Fusion power has the potential to produce clean and safe energy that can contribute significantly to the worlds energy system. The road to this promising energy resource has been long, but with one of the biggest projects in the scientific area that is now on going, a fusion project called ITER, the end of the road is ahead of us. Experiments with a new reactor wall are now in progress at the fusion test reactor JET in Oxford, England.  The experiment is a pre study of a possible reactor wall for the new fusion reactor ITER in Cadarache in Provence-Alpes-Côte-d'Azur, France. The ITER like reactor wall (ILW) contains Beryllium and has theoretically favourable properties for achieving better reactor conditions, compared to the old Carbon based wall (CW). One reason for changing the wall is to decrease the fuel dilution, i.e. amount of particles that the reactor wall contributes to the fusion plasma. This is an important factor to minimize; 1% of fuel dilution with Carbon will cause a loss in power up to 12%, while the corresponding value for Beryllium is 8%. For Deuterium fuelled plasmas at JET, the fuel dilution can be quantified by the ratio of the Deuterium and electron densities, nd/ne. In this work, nd/ne is estimated using data from the neutron emission spectrometer TOFOR, along with measurements of the electron density (ne) and temperature (Te). In this report it is investigated how sensitive these fuel dilution measurements are to uncertainties in the measurements of ne and Te. The fuel dilution measurements changed relatively in a span of 10% to 23% when changing Te and ne with 10% in the fuel dilution model. To determine the differences in fuel dilution between the Carbon and ITER like reactor wall, a comparison has to be made between the old reactor wall and the new ILW. To do this, similar plasma scenarios need to be represented during fusion discharges with both walls. In this report, JET’s database is searched through using different search criteria, in order to enable a fair comparison between the walls. The comparison showed a tendency of lower fuel dilution, i.e. cleaner plasmas, for discharges with the ILW, but the data points are quite scattered and the ILW discharges have, in general, a lower temperature than the CW discharges, which makes the comparison difficult. Therefore, it is too early to definitely tell anything about a possible improvement of the fuel dilution levels after the installation of the ILW.

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Traditionally, trademarks were considered as convenient tools for source identification, and were granted legal recognition on this premise. However, more recently, trademarks have evolved in a new yet challenging medium as an effective tool for both corporate and social communication. The changing nature of trademarks and the subsequent emergence of modern trademark functions have prompted legal change within the European Union. Whilst this result is not in itself surprising, the approach adopted within the EU for the integration of the modern functions into the European trademark system has raised justifiable concerns on whether the balance of the trademark system has been disrupted. Given the dilemma, this thesis aimed to evaluate and critique the current system for modern trademark protection in Europe, and to propose change accordingly. To achieve this objective, the thesis used the luxury fashion industry as an analytical tool capable of reflecting accurately the various dimensions of the modern functions, particularly those aspects which are often overlooked within the legal spectrum. Only when the modern functions were fully comprehended, a proposal for a sound, balanced system for protection which takes into account the interests of all players in the market became plausible. Using an interdisciplinary approach, the thesis showed that the significance of trademarks lies within its communicative value which in turn has three dimensions; brand-consumer communication, consumer-consumer communication, and consumer-public communication. The effective protection of the modern functions necessitates the recognition of all these three facets. The thesis argued that theoretically, the protection of the brand-consumer communication dimension can be normatively justified based on a misappropriation ground through a limited, well-articulated anti-freeriding provision. In practice, Article 5(2) if interpreted in the light of the free-riding rationale suggested, can provide sufficient safeguards for the protection of brand-consumer communication. While such approach may simultaneously advance the communicative interest of some consumers (consumers of the particular brand), it falls short from protecting the broader public interest in communicating through trademarks. To fully preserve the other dimensions of trademark communicative, an effective expressive use defence which preserves the right of the public to transform, act on, criticise, resist, or challenge traditional brand meanings is crucial. Conclusively, disregarding any of these dimensions, which is regrettably the case now, will necessarily disrupt the balance of the trademark system and will simultaneously empower brand owners to manipulate consumer demand.

