Results from the Prognostic Analysis Completed on the NASA EUVE Satellite to Measure Equipment Mission Life
Measuring Remaining Usable Life
Calculating Remaining Usable Life
Measuring Mission Life
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AbstractThis paper addresses the research conducted at U.C. Berkeley Space Sciences Laboratory, Center for Extreme Ultra Violet Astrophysics between 1994 and 1995 on the NASA EUVE ion-orbit satellite. It includes the results from conducting a scientific analysis called a prognostic analysis completed on all satellite subsystem equipment. A prognostic analysis uses equipment analog telemetry to measure equipment remaining usable life. The analysis relates equipment transient behavior, often referred to as "cannot duplicates" in a variety of industries caused from accelerated aging to the equipment end-of-life with certainty. The analysis was confirmed by using proprietary, pattern recognition software by Lockheed Martin personnel Lockheed Martin personnel completed an exploration into the application of statistical pattern recognition methods to identify the behavior caused from accelerated aging that experts in probability reliability analysis claims cannot exist. Both visual and statistical methods were successful in detecting suspect accelerated aging and this behavior was related to equipment end of life with certainty. The long-term objective of this research was to confirm that satellite subsystem equipment failures could be predicted so that satellite subsystem and payload engineering personnel could be allocated for only the time that equipment failures were predicted to occur, lowering the cost of mission operations. This research concluded that satellite subsystem equipment remaining usable life could be measured and equipment failures could be predicted with certainty so that engineering support for mission operations could be greatly reduced.
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Benjamin Britten's "Cantata Misericordium", Opus 69: A theoretical analysis and a conductor's guide to gestural analysis.Osborn, Lawrence David.; Knott, Josef; Johnson, Roy A.; Reiter, Jocelyn (The University of Arizona., 1993)A complete theoretical and gestural analysis of Benjamin Britten's Opus 69 has usually been treated in a separate and, in terms of choral-orchestral synthesis, exclusive manner. Twentieth-century music reveals more technical complexities than music from earlier periods. For the professional conductor it is becoming increasingly impractical to limit oneself to the choral or instrumental area at the exclusion of the other. There are mutually complementary features and advantages in both the choral and instrumental area that can only serve to enhance and refine conducting gesture and technical artistry. These factors can be realized through the study and analysis of a delicate balanced work that requires, on the conductor's part, this synthesis of choral and instrumental technique. The choral-instrumental works of Benjamin Britten help provide this necessary synthesis and discipline. The Cantata Misericordium, in particular, admirably serves this necessary balance of choral-instrumental integration. The modest scoring for small string orchestra, string quartet, piano, harp, timpani, SATB chorus, and tenor and baritone soloists provides the conductor with a rich array of diversity in choral and instrumental technique. According to the Peter Evens article on Benjamin Britten in The New Grove Dictionary of Music and Musicians: Twentieth-Century English Masters, The Composer Biography Series, the Cantata Misericordium is "one of Britten's most beautifully realized works"¹ Writings on this work are few and provide only a limited theoretical analysis with no practical application pertaining to the technical aspects of gestural analysis. This project is designed to present a thorough theoretical and practical performance guide leading to performance through mastery of gesture and the integration of choral and orchestral forces. The purpose of the following Lecture-Recital Document is thereby twofold: (I) To provide a detailed compositional analysis and style summary of Benjamin Britten's work from the time of the War Requiem through the Cantata Misericordium. (II) To present a practical performance analysis that presents a study of the more subjective area of gestural analysis and the application of it in the context of the score itself. It is the application of a variety of gestural patterns that shape and refine a conductor's technical expertise. This score, along with other choral works of Benjamin Britten, provides a wealth of gestural analysis and application necessary for today's conductor. ¹The New Grove, "Twentieth Century English Masters", (New York & London: W. W. Norton & Company, 1986), p. 267.
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Aeroelastic Analysis of Rotor Blades Using Three Dimensional Flexible Multibody Dynamic AnalysisMadenci, Erdogan; Das, Manabendra; Madenci, Erdogan; Madenci, Erdogan; Nikravesh, Parviz E.; Haldar, Achintya; Kundu, Tribikram; Straub, Friedrich K. (The University of Arizona., 2008)This study presents an approach based on the floating frame of reference method to model complex three-dimensional bodies in a multibody system. Unlike most of the formulations based on the floating frame of reference method, which assume small or moderate deformations, the present formulation allows large elastic deformations within each frame by using the co-rotational form of the updated Lagrangian description of motion. The implicit integration scheme is based on the Generalized-alpha method, and kinematic joints are invoked in the formulation through the coordinate partitioning method. The resulting numerical scheme permits the usage of relatively large time steps even though the flexible bodies may experience large elastic deformations. A triangular element, based on the first order shear deformable theory, has been developed specifically for folded plate and shell structures. The plate element does not suffer from either shear or aspect-ratio locking under transverse and membrane bending, respectively. A stiffened plate element has been developed that combines a shear deformable plate with a Timoshenko beam. A solid element, that utilized the isoparametric formulation along with incompatible modes, and one-dimensional elements are also included in the element library. The tools developed in the present work are then utilized for detailed rotorcraft applications. As opposed to the conventional approach of using beam elements to represent the rotor blade, the current approach focuses on detailed modeling of the blade using plate and solid elements. A quasi-steady model based on lifting line theory is utilized to compute the aerodynamic loads on the rotor blade in order to demonstrate the capabilities of the proposed tool to model rotorcraft aeroelasticity.