Nate Renner | University of Toronto (original) (raw)
Address: Saskatoon, Saskatchewan, Canada
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Papers by Nate Renner
This paper discusses the manufacturing process and qualification procedures of a slotless stator ... more This paper discusses the manufacturing process and qualification procedures of a slotless stator for a 1-MW high-speed permanent magnet synchronous machine. The motor, targeted to reach 13 kW/kg, is assembled with form-wound air-core armature windings which utilize litz wire as the conductor. A prototype is being developed and a full-power test will be done in the near future. The insulation, mechanical and thermal qualification test procedures of the stator are discussed in detail. Results showed that the manufacturing process and tolerances significantly affect the machine performance. Various assembly challenges of this slotless stator and their impacts on performance targets are illustrated.
MUSICultures, Oct 25, 2012
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as "restorations" (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop's restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival's goal of garnering respect for Ainu culture. Résumé : Lors du Festival culturel aïnou auquel j'ai assisté en 2010, un ensemble de douze jeunes adultes appelé Team Nikaop a présenté ce que l'équipe appelle des «restaurations » (fukugen) de musique et de danse cérémonielles aïnous qui incorporaient des vidéos historiques et d'autres documents. Cet article examine la façon dont les images de musique et de danse cérémonielles aïnous utilisées dans les musées et les centres touristiques japonais au cours du 20ème siècle sont recontextualisées par les gestes subtiles du Team Nikaop dans ses restaurations sur scène et son comportement hors scène et dans la vie quotidienne. En trouvant un équilibre entre les vieux stéréotypes et les significations nouvelles, le groupe contribue à l'objectif du festival de susciter le respect pour la culture aïnou.
MUSICultures, 2012
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as “restorations” (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop’s restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival’s goal of garnering respect for Ainu culture.
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as " restorations " (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop's restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival's goal of garnering respect for Ainu culture. Résumé : Lors du Festival culturel aïnou auquel j'ai assisté en 2010, un ensemble de douze jeunes adultes appelé Team Nikaop a présenté ce que l'équipe appelle des «restaurations » (fukugen) de musique et de danse cérémonielles aïnous qui incorporaient des vidéos historiques et d'autres documents. Cet article examine la façon dont les images de musique et de danse cérémonielles aïnous utilisées dans les musées et les centres touristiques japonais au cours du 20ème siècle sont recontextualisées par les gestes subtiles du Team Nikaop dans ses restaurations sur scène et son comportement hors scène et dans la vie quotidienne. En trouvant un équilibre entre les vieux stéréotypes et les significations nouvelles, le groupe contribue à l'objectif du festival de susciter le respect pour la culture aïnou.
Website by Nate Renner
Idle No More’s hand drums and round dance at the intersection of Yonge and Dundas. Articulating t... more Idle No More’s hand drums and round dance at the intersection of Yonge and Dundas. Articulating the rhythms of modernity in Chinese revolutionary theater. Prohibiting “stimulating [percussion] rhythms” following the Islamic Republic of Iran’s establishment. These diverse examples suggest a range of provocative questions: Why is performance so often tasked with evincing rupture with the past and creating a new era? How do artists and the arts perform and even advance the pace of social change? And how are the rhythmic-temporal aspects of music, dance, and theatre implicated in political communication?
These and other questions were addressed in Jackman Humanities Institute Program for the Arts-supported symposium and performance entitled Rhythms of Social Change: Time, Rhythm, and Pace in Performance, which will explore the performance of rhythm, time, and pace in social movements, revolutions and postrevolutionary arts. This interdisciplinary event comprised a half-day symposium of presentations by faculty and graduate students from across the University of Toronto. Symposium participants investigated a variety of performance forms from diverse geographical locations and historical periods. Presentations emphasized audio-visual examples to ground scholarly discourse in artistic practice.
Rhythms of Social Change ended with a performance by the Toronto-based trio Persamenco, an innovative instrumental ensemble fusing Iranian art music and flamenco, and the Iranian percussion ensemble Varashan.
