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On The Importance of Light Source Classification in Indoor Light Energy HarvestingZhang, Ye January 2018 (has links)
Indoor light energy harvesting plays an important role in field of renewable energy. Indoor lighting condition is usually described by level of illumination. However, measured data alone does not by classification of different light sources, result is not representative. Energy harvesting system needs to be evaluated after classification to obtain more accurate value. This is also importance of different light source classification. In this thesis, a complete set of indoor light energy harvesting system is introduced, two models are proposed to evaluate energy, robustness is improved by mixing complex light condition during data collection. Main task of this thesis is to verify importance of indoor light classification. Main contribution of this thesis is to fill a gap in energy evaluation, and built a model with superior performance. In terms of collecting data, this thesis researches influence factor of data collection to ensure reliability of accuracy. This work can more accurately collect spectral under different light conditions. Finally, light energy is evaluated by classification of indoor light. This model is proven to be closer to true energy value under real condition. The result shows that classified data is more accurate than direct calculation of energy,it has a smaller error. In addition, performance of classifier model used in this thesis has been proven to be excellent, classifier model can still carry on high-accuracy classification when measurement data are not included in training data set. This makes it a low-cost alternative to measuring light condition without spectrometer.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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