El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / Empirical methods play an important role in the field of geomechanics due to the recognized complexity of the nature of rock mass. This study aims to analyze the applicability of empirical design methods in vein-shaped hydrothermal mining deposits (narrow vein) using Bieniawski and Barton classification systems, Mathews stability graphs, Potvin and Mawdesley geomechanics classification systems, and mining pit dilution based on the equivalent linear overbreak/slough (ELOS). In most cases, these methods are applied without understanding the underlying assumptions and limits of the database in relation to the inherent hidden risks. Herein, the dilutions obtained using the empirical methods oscillate between 8% and 11% (according to the frontal dimension), which are inferior to the operative dilution of the mine at 15%. The proposed model can be used as a practical tool to predict and reduce dilution in narrow veins.

yes / The accurate prediction of the dilution and motion of the produced denser water (e.g. discharge of concentrated brine generated during solution mining and desalination) is of importance for environmental protection. Boundary conditions and ambient stratification can significantly affect the dilution and motion of gravity currents. In this study, a multiphase model is applied to simulate the gravity current descending a slope into a linearly stratified ambient. The k- turbulence model is used to better simulate the near bed motion. The mathematical model, initial and boundary conditions and the details of the numerical scheme are described. The time-dependent evolution of the gravity current, the flow thickness and the velocity and density field are simulated for a range of flow parameters. Simulations show that the Kelvin–Helmholtz billows are generated at the top of trailing fluid by the interfacial velocity shear. The K-H type instability becomes weaker with the slope distance from the source due to the decrease of the interfacial velocity shear along slope. The ambient stratification restricts and decreases the current head velocity as it descends slope, which differs from the situation in homogenous ambient while the head velocity remains an approximately steady state. Motion of the descending flow into the stratified ambient has two stages: initial acceleration and deceleration at later stage based on the balance of inertial, buoyancy and friction forces. When the descending current approaches the initial neutral position at later stage, it separates from the slope and spreads horizontally into environment. The simulated results, such as vertical velocity and density profiles and front positions, agree well with the measurements, indicating that the mathematical model can be successfully applied to simulate the effect of the boundary condition and ambient stratification on the dilution and propagation of gravity currents. / UK EPSRC

La rêverie est pour la peinture une façon de tenter d’échapper avec perversité à la rigueur de l’image. L’agencement des surfaces, les teintes, les effets de matière ne sont que les traces de ses divagations diurnes. Elle trompe celui qui la regarde en apparaissant alanguie et comme endormie. La rêverie de la matière et des surfaces est un détour sur place qui permet d’atteindre ce qui est déjà là comme peut le faire la perversion. L’effronterie s’amuse à sortir de la froide cristallisation de l’image par le jeu des plans qui s’excitent à la surface du tableau. Pour ressentir enfin quelque chose, la peinture est prête à tout : détourner, noyer, feindre la profondeur, s’abandonner, se laisser absorber, quitter la forme et le genre, nier l’autre, etc. Provocation à seulement sentir, l’expérience de la peinture recoupe l’épreuve sensible comme telle et l’incorpore. Elle opère par contagion et non par représentation. Elle rend à la lettre les surfaces sensibles. La toile aussi bien que la peau même du peintre. À la façon de l’amour, elle nous détourne d’un sens transcendant pour « nous confier à l’absence de secret, comme à notre geste le plus propre » . / "Reverie" (daydreaming) is a way for painting to try to escape in a perverse manner from the rigors of the picture. The layout of surfaces, of shades, material effects are but traces of its daytime ramblings. He who watches the reverie is mistaken into thinking reverie appears languid and as if it were asleep. Reverie of material and surfaces is a static detour that lets us reach what is already there, just like perversion can. Impudence plays at turning away from the cold crystallisation of the image by a game between background and foreground that get excited together on the surface of the painting. In order to feel something at last, painting is ready for anything : diverting objects, drowning, feigning depth, letting itself go, letting itself be absorbed, abandoning form and genre, negating others, etc. As a provocation only to be able to feel, the painting experience confirms the test of the senses as such and takes it in. It works by contagion and not by representation. It reproduces down to a letter surfaces open to the senses. The canvas as the painter's own skin. Just like love, it diverts us from a transcendental meaning to "entrust us to the absence of secret just leaving us with our truest gesture" .