This paper discusses the manufacturing process and qualification procedures of a slotless stator ... more This paper discusses the manufacturing process and qualification procedures of a slotless stator for a 1-MW high-speed permanent magnet synchronous machine. The motor, targeted to reach 13 kW/kg, is assembled with form-wound air-core armature windings which utilize litz wire as the conductor. A prototype is being developed and a full-power test will be done in the near future. The insulation, mechanical and thermal qualification test procedures of the stator are discussed in detail. Results showed that the manufacturing process and tolerances significantly affect the machine performance. Various assembly challenges of this slotless stator and their impacts on performance targets are illustrated.
MUSICultures, Oct 25, 2012
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as "restorations" (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop's restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival's goal of garnering respect for Ainu culture. Résumé : Lors du Festival culturel aïnou auquel j'ai assisté en 2010, un ensemble de douze jeunes adultes appelé Team Nikaop a présenté ce que l'équipe appelle des «restaurations » (fukugen) de musique et de danse cérémonielles aïnous qui incorporaient des vidéos historiques et d'autres documents. Cet article examine la façon dont les images de musique et de danse cérémonielles aïnous utilisées dans les musées et les centres touristiques japonais au cours du 20ème siècle sont recontextualisées par les gestes subtiles du Team Nikaop dans ses restaurations sur scène et son comportement hors scène et dans la vie quotidienne. En trouvant un équilibre entre les vieux stéréotypes et les significations nouvelles, le groupe contribue à l'objectif du festival de susciter le respect pour la culture aïnou.
MUSICultures, 2012
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as “restorations” (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop’s restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival’s goal of garnering respect for Ainu culture.
At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team N... more At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as " restorations " (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop's restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival's goal of garnering respect for Ainu culture. Résumé : Lors du Festival culturel aïnou auquel j'ai assisté en 2010, un ensemble de douze jeunes adultes appelé Team Nikaop a présenté ce que l'équipe appelle des «restaurations » (fukugen) de musique et de danse cérémonielles aïnous qui incorporaient des vidéos historiques et d'autres documents. Cet article examine la façon dont les images de musique et de danse cérémonielles aïnous utilisées dans les musées et les centres touristiques japonais au cours du 20ème siècle sont recontextualisées par les gestes subtiles du Team Nikaop dans ses restaurations sur scène et son comportement hors scène et dans la vie quotidienne. En trouvant un équilibre entre les vieux stéréotypes et les significations nouvelles, le groupe contribue à l'objectif du festival de susciter le respect pour la culture aïnou.
Idle No More’s hand drums and round dance at the intersection of Yonge and Dundas. Articulating t... more Idle No More’s hand drums and round dance at the intersection of Yonge and Dundas. Articulating the rhythms of modernity in Chinese revolutionary theater. Prohibiting “stimulating [percussion] rhythms” following the Islamic Republic of Iran’s establishment. These diverse examples suggest a range of provocative questions: Why is performance so often tasked with evincing rupture with the past and creating a new era? How do artists and the arts perform and even advance the pace of social change? And how are the rhythmic-temporal aspects of music, dance, and theatre implicated in political communication?
These and other questions were addressed in Jackman Humanities Institute Program for the Arts-supported symposium and performance entitled Rhythms of Social Change: Time, Rhythm, and Pace in Performance, which will explore the performance of rhythm, time, and pace in social movements, revolutions and postrevolutionary arts. This interdisciplinary event comprised a half-day symposium of presentations by faculty and graduate students from across the University of Toronto. Symposium participants investigated a variety of performance forms from diverse geographical locations and historical periods. Presentations emphasized audio-visual examples to ground scholarly discourse in artistic practice.
Rhythms of Social Change ended with a performance by the Toronto-based trio Persamenco, an innovative instrumental ensemble fusing Iranian art music and flamenco, and the Iranian percussion ensemble Varashan.