On the modelling of the thermal interactions between a spray curtain and an impinging cold gas cloud

A mixed Lagrangian-Eulerian model of a Water Curtain barrier is presented. The heat, mass and momentum processes are modelled in a Lagrangian framework for the dispersed phase and in an Eulerian framework for the carrier phase. The derivation of the coupling source terms is illustrated with reference to a given carrier phase cell. The turbulent character of the flow is treated with a single equation model, modified to directly account for the influence of the particles on the flow. The model is implemented in the form of a 2 D incompressible Navier Stokes solver, coupled to an adaptive Rung Kutta method for the Lagrangian sub-system. Simulations of a free standing full cone water spray show satisfactory agreement with experiment. Predictions of a Water Curtain barrier impacted by a cold gas cloud point to markedly different flow fields for the upward and downward configurations, which could influence the effectiveness of chemical absorption in the liquid phase.

Rats, floods and flowers: London's Gothicized nature

AUTHOR's OVERVIEW This chapter attempts a definition of London eco-gothic, beginning with an ecocritical reading of the ubiquitous London rat. Following Dracula, popular London gothic has been overrun, from the blunt horror-schlock of James Herbert’s 1970s Rats series to China Miéville’s King Rat. Maud Ellman’s elegant discussion of the modernist rat as a protean figure associated with a ‘panoply of fears and fetishes’, underlines how the rat has always featured in anti-urban discourse: as part of racist representations of immigration; as an expression of fear of disease and poverty; or through a quasi-supernatural anxiety about their indestructible and illimitable nature which makes them a staple feature of post-apocalyptic landscapes. Even so, the London rat is a rather more mundane manifestation of urban eco-gothic than the ‘city wilderness’ metaphors common to representations of New York or Los Angles as identified by eco-critic Andrew White. London’s gothic noses its way out through cracks in the pavements, grows from seeds in suburban gardens or accumulates through the steady drip of rainwater. However, I will suggest, in texts such as Maggie Gee’s The Flood and P. D. James’ Children of Men, London eco-gothic becomes less local and familiar as it responds to global environmental crisis with more dramatic tales of minatorial nature.