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Abstract

Abstract In the paper, analysis of multi-region fuzzy logic controller with local PID controllers for steam generator of pressurized water reactor (PWR) working in wide range of thermal power changes is presented. The U-tube steam generator has a nonlinear dynamics depending on thermal power transferred from coolant of the primary loop of the PWR plant. Control of water level in the steam generator conducted by a traditional PID controller which is designed for nominal power level of the nuclear reactor operates insufficiently well in wide range of operational conditions, especially at the low thermal power level. Thus the steam generator is often controlled manually by operators. Incorrect water level in the steam generator may lead to accidental shutdown of the nuclear reactor and consequently financial losses. In the paper a comparison of proposed multi region fuzzy logic controller and traditional PID controllers designed only for nominal condition is presented. The gains of the local PID controllers have been derived by solving appropriate optimization tasks with the cost function in a form of integrated squared error (ISE) criterion. In both cases, a model of steam generator which is readily available in literature was used for control algorithms synthesis purposes. The proposed multi-region fuzzy logic controller and traditional PID controller were subjected to broad-based simulation tests in rapid prototyping software - Matlab/Simulink. These tests proved the advantage of multi-region fuzzy logic controller with local PID controllers over its traditional counterpart.
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Abstract

The article explores the role of musical themes in the work of Kazimierz Wierzyń ski from the perspective of auditive practice in the context of what is known about the poet’s personal tastes and appreciation of the art of sounds and noises. Most attention is paid to Wierzyński’s verse written in exile because there the musical references became more complex than in the prewar and the postwar phases of his poetic career. It was then the musical references began to function as a sign of the poet’s encounter with individual compositions and musical traditions – a record of a direct, personal and touching musical experience – rather than a metaphoric amplifi cation or a rhetorical ornament.
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