Search results for: Jatindra Lahkar

Authors: Jatindra Lahkar

Abstract:

The effect of chemical reaction on laminar mixed convection flow and heat and mass transfer along a vertical unsteady stretching sheet is investigated, in the presence of heat generation/absorption with variable viscosity and viscous dissipation. The governing non-linear partial differential equations are reduced to ordinary differential equations using similarity transformation and solved numerically using the fourth order Runge-Kutta method along with shooting technique. The effects of various flow parameters on the velocity, temperature and concentration distributions are analyzed and presented graphically. Skin-friction coefficient, Nusselt number and Sherwood number are derived at the sheet. It is observed that the influence of chemical reaction, the fluid flow along the sheet accelerate with the increase of chemical reaction parameter, on the other hand, temperature of the fluid increases with increase of chemical reaction parameter but concentration of the fluid reduces with it. The boundary layer decreases on the surface of the sheet for all values of unsteadiness parameter, increasing values of the chemical reaction parameter. The increases in the values of Sc cause the species concentration and its boundary layer thickness to decrease resulting in less induced flow and higher fluid temperatures. This is depicted in the decreases in the velocity and species concentration and increases in the fluid temperature as Sc increases.

Keywords: chemical reaction, heat generation/absorption, magnetic number, unsteadiness, variable viscosity

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Authors: Nitin Lahkar, Rishiraj Goswami

Abstract:

“Oil Well Logging” or the practice of making a detailed record (a well log) of the geologic formations penetrated by a borehole is an important practice in the Oil and Gas industry. Although a lot of research has been undertaken in this field, some basic limitations still exist. One of the main arenas or venues where plethora of problems arises is in logistically challenged areas. Accessibility and availability of efficient manpower, resources and technology is very time consuming, restricted and often costly in these areas. So, in this regard, the main challenge is to decrease the Non Productive Time (NPT) involved in the conventional logging process. The thought for the solution to this problem has given rise to a revolutionary concept called the “Robotic Logging Technology”. Robotic logging technology promises the advent of successful logging in all kinds of wells and trajectories. It consists of a wireless logging tool controlled from the surface. This eliminates the need for the logging truck to be summoned which in turn saves precious rig time. The robotic logging tool here, is designed such that it can move inside the well by different proposed mechanisms and models listed in the full paper as TYPE A, TYPE B and TYPE C. These types are classified on the basis of their operational technology, movement and conditions/wells in which the tool is to be used. Thus, depending on subsurface conditions, energy sources available and convenience the TYPE of Robotic model will be selected. Advantages over Conventional Logging Techniques: Reduction in Non-Productive time, lesser energy requirements, very fast action as compared to all other forms of logging, can perform well in all kinds of well trajectories (vertical/horizontal/inclined).

Keywords: robotic logging technology, innovation, geology, geophysics

Procedia PDF Downloads 306

Authors: Smita Lahkar

Abstract:

Sattriya, the youngest of the eight principal Classical Indian dance traditions, has undergone too many changes and modifications to arrive at its present stage of performing art form extracting itself from age-old religious confinement. Although some of the other traditions have been revived in the recent past, Sattriya has a living tradition since its inception in the 15th century by Srimanta Sankardeva, the great Vaishnavite saint, poet, playwright, lyricist, painter, singer and dancer of Assam, a primary north-eastern state of India. This living dance tradition from the Sattras, the Vaishnavite monasteries, has been practiced for over five hundred years by celibate male monks, as a powerful medium for propagating the Vaishnava religious faith. Sankardeva realised the potential of the vocalised word integrated with the visual image as a powerful medium of expression and communication. So he used this principal medium for propagating his newly found message of devotion among the people of his time. Earlier, Sattriya was performed by male monks alone in monasteries (Sattras) as a part of daily rituals. The females were not even allowed to learn this art form. But, in present time, Sattriya has come out from the Sattras to proscenium stage, performed mostly by female as well as few male dancers also. The technique of performing movements, costumes, ornaments, music and style of performance too have experienced too many changes and modifications. For example, earlier and even today in Sattra, the ‘Pataka’ hand gesture is depicted in conformity with the original context (religious) of creation of the dance form. But, today stage-performers prefer the instructions of the scripture ‘Srihastamuktavali’ and depict the ‘Pataka’ in a sophisticated manner affecting decontextualisation to a certain extent. This adds aesthetic beauty to the dance form as an art distancing it from its context of being a vehicle for propagating Vaishnava religion. The Sattriya dance today stands at the crossroads of past and future, tradition and modernity, devotion and display, spirituality and secularism. The traditional exponents trained under the tutelage of Sattra maestros and imbibing a devotionally inspired rigour of the religion, try to retain the traditional nuances; while the young artists being trained outside the monasteries are more interested in taking up the discipline purely from the perspective of ‘performing arts’ bereft of the philosophy of religion or its sacred associations. Hence, this paper will be an endeavor to establish the hypothesis that the Sattriya, whose origin was for propagating Vaishnava faith, has now entered the world of performing arts with highly aesthetical components. And as a transformed art form, Sattriya may be expected to carve a niche in world dance arena. This will be done with the help of historical evidences, observations from the recorded past and expert rendezvous.

Keywords: dance, performing art, religion, Sattriya

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