One-dimensional linear analysis of the compound jet

The stability of an infinitely long compound liquid column is analysed by using a one-dimensional inviscid slice model. Results obtained from this one-dimensional linear analysis are applicable to the study of compound capillary jets, which are used in the ink-jet printing technique. Stability limits and the breaking regimes of such fluid configurations are established, and, whenever possible, theoretical results are compared with experimental ones.

C��mic, arquitectura narrativa. Describiendo cuatro dimensiones con dos

C��mic, arquitectura narrativa. Describiendo cuatro dimensiones con dos. La mayor parte de los estudios con un enfoque acad��mico en torno a c��mic y arquitectura, se han centrado m��s en las distintas realidades representadas dentro del medio, en sus decorados, que en la estructura del c��mic en s��. Existe un aspecto gr��fico que se ha venido obviando o al menos no ha adquirido el protagonismo que merece: los espacios representados en el c��mic se encuentran en un medio que se concibe y estructura de una manera similar a como el arquitecto dibuja y concibe la arquitectura. En lo b��sico, hist��ricamente, las herramientas y soportes para idear y representar la arquitectura son muy parecidas a aquellas que usa el autor de c��mic. L��piz, tinta y color sobre un papel, combinadas trabajando en un tablero, ese es lugar de nacimiento de ambos mundos. A lo largo de esta tesis se muestra c��mo el dibujo une a creadores de narraciones gr��ficas y edificios. La relaci��n va m��s all�� de que el c��mic pueda utilizar las disposiciones vitruvianas, ichnographia, ortographia o scenographia, (planta, alzado, perspectiva), la propia articulaci��n que hace del espacio de la p��gina, puede sintonizar con la manera en la que se concibe una estructura arquitect��nica. La tesis inicia con un cap��tulo de recorrido en torno a las teor��as del c��mic existentes, buscando intersecciones posibles con la representaci��n arquitect��nica o el proyecto espacial. En este primer paso de estudio del estado de la cuesti��n han pesado m��s los trabajos de los ��ltimos veinticinco a��os. Se trata de un periodo en el que, a la par que se ha producido una explosi��n creativa en el mundo del c��mic, determinados te��ricos han incidido en un an��lisis m��s formal y visual del medio. Tras recoger teor��as en el primer cap��tulo, se plantea un recorrido hist��rico a la b��squeda de posibles resonancias de ���arquitecturas mentales��� en el pasado. Esta b��squeda de referentes m��s all�� del siglo XIX, momento en el que nace el medio en su forma actual, es ya un aspecto com��b en distintos estudios de c��mic que han servido de inspiraci��n. Se ha preferido ubicar esta colecci��n de antecedentes como segundo cap��tulo, evitando dar al trabajo un car��cter de historia e incidiendo en su enfoque de tipo visual. El tercer cap��tulo analiza una serie de obras y autores de c��mic en su forma actual, buscando distintas estrategias para la descripci��n de espacios y las narraciones que ocurren en ellos. El crecimiento de casos en estas ��ltimas d��cadas ha demostrado hasta qu�� punto el desarrollo de un campo depende tanto de que exista una masa cr��tica en un contexto conectado y productivo, como de la aparici��n de individuos que abren puertas a los dem��s, con la cristalizaci��n personal que hacen de una situaci��n. Se analiza en un cuarto cap��tulo la relaci��n entre la arquitectura y el c��mic modernos. Una relaci��n que se presenta partiendo desde sus respectivos padres, para despu��s tratar un elenco creciente de experiencias en el que la narraci��n gr��fica y el hecho arquitect��nico estan ��ntimamente ligados. Inspirado en la estrategia que Gubern y Gasca utilizan en El discurso del c��mic (C��tedra, 1988) se cierra la tesis con un discurso visual por las arquitecturas mentales y narrativas del c��mic: la representaci��n del espacio a trav��s de juego con las dimensiones, el uso de recursos gr��ficos propios de la descripci��n arquitect��nica, la secci��n, la planta, la utilizaci��n de elementos constructivos,etc, completando el abanico de estrategias gr��ficas presentadas. ABSTRACT Comic narrative architecture. Describing four dimensions with two Most of the studies with an academic focus around comics and architecture have centered their view more on the different realities represented in the media, in its sets, than in the structure of comics itself. There is a graphic aspect that has been ignored, or at least has not gained the prominence it deserves: the spaces rendered in the comics are set in a medium that is conceived and structured in a similar way as the architect draws and conceives architecture. In basics, tools for designing and representing architecture are very similar to those used by the cartoonist. Pencil, ink and color on paper, combined working on a board, that is birthplace of both worlds. Throughout this thesis its shown how drawing connects creators of graphic stories and buildings. The relationship goes beyond the use that comics can do of the Vitruvian provisions, ichnographia, ortographia or scenographia (plan, elevation, perspective), to the arrange itself that it makes with space on the page, in tune with the way in which architectural structures are conceived. The thesis starts with a chapter that collects existing comics theories and their possible intersection with architectural rendering. In this first step of study on the state of affairs, the focus has been over studies from the last twenty years. It is a period in which, at the same time that there has been a creative explosion in the world of comics, some theorists have worked with a more formal and visual approach. After collecting theories in the first chapter, a historical tour is made to search for possible resonances of ���mental architectures��� in the past. This search for references beyond the nineteenth century, when the medium was born in its current form, is already a regular process in various recent studies that have served as inspiration. We preferred to locate this as a second chapter, to avoid giving the work a character of History, and reenforcing its visual approach. The third chapter analyzes a series of comics and authors, looking for different strategies for describing spaces and stories that occur in them. The growth of cases in recent decades has shown how the development of a field depends both on the existence of a critical mass in a connected and productive enviroment, and the appearance of individuals who open doors to others with the personal crystallization that they make on that context. The relationship between architecture and the modern comic is analyzed in a fourth chapter. A relationship that is described starting from their parents, and then going through a growing cast of experiences in which graphic narrative and architecture are closely linked. Inspired by the strategy used Gubern and Gasca in El discurso del c��mic (C��tedra, 1988), The Comics��� Speech, the thesis concludes with a visual discourse through this narrative comic architectures: the representation of space by playing with dimensions, the use of resources for architectural rendering, section, plant, etc., to complete the range of graphical strategies presented.