Vortex Bladeless is a technology which is lowering costs, requiring no training, and using fewer supplies to collect wind energy. David Yanez, co-founder, Vortex Bladeless, said it all began with a bridge disaster. The bridge, he said, started swaying and oscillating in heavy winds. This was the Tacoma Narrows Bridge collapse of 1940, and the event occurred under 40-mile-per-hour (64 km/h) wind conditions. The collapse would in later years continue to be a topic among engineers and scientists discussing the aeroelastic flutter and motivating their research in aeroelastics.
The structure, said Yanez, was caught up in aeroelastic coupling. Yanez and team worked on recreating similar conditions to lead to their development of a bladeless wind turbine. Instead of turning, the turbine oscillates, producing movement and displacement, said Yanez. “The system is based on the same principles as an alternator—electromagnetic induction.” They multiply that movement and speed magnetically—without any gear assemblies or ball bearings. They turn the mechanical energy of the structure into electricity.
Raul Martin, Vortex Bladeless co-founder, said, “Compare our invention to a conventional wind turbine with similar energy generation—ours would cost significantly less,” around 50 percent or 47 percent less. The company site said that Vortex saves 53 percent in manufacturing costs and 51 percent in operating costs compared to conventional wind turbines.
“Because there is no contact between moving parts,” said the Vortex site, “there is no friction. Therefore no lubricant is required.”
Watch the detailed video here.
Source (Daily Digest)
The film’s overarching message may not be the most innovative, but the way in which it hits those well-worn narrative beats is quite unique and effective. Stevens uses the visual language of highly polished 3D animation to convey the story. The design work present in this film is astounding as is the lighting and camera-motion. Although the film essentially takes place in only one location, by using the Alchemist’s fascinating machine as a central visual storytelling device, the viewer is transported effortlessly to different places and times. What results is essentially a montage, but it’s a highly effective one—impeccably designed and imbuing the material with just enough depth to form a lump in your throat. It’s perfect for those with short attention spans who just want an immediate injection of “the feels.”
Source (Ivan Kander, “The Alchemist’s Letter”, Short of the week)