, did historical research for the plaintiffs in the Brown v. Topeka school desegregation suit, and traveled extensively to Africa and studied its civilizations in the later stages of his career.1 One of Bond's greatest contributions to scholarship is the topic of this essay: his doctoral dissertation which was published in 1939 under the title Negro Education in Alabama: A Study in Cotton and Steel. The merits of Bond's book were noted almost immediately after its publication. W. E. B. DuBois praised Bond's work in a review published in the American Historical Review, and it was also treated favorably in reviews published in the Journal of Negro Education, the Journal of Southern History, and the Mississippi Valley Historical Review. One year after its publication, the noted historian Howard K. Beale relied on Bond's

Edward Bond Directs ‘Summer’ at the Cottesloe, 1982

The early issues of the original Theatre Quarterly carried extensive coverage of the work of Edward Bond – a conscious editorial emphasis, which it became less important to maintain as Bond's work acquired its present international recognition and a corresponding share of critical attention. Yet the very distinctiveness of Bond's dramaturgy demands a no less distinctive approach from its critics – notably, a recognition and evaluation of the many non-literary strands of the ‘text’ as performed, especially when under the author's own direction. Pete Mathers, who teaches in the Film and Drama Division of Bulmershe College, here attempts to assess one of Bond's most recent plays, Summer, in close relationship to its original production by Bond himself, at the National's Cottesloe Theatre in 1982, examining every element through which its audiences experienced that production – including the poster and programme, as well as the more clearly crucial ingredients of design, performance, and the ‘gests’ through which they interconnect.

Dehumanized or Inhuman: Doubles in Edward Bond

question of how the playwright's stated purpose of developing a theater is realized in a body of work that seems more nearly mythic than realistic. Even a superficial review of article titles confirms the centrality of this interest in reconciling the political and the poetic aspects of Bond's work.1 Again and again, the critics return a set of ideas and themes that are, as Jenny S. Spencer notes, quite direct and uncomplicated.2 Their concern is not unwarranted. Bond's theater is political, and his focus of investigation is nothing less than the survival of all the human, humane qualities of the political animal, the dweller in a contemporary polis. Yet the discussion of these relatively simple (in abstract formulation) ideas is rarely simple and seldom uncomplicated. Spencer herself characterizes Bond's work as an attempt to representations of reality (mediated by theatrical convention in the same way ideology mediates perception) which are both recognizable as our own world, and yet untenable (in need of change).3 The convolutions of syntax in Spencer's discussion represent difficult convolutions of thought, from the doubly metaphorical present representations-of reality, of convention, of ideology as filtered by perception-to the paradox of an impossibility which is immediately recognizable, her parenthetical style reflecting the difficulty of writing about rational drama in an irrational world. To use a currently fashionable term, Bond's poetic dramas deconstruct dominant myths of perceptions, of conventions, and of ideologies in the controlled application of a few carefully chosen images. Ruby Cohn is quite correct in her characterization of Bond's theater as fabulous;4 indeed, Bond's work develops a reasoning man's fable of our times. Where the traditional fables of Aesop use animals demonstrate human foibles, Bond's modem fables utilize a similar, if more subtle, version of this technique by surrounding characters with images of dehumanization or metaphors connecting them animals.

Edward Bond's Summer : "a voice from the working class"

Edward Bond's Summer: "a voice from the working class" PHILIP ROBERTS In an unpublished interview given to Salvatore Maiorana in February 1981 (p. 142), Bond states: "It would be too presumptuous of me to say that I consider myself a voice ofthe working class but I do consider myself a voice from it. ..." The interview took place less than a month after the final draft of Summer was completed and at the same time as detailed notes for his new play, Human Cannon, began (although preliminary notes for the latter play exist from July 1979). There are notes, dated July 1979, fortwo plays, Restoration and Hlimon Cannon. Bond decided to write Restoration first, but before turning his attention to the laner of the two plays, he embarked upon Summer. Notes for several plays often coexist in Bond's papers, but the play in question, once begun in detail, proceeds to the virtual exclusion of all else, apart from occasional revisions. Thus, although Bond continued to modify Restoration in parts until October 1980, the sixth and final draft was completed in July. Early notes for Summer are extant for April 1980, but detailed notes commence in August. Before picking up Human Cannon again, although he worked on the playa little from February 1981, Bond directed Restoration at the Royal Court (opened July 1981) and also Summer at the National Theatre (opened January 1982). Once Summer opened, Human Cannon came into focus again and was substantially completed by the end of July 1982. The writing of Summer is characteristic ofBond's rigorous working methods and divides into three stages. The first consists ofdetailed, handwritten notes on theme and structure contained in four small notebooks beginning in August 1980 and running to November (although there are a few notes dated after this and going to mid-January 1981). The second is a typed "preliminary outline" for 27 October 1980, followed by a "draft outline" on 14 November. The third comprises six drafts of the play, typed from November 1980 to January 198!. At the end of this stage, a clean copy was sent to Bond's agent, Margaret Ramsay, early in 1981.' The play began rehearsals in December 1981, opened 128 PHILIP ROBERTS in the Cottesloe auditorium of the National Theatre on 27 January 1982, and closed on 19 June. The reviews (about par forthe course in confrontation with a play by Bond) ranged from the accusation that Bond's cast ofmind is "typically Khmer Rouge" to the beliefthat Summer "puts him back in his rightful place, in the very forefront of our living dramatists.'" I am not concerned particularly with the critical schizophrenia which has attended Bond's work since Saved in 1965; nor with the fact that some reviewers see nothing alarming either in maintaining an entrenched hostility regardless of the play in question (at least consistency is not in doubt), or in consigning Bond to the status of a burnt-out case one year and hailing the importance of a new work the next. It is an unfortunate concomitant of instant criticism that such vagaries are inevitable. An examination of the evolution of a play such as Summer does not excuse what may be regarded by some as problems in its finished state. The intention here is not to protect the play, which stands or falls as it exists publicly. But such an analysis may help to clarify the author's relationship to his material. It may show why the play took the shape it did. Above all, it may be of some use to theatre workers to illustrate the driving preoccupations of a writer whose art displays both a remarkable consistency of development and a readiness to experiment with new ways of showing reality (i.e., truth) on the stage. Since it is impossible, for reasons of length, to chronicle every step in the development of the play, I propose to look at five areas in the notebooks. The first of these concerns the relationship between mundane living and the processes of history; the second, the central conflict between Marthe and Xenia; the third, the alliance of Xenia and the German soldier; the fourth, the analysis of subjective...