19 resultados para vortex superfluid

em Deakin Research Online - Australia


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Fabric woven from wool/polyester (PES) Murata vortex spun (MVS) blend yarn is a commercially viable proposition particularly on the basis of advantageous wear-resistant properties, compared with fabric made from traditional worsted ring-spun yarn. However, in some early industrial trials with fabric made from 45/55-blend wool/PES MVS yarn, significantly greater relaxation shrinkage was found relative to comparable worsted ring-spun fabric. It was noted at the time that the amount of relaxation shrinkage in MVS fabric could be reduced to a large extent by using steamed MVS yarn.

In this study, the extent of variations in the dimensional and mechanical properties of fabric samples woven from a combination of steamed and unsteamed MVS yarn and equivalent worsted ring-spun yarn is examined. In general, greater hygral expansion and relaxation shrinkage were found in loom-state fabrics made from unsteamed MVS yarns, whereas the fabric made from steamed MVS and ring-spun yarns gave relatively low levels of relaxation shrinkage and hygral expansion. Permanent setting of fabrics, by pressure steaming, was found to be more effective than yarn pre-steaming in reducing relaxation shrinkage levels of fabrics made from unsteamed MVS yarn. After pressure steaming, all fabrics showed similar levels of relaxation shrinkage and hygral expansion.

Permanent setting of the fabrics, by pressure steaming, resulted in similar levels of relaxation shrinkage and hygral expansion, irrespective of the yarn production method; relaxation shrinkage fell to around 1% and hygral expansion increased by about 1%, relative to the loom-state samples. MVS fabrics were relatively heavier and fuller and had a firmer handle than the worsted ring-spun fabrics, reflecting the greater fabric weight, thickness and shear rigidity measured on these fabrics. These attributes are associated with different structures of the worsted ring-spun and MVS yarns used to make the fabrics.

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This article introduces the conceptual practice tool of ‘The Vortex of Violence’ and one suggested practice model for utilising the vortex of violence in practice with women who have experienced a domestic violence relationship. The practice tool and model are an expansion of ‘The Cycle of Violence’ that shifts the focus from explanation of the dynamics of abusive relationships to the exploration of the lived experience of women and the development of a personal/therapeutic template for healing and reclaiming of their lives.

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The design of a miniature ramjet combustor using gaseous methane fuel for Mach 2.5 has been conducted. The main challenges stem mainly from the insufficient space for mixing and burning, short residence time, and the flame stabilization. Impossible utilization of relatively large air-blast fuel injectors provides more difficulties for the design. The trapped vortex combustor, as a novel way of flameholding by trapping the pilot flame inside a cavity instead of exposing it to the mainstream, is selected. Three main parts are studied numerically, which include the cold flowfield characteristics, the fuel-injection schemes, and the overall combustion performance. The results show that the drag coefficient can helptodetermine the optimum cavity size for trappingastable vortex. Injecting all the fuel inthe cavity always leads to an overly fuel-rich condition, whereas injecting in front of the cavity with a momentum flux ratio q between 0.61 and 1.0 can successfully achieve stoichiometric mixing in the cavity. However, compared to nonreacting fuel mixing, the combustion performance is found to be more sensitive to the value of q. Among the cases studied, the one with a small q of about 0.61 has more intense pilot flames andshorter main combustor flames. The effectsofangled injection, upstream injection location, and the combustor length based on the found q are also investigated.

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This study focused on the hairiness of worsted wool yarns and how it affects the pilling propensity of knitted wool fabrics. Conventional worsted ring spun yarns were compared with comparable SolospunTM yarns and yarns modified with a hairiness reducing air nozzle in the winding process (JetWind). Measurements of yarn hairiness (S3) on the Zweigle G565 hairiness meter showed a reduction in the S3 value of approximately 46% was achieved using SolospunTM ring spinning attachment and a 33% reduction was achieved using the JetWind process. Interestingly, subsequent evaluation of the pilling performance of fabrics made from the SolospunTM spun yarn and JetWind modified yarn showed a half grade and full grade improvement, respectively over a similar fabric made from conventional ring spun yarns. This result suggested that a relatively large reduction in yarn hairiness was needed to achieve a moderate improvement in fabric pilling, and that the nature of yarn hairiness was also a key factor in influencing fabric pilling propensity. It is postulated that the wrapping of surface hairs by the air vortex in the JetWind process may limit the ability of those surface fibers to form fuzz and reach the critical height required for pill formation.

