Characterization of turbulent jets from high-aspect-ratio rectangular nozzles

Turbulent free jets issuing from rectangular slots with various high aspect ratios (15-120) are characterized. The centerline mean and rms velocities are measured using hot-wire anemometry over a downstream distance of up to 160 slot heights at a slot-height-based Reynolds number of 10000. Experimental results suggest that a rectangular jet with sufficiently high aspect ratio (> 15) may be distinguished between three flow zones: an initial quasi-plane-jet zone, a transition zone, and a final quasi-axisymmetric-jet zone. In the quasi-plane-jet zone, the turbulent velocity field is statistically similar, but not identical, to those of a plane jet. (c) 2005 American Institute of Physics.

Capillary network models for transport in packed beds: Considerations of pore aspect ratio

The conventional analysis for the estimation of the tortuosity factor for transport in porous media is modified here to account for the effect of pore aspect ratio. Structural models of the porous medium are also constructed for calculating the aspect ratio as a function of porosity. Comparison of the model predictions with the extensive data of Currie (1960) for the effective diffusivity of hydrogen in packed beds shows good agreement with a network model of randomly oriented intersecting pores for porosities upto about 50 percent, which is the region of practical interest. The predictions based on this network model are also found to be in better agreement with the data of Currie than earlier expressions developed for unconsolidated and grainy media.

The intuitive basis of implicature: relevance theoretic implicitness versus gricean implying

The notion of implicature was first introduced by Paul Grice (1967, 1989), who defined it essentially as what is communicated less what is said. This definition contributed in part to the proliferation of a large number of different species of implicature by neo-Griceans. Relevance theorists have responded to this by proposing a shift back to the distinction between "explicit" & "implicit" meaning (corresponding to "explicature" & "implicature," respectively). However, they appear to have pared down the concept of implicature too much, ignoring phenomena that may be better treated as implicatures in their overgeneralization of the concept of explicature. These problems have their roots in the fact that explicit & implicit meaning intuitively overlap & thus do not provide a suitable basis for distinguishing implicature from other types of pragmatic phenomena. An alternative conceptualization of implicature based on the concept of "implying" with which Grice originally associated his notion of implicature is thus proposed. From this definition, it emerges that implicature constitutes something else inferred by the addressee that is not literally said by the speaker. Instead, it is meant in addition to what the speaker literally says & is consequently defeasible like all other types of pragmatic phenomena. 1 Figure, 60 References. Adapted from the source document

A voice unknown: Undercurrents in Mussorgsky's 'Sunless'

Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential eye-witness for those to whom Stasov's populist characterization of the composer does not ring entirely true. Golenishchev-Kutuzov believed that in Sunless Mussorgsky first revealed his authentic artistic self. According to Golenishchev-Kutuvoz, Mussorgsky regarded his signal achievement in Sunless to have been the eradication of all elements other than feeling. In other words, he had thrown off the stylistic shackles imposed by the aesthetics of realism and relied entirely on intuitive harmonic invention as the sole conveyor of a purely subjective, affective meaning in the cycle. This hypothesis forms the point of departure for an investigation of select numbers of the cycle. Analysis reveals that the affective aspect is riot the only significant element operative. Alongside remnants of the realist style, there is evidence, of varying degrees of subtlety, for a knowing use of symmetrical pitch organization. Mussorgsky not only adapted the usual referential attachments of symmetrically based chromaticism-typically found in Russian operas of the second half of the nineteenth century-he also, through extremely simple but effective means, synthesized the intuitive harmonic and rational symmetrical elements of the cycle's pitch organization so that the latter emerges seamlessly out of the former. This remarkable synthesis ensures the cycle's uniformity of tone while also allowing for a reading that extends beyond the generally affective to the symbolically more specific. This symbolic level of reading offers several interpretative possibilities, one of which may refer even to the relationship of the poet and the composer. Irrespective of such potentials for interpretation, the most significant achievement in the cycle remains the synthesis of the intuitive/affective and rational/symbolic elements of its organization. Songs 1, 2, 3, and 6 of the cycle are considered in detail.