Results and status of the Alcator C-Mod tokamak

IF 0.3 1区艺术学 0 MUSIC

NINETEENTH CENTURY MUSIC Pub Date : 2002-11-07 DOI:10.1109/FUSION.2002.1027697

S. Wukitch, W. Beck, E. Fitzgerald, R. Granetz, D. Gwinn, M. Grimes, J. Irby, E. Marmar, D. Terry, P. Titus, R. Vieira, S. Wolfe, J. Zaks, S. Bernabei, R. Ellis, L. Gereg, J. Hosea, D. Loesser, G. Schilling, J. Wilson

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Abstract

Recent Alcator C-Mod experimental campaigns have focused upon the study of the Advanced Tokamak regimes, which includes characterization of the RF heating, the formation and dynamics of internal barriers, H-mode edge pedestal, and divertor and scrape-off physics. The ICRF system has been recently upgraded with the improved performance of the 4-strap antenna. Total ICRF power in excess of 5 MW has been launched successfully into the plasma during this campaign. Due to the compact nature of C-Mod, the power feeds for the antenna are vacuum strip lines. Their orientation, to the tokamak B-field, is governed by maintaining E<15 kV/cm in locations where the RF E-field is parallel to tokamak B-field. Other modifications included improved protection tile grounding and installation of protective shields for Faraday screen ceramic isolators. The antennas also make use of BN protection tiles to eliminate high Z impurities from the antennas. The present empirical power limit results from arcing in a region of the antenna strap where E/spl sim/15 kV/cm and parallel to B and injections from the metallic fasteners used to attach the BN tiles to the antenna.

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alcatator C-Mod托卡马克实验结果及现状

最近的Alcator C-Mod实验活动集中在先进托卡马克体系的研究上，包括射频加热的表征、内部屏障的形成和动力学、h模边缘基座、转向器和刮擦物理。ICRF系统最近进行了升级，改进了4带天线的性能。在这次运动中，ICRF总功率超过5兆瓦，已成功发射到等离子体中。由于C-Mod的紧凑性，天线的电源馈线是真空带线。在RF E场与托卡马克b场平行的位置，通过保持E<15 kV/cm来控制它们对托卡马克b场的方向。其他改进包括改进保护瓷砖接地和安装法拉第屏蔽陶瓷隔离器的保护罩。天线还使用BN保护瓦来消除天线中的高Z杂质。目前的经验功率限制是由于天线带中E/spl sim/15 kV/cm平行于B的区域的电弧以及用于将BN瓦连接到天线的金属紧固件的注入。

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来源期刊

NINETEENTH CENTURY MUSIC MUSIC-

CiteScore

0.40

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0.00%

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期刊介绍： 19th-Century Music covers all aspects of Western art music between the mid-eighteenth and mid-twentieth centuries. We welcome--in no particular order--considerations of composers and compositions, styles, performance, historical watersheds, cultural formations, critical methods, musical institutions, ideas, and topics not named on this list. Our aim is to publish contributions to ongoing conversations at the leading edge of musical and multidisciplinary scholarship.