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In exercising vision we employ strategies to perceive space and to distinguish the objects of attention. Some processes however remain invisible to us; how we process binocular vision; and how we resolve vision in motion. This work images invisible motion perspective. Revelation of invisible mechanisms of vision exposes the haptic qualities of sight and their contribution to proprioception and ʻaffordanceʼ. Figuring the ʻvortex of visionʼ also releases symbolic and metaphoric potentials. This innovative outcome of practical research develops imagery which depicts relative movement in space using the principles of motion perspective (Herschel) and optic flow (J. J. Gibson); the locative awareness of volumes in space through the dimensions of time and space presented in 2D imagery. The mural scale (3.5 metres) work presented in 'Circle', a group show of work around the idea of 'the circle' curated by Melinda Capp is derived from a large production of digital photographs made in the London Underground. In this work, the circle is associated with the orbit of the commuter which bends around the twin poles of home and employment, work and rest, circulating in an ellipse around the Ideal Life. Each traveller's path is a braid woven through gyrations of force and resistance. Optic flow, emulated with the rotating lens, tracing the moving subject, makes this visible.

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Re-photography is considered in this paper as a synthesis of the processes of seeing, to develop an aesthetic of space.

This practice deals with being (noun and verb) in space and the perception of space and depiction of space; space at the intersection of landscape and human. A key to the conundrum of the figure and the ground arises out of practical photographic investigations to convey the very human sensations of being on the ground, in the confounding landscape of the Central Victorian (Australian) ironbark forests and goldfields.

What is revealed is that what we see, what we attend to, actually appears concentrated at the nodes of a series of vortices. Each vortex is a moiré interference of converging views of the same scene. Attention is a convergence on particulars. Like a magnetic field, the vortex remains invisible in our everyday vision, but it appears in these images. It is imprinted from individual perspectives at particular places; a new perspective with a point of apparition rather than of vanishing.

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James McArdle and Lorena Carrington submitted to the Castlemaine State Festival competitive curated process the exhibition 'Fruiting Bodies'  which was accepted under the Fesitval theme: 'Pressing Matters'.  James McArdle’s practice is to use the qualities of the medium to reflect on itself. Camera vision and human perception are often compared; this is a simplification, but full of potential that might illuminate the nature of vision and attention. Haptic senses are stimulated in the eye by ‘racking’ focus (normally a cinematographic effect); and elsewhere with tilt-shift techniques; while ‘dollying’ the camera by hand around a still point renders the concentric vortex effects. A sense of physical presence and immersion is evoked with the exhibition. Fruiting Bodies’: is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree: is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of James’s lens as it circles deep into the embrace of limbs and leaves.

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The discovery that an impressively strong 3-dimensional effect in a 2-dimensional photographic representation of natural outdoor scenes occurs when a single camera is directed around one point in the scene, thus drawing into relief the subject of attention and blurring the surrounding space, has important implications for understanding basic processes in 3-dimensional vision. For the development of new ways for generating 3D effects in motion and static representations of scenes we might well learn from photography’s old technologies, as well as digital technologies of the static print, which have yet to release the full impact of their potential in the representation of motion and space.

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This is a report of a practice-as-research project. The chapter outlines McArdle's discoveries of means by which the pre-conscious processes of binocular vision and steropsis can be made visible in an effect which with one-eyed vision renders the scene 3-dimensional.

In the book's introduction editor Mehigan writes "[The] will to creation is only assayable once we estimate the role of the observer in the construction of space. McArdle's contribution, in engaging with the question of the animating presence of the observer focuses not just on what is caught in the lens of the photographer at the moment of depiction, but how the photographer's movement through space is the 'force field' that insinuates itself into the landscape and enters into a reciprocal relationship with it. The schematism of Euclidean geometry, for this reason, cannot account for the truth of the photographer's images; McArdle's metaphors are singularly non-Euclidean in their description of how objects are held together in the imaginative space of mental awareness."

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Photography, normally considered a prosaic medium, is considered in this paper as a synthesises of the processes of human seeing, to develop an aesthetic, a poetics of space. The initial element of invention in my investigation was to devise the means by which the process of binocular perception might be depicted. Once the vortex form emerged from that experimentation, and I had the experience to predict the generation of affect, it became possible to manipulate it purposefully in seeking a solution to the problem of the portrait in the landscape.

