In recent years, power systems have been pushed to operate above their limits due to the increase in the demand for energy supply and its usage. This increase is accompanied by various kinds of obstructions in power transmission systems. A power system is said to be secured when it is free from danger or risk. Power systems security deals with the ability of the system to withstand any contingencies without any consequences. Contingencies are potentially harmful disturbances which occur during the steady state operation of a power system. Load flow constitutes the most important study in a power system for planning, operation, and expansion. Contingency selection is performed by calculating two kinds of performance indices; an active performance index (PIP) and reactive power performance index (PIV) for a single transmission line outage. In this paper, with the help of the Newton Raphson method, the PIP and PIV were calculated with DIgSILENT Power Factory simulation software and contingency ranking was performed. Based on the load flow results and performance indexes, the Ethiopian Electric Power (EEP) North-West region network is recommended for an upgrade or the reactive power or series compensators should be constructed on the riskiest lines and substations.
The aim of this paper is to analyse and interprete the prose text "Vor der Zunahme der Zeichen" by the young, German-speaking writer who as a child fled from the civil war in Sri Lanka. The paper provides an analysis of the contingency of language signs (like homeland, descent, native language, identity) which is a function of the experience of flight, exile, and live in the globalized and electronic media-dominated world. The central role in the novel is played by the relation between death and literary language and its communicative and perception function.
The paper presents methods of determining the location of cost buffers and corresponding contingency costs in the CPM schedule based on its work breakdown structure. Application of correctly located cost buffers with appropriately established reserve costs is justified by the common overrunning of scheduled costs in construction projects. Interpolated cost buffers (CB) as separate tasks have been combined with relevant summary tasks by the starttostart (SS) relationship, whereas the time of their execution has been dynamically connected with the time of accomplishment of particular summary tasks using the “paste connection” option. Besides cost buffers linked with the group of tasks assigned to summary tasks, a definition of the cost buffer for the entire project (PCB) has been proposed, i.e. as one initial task of the entire project. Contingency costs corresponding to these buffers, depending on the data that the planner has at his disposal, can be determined using different methods, but always depend on the costs of all tasks protected by each buffer. The paper presents an exemplary schedule for a facility and the method of determining locations and cost for buffers CB and PCB, as well as their influence on the course of the curve illustrating the budgeted cost of work scheduled (BCWS). The proposed solution has been adjusted and presented with consideration of the possibilities created by the scheduling software MS Project, though its general assumptions may be implemented with application of other similar specialist tools.
Henri Bergson as well as Gaston Milhaud undertake a radical critique of the conception of radical determinism because they both think that mind is able to act in a free and creative manner. In the article, I examine to what degree their arguments, aimed to prove this autonomy, converge. I inquire whether their endorsement of freedom of the mental acts led the two philosophers to the same conclusions regarding the cognitive extent of the intellect and therefore the parallel description of the status of scientific cognition.
This article asks the question to what extent Ryszard Nycz’s ambitious project of cultural practice outlined in his book Culture as Verb succeeds in opening up ‘a new form of knowledge’ and thus equipping the humanities with a fresh validity. Nycz takes up the poststructuralist concept of the humanities as a site of alternative or subversive knowledge, founded on the principles of interpretation and textual dispersion, and refocuses it on involvement (participation) and binary oppositions (borders), i.e. human vs. nonhuman, or nature vs. culture as a construct. The article, rather than addressing the issues of involvement and borders (liminality), concentrates instead on the contradictions that Nycz’ s theory gives rise to when applied to history, time and the emergence of subjectivity (identity). There is nothing objectionable about the proposition that temporal change is at the very core of culture, yet its locus must be sought not in the proclamations of individual agents, but in the conceptual ruptures that expose and reveal the boundaries of (collective) consciousness and unconsciousness, i.e. the operation of contingency.
This article, focused principally on the exploration of contingency, the body and disgust in Michał Witkowski’s novel Margot, is also a polemic and a vindication of the book against the barrage of criticism it received from its reviewers. Most of them decided that Margot was a novel about nothing, a haphazard mix of sundry discourses devoid of any linear structure. In fact, several critics blamed the author of giving away both the narrative structure and the plot to capricious contingency. The article takes a fi rm stance against such charges and argues that contingency does not need to be seen as a fault at all. It lies at the heart of the novel and determines the actions of characters, but it plays as important a role in people’s lives outside fi ction. Analysing the ups and down of the main characters (Margot and Wadek Mandarynka), the article explains the function of emotions, the body, the characters’ language and their ideas of sacrum in the legitimization of contingency. A special role in this mechanism is played by disgust. Reactions of disgust are always contingent, or, as Julia Kristeva puts it the abject has the power to terrorize the subject to such extent that he can do nothing but to succumb to contingency. In working out the idea of the contingency of selfhood, the article also draws on Richard Rorty’s approach, and in particular his concept of ironism. The latter is used to classify the main character of Witkowski’s book as a consummate ironist, i.e. a person who tests different languages in which the world can be described in order to pursue his carnal desires. Finally, the article argues that in his novel Witkowski not only brings to light the fortuitous character of the postmodern identity but also creates a heterogeneous language to express it.