Development of numerical techniques for near-field aeroacoustic computations

This work is concerned with the development of a numerical scheme capable of producing accurate simulations of sound propagation in the presence of a mean flow field. The method is based on the concept of variable decomposition, which leads to two separate sets of equations. These equations are the linearised Euler equations and the Reynolds-averaged Navier–Stokes equations. This paper concentrates on the development of numerical schemes for the linearised Euler equations that leads to a computational aeroacoustics (CAA) code. The resulting CAA code is a non-diffusive, time- and space-staggered finite volume code for the acoustic perturbation, and it is validated against analytic results for pure 1D sound propagation and 2D benchmark problems involving sound scattering from a cylindrical obstacle. Predictions are also given for the case of prescribed source sound propagation in a laminar boundary layer as an illustration of the effects of mean convection. Copyright © 1999 John Wiley & Sons, Ltd.

The Catford Riddim on the 202

This presentation is about a song, ”Catford Riddim” by the A-Team, a group of grime artists from South London, specifically about how it came to be played, perhaps a bit too loudly, in the back of the 202 bus one January morning on a teenager’s mobile phone. As an illustration of how social networks and technological networks converge, the ”Catford Riddim,” insisting on the music’s own provenance from the SE6 postcode, shows the formation of a local ethnoscape in the global networks of peer-to-peer file sharing and online DIY distribution sites such as MySpace. Contesting the narrative of online social networks as routes to fame, I suggest that on the contrary they illustrate the emergence of local, even insular, ”scenes” of musicians, events and audiences.