This paper outlines a practice as research investigation into the construction and representation of the figure and the ground in photography through overlapping multiple temporal and spatial renderings of the same subject within single photographic images.

This included a critical investigation of the representation of time, perspective, and location in historical and contemporary photography with particular attention to the synthesis, imitation, and distinction of characteristics of human vision in this medium especially where they are indicative of consciousness and attention.

This investigation informed a re-evaluation of the premises of the genre of the photographic portrait and it’s setting, especially within the unstructured environment of the Central Victorian ironbark forests and goldfields. Analogue and digital photographic experiments were conducted in superimposed shifts in camera position and their convergence on significant points of focus through repeated exposures across different time scales. The images correspond to a stage in human stereo perception before fusion, to represent the attention of the viewer, where, in these images, the ‘portrait’ is located.

The findings were applied to the large format camera production of high-definition images that extended the range and effectiveness of selected pictorial structures such as selective focus, relative scale, superimposition, multiple exposures and interference patterns.

The outcome was an exhibition at Smrynios Gallery in Melbourne in April 2004. This presentation includes a discussion of relevant work by Australian practitioners Daniel Crooks and David Stephenson.

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 Contribution of a mural scale work from the Vortex series. In  these images of the binocular (as opposed to ‘binocular images’) the vortex effect arises from convergence; two views of the landscape, photographed from separate viewpoints are superimposed in-camera through superimposition on a particular point.

This point may not be singular, as, depending on the arrangement in depth of objects and sufaces in the scene there will arise a set of nested circles at aligned points in a moire pattern set up by interference between the images. This was an original contribution in the field of lens-based practice which is recognised in the inclusion of this work in this long-running national award.

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A washer-free Nb nanoSQUID has been developed for measuring magnetization changes from nanoscale objects. The SQUID loop is etched into a 250 nm wide Au/Nb bilayer track and the diameter of the SQUID hole is ~ 70 nm. In the presence of a magnetic field perpendicular to the plane of the SQUID, vortex penetration into the 250 nm wide track can be observed via the critical current–applied field characteristic and the value at which vortex first penetrates is consistent with the theoretical prediction. Upon removing the applied field, the penetrated vortices escape the track and the critical current at zero field is restored.

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The results from experiments conducted in a 2m high flow compartment at large Reynolds numbers are reported in this paper. Flow entered the compartment through an opening at the base on one side of the compartment and exited from an opening at the bottom of the opposite wall of the compartment. A shear layer is formed at the boundary between the incoming flow and the ambient fluid in the compartment. The impingement of the shear layer on the opposite wall of the compartment gives rise to periodic vortex formation and highly organized oscillations in the shear layer. When a density interface is present inside the compartment, resonance conditions were set up when the oscillations of the internal standing waves were “locked in” with the shear layer oscillations. Under resonance conditions, internal standing waves with amplitudes of up to 0.1m were observed. The formation of the internal standing waves is linked to the shear layer oscillations. Resonance conditions result when the shear layer is oscillating close to the natural frequency of the stratified fluid system in the compartment. The results of this investigation are applicable for fresh water storage in floating bottom-opened tanks in the sea, where under resonance conditions, entrainment rates could be significantly increased.

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Results of experiments conducted in a 2m high flume at large Reynolds numbers are reported in this paper. The flume was partitioned into two compartments. Flow entered the bottom of the upstream test compartment as a wall jet, at jet Reynolds number ranging from 11,000 to 170,000. Periodic oscillations of the free surface in the two compartments resembling the oscillatory flow in a liquid-filled U-tube, and large coherent structures formed above the potential core of the wall jet were observed. Coupling of the U-tube oscillations and vortex shedding is attributed to fluid-dynamic and fluid-resonant feedback processes. For test compartment length, Lc=0.8m , fluid-resonant feedback was found to be dominant, and the shear layer was observed to oscillate at the natural frequency of the two-compartment, U-tube system. The observed U-tube oscillations are initiated by the oscillations of the shear layer at a frequency equal to the subharmonic component for the U-tube. The flow oscillations were generally weaker for Lc=1.2 and 2.0m with oscillation frequencies governed by fluid-dynamic feedback, verified from a comparison with the results from a previously reported study.