Fine Salt Research Articles

Effects of salt particle size and sample preparation on results of mixer-efficiency testing (2004)

Two experiments were conducted to evaluate the effects of using salt with different particle sizes and of using different samplepreparation methods on mixer-efficiency testing (time required to achieve a coefficient of variation (CV) of 10% or less among 10 feed samples). A 3000-lb capacity horizontal ribbon mixer was used to mix batches of feed. Ten samples were collected at eight times during mixing (0.0, 0.5, 1.0, 2.0, 3.5, 5.5, 8.0, and 10.5 min) after all ingredients were added from pre-determined locations in the mixer. Coefficient of variation was used to measure mixer efficiency by analysis for chloride concentration in each sample with Quantab chloride titrators. In Exp. 1, four 3000-lb batches of feed were prepared, two with 440micron salt and two with 730-micron salt. Samples were analyzed as collected (unground; approximately 700 microns) or were ground with a coffee grinder (ground; approximately 400 microns). A salt particle size × sample preparation × mixing time interaction (P<0.001) was observed, but a CV of 10% or less was never achieved, indicating inadequate mixing. In Exp. 2, all samples were collected from 2000-lb batches of feed made in the 3000-lb-capacity mixer. Four different salt particle sizes (440, 730, 1999, and 3000 micron) were used, and each set of samples collected was also analyzed as unground or ground. A salt particle size × sample preparation × mixing time interaction (P<0.04) was observed. As salt particle size decreased and mixing time increased, there was a decrease in CV. Grinding samples before analysis decreased CV, compared with that of the unground samples, but to a greater extent with coarse salt than with fine salt. The batch mixed with 440-micron salt and the batch mixed with 730-micron salt (ground) reached a CV of less than 10%, indicating a uniform mixture. No other treatments reached a CV of 10% or less. When the mixer was filled to the rated capacity we were unable to achieve an acceptable CV for mixer efficiency; therefore, it is important to test mixers at various fill levels. Our study also showed that it is important to use a fine mixing salt when testing mixers for mixer efficiency.

Peformance Review: IX Cairo International Festival for Experimental Theatre

Reviewed by: Cairo International Festival for Experimental Theatre Holly Hill Cairo International Festival for Experimental Theatre. Cairo, Egypt. 1–11 September 1997. Click for larger view View full resolution Figure 1. Mary Salem and Rainsford in Chapel of Change’s The Descent, directed by Rainsford. IX Cairo International Festival for Experimental Theatre. Photo uncredited. Click for larger view View full resolution Figure 2. Cast members of the Rebellious Theater of Cairo’s A Journey, directed by Hany Ghanem. IX Cairo International Festival for Experimental Theatre. Photo uncredited. Click for larger view View full resolution Figure 3. The Grandmother in Intisar Abdel-Fattah’s A Hymn, directed by Abdel-Fettah. IX Cairo International Festival for Experimental Theatre. Photo uncredited. Click for larger view View full resolution Figure 4. Aegisthus and Clytaemnestra in the Spring Theater of Athens’s production of Atrides, adapted from texts by Aeschylus, Sophocles, and Euripides by K.H. Myris, directed by Yiannis Margaritis. IX Cairo International Festival for Experimental Theatre. Photo uncredited. Click for larger view View full resolution Figure 5. Clytemnestra (Chrisanthi Douzi) in the Spring Theatre of Athens’s production of Atrides, adapted from Aeschylus, Sophocles, and Euripides by K.H. Myris, directed by Yiannis Margaritis. IX Cairo International Festival for Experimental Theatre. Photo uncredited. Few international capitals are more theatrical than Cairo, with its mixture of modern people, ancient landmarks, bustling markets, and daredevil traffic woven around the silvery ribbon of the Nile. The IX Cairo International Festival for Experimental Theatre skillfully integrated city, theatrical venues, and sixty-six presentations from thirty-eight countries and five continents to create an electrifying atmosphere. On a given night, a guest of the festival might journey from the Khan el Khalili bazaar area, where productions from Bulgaria and Egypt were mounted in a partially restored medieval merchants’ hostel, to more centrally located stages to see performances from Kuwait or Britain at the National Theatre, then on to the Puppet Theatre to squirm in its child-size bucket seats during a play from Cameroon or a coproduction from Spain and Venezuela, then across the Nile to see Australians or Egyptians on the main stage of the sumptuous modern Opera House, and finally to the Sound and Light Theatre at Giza for productions from Greece and Japan. The program consisted of thirty-four official shows as well as a large number of fringe entries. Added to these were two days of symposia on this year’s Festival theme of Feminist Theatre, with one day devoted to Experimentation on Dramatic forms in Women’s/Feminist Writing and the next to Experimental Trends in Performance and Systems of Work in Women’s/Feminist Theatre Troupes. Yet amid all the ebulliance, some sour notes intruded: a third day of panels on the heritage and future of Arabic theatre featured only male speakers, and not one play in the entire Festival was written or directed by a woman. In a supposed tribute to feminist theatre, women artists and scholars were still sent the age-old message to be glad that they were recognized at all, but to let men get on with the real work and reap the rewards. The Festival opened at the Opera House with The Descent, an exemplary experimental performance by Australia’s Chapel of Change. Without dialogue, the scenario was created, directed, and performed by Rainsford, in collaboration with actress/dancer Mary Salem. Her long dark ringlets falling onto the spangled bodice of a belly-dance-like costume, Salem played with liquid grace a young widow crazed with grief, slowly renewing her commitment to life through a series of rituals led by the priestly character of Rainsford. Image by image, a sense of sanctity was built in a setting covered with fine salt and hung with gauzy white drapes: Rainsford sculpted by light in a pose suggesting Christ in the Pietà; Salem inside a cocoon as Rainsford meticulously swept the white salt into clouds and circles suggesting anything from the dust of eternity to making a clean sweep of life’s inessentials; Salem gradually shedding her colorful costume for the white robes of an acolyte; and finally a sequence where the actors played with a golden ball before finally...

Detachment Mechanisms in a Liquid Fluidised Bed

This paper provides a cross discipline critical review of the various efforts undertaken to assess the detachment mechanisms in a liquid fluidised bed. Points of agreement as well as those of divergence are stressed out, and attempts are made to clarify the discrepancies frequently observed. An experimental work aiming at the removal of clay particles from the surface of fine salt grains is presented, and its results are treated in the light of the preceded discussion. The influence of velocity gradients, shear stress and particle attrition on detachment are discussed. A realistic model is provided for the prediction of attrition in particle beds during fluidisation.

Gaswaschanlagen für saure und basische Abgase unter Berücksichtigung der neuen TA‐Luft

AbstractGas scrubbing plants for acid and caustic exhaust gases with consideration of the new TA‐Luft. When designing gas scrubbing plants for acid and caustic exhaust gases from manufacturing plants of the chemical and pharmaceutical industry it is important to pay special attention to the aerosol formation which occurs in the exhaust gas systems and absorbers if the emission values should remain under the determined limit values stated in the Technical Instructions for air‐pollution control (TA‐Luft). The present study explains under what conditions aerosols can occur, how its formation can be prevented, and which gas scrubbers are appropriate for a combined gas‐/aerosol separation. A comparison between two exhaust air scrubbing plants of several stages shows that a gas scrubbing plant for an exhaust air pick‐up system with separation of the acid and caustic components as well as with source exhaust air pick‐up of the highly charged gas flows is considerably more favourable with respect to price than the alternative scrubbing plant for an integrated exhaust air system in which large quantities of fine salt aerosols occur and have to be separated with high energy consumption.