Computational fluid dynamics evaluation of liquid food thermal process in a brick shaped package

Food processes must ensure safety and high-quality products for a growing demand consumer creating the need for better knowledge of its unit operations. The Computational Fluid Dynamics (CFD) has been widely used for better understanding the food thermal processes, and it is one of the safest and most frequently used methods for food preservation. However, there is no single study in the literature describing thermal process of liquid foods in a brick shaped package. The present study evaluated such process and the influence of its orientation on the process lethality. It demonstrated the potential of using CFD to evaluate thermal processes of liquid foods and the importance of rheological characterization and convection in thermal processing of liquid foods. It also showed that packaging orientation does not result in different sterilization values during thermal process of the evaluated fluids in the brick shaped package.

Analysis of Phase Separator Design Criteria Using Computational Fluid Dynamics

Gravitational phase separation is a common unit operation found in most large-scale chemical processes. The need for phase separation can arise e.g. from product purification or protection of downstream equipment. In gravitational phase separation, the phases separate without the application of an external force. This is achieved in vessels where the flow velocity is lowered substantially compared to pipe flow. If the velocity is low enough, the denser phase settles towards the bottom of the vessel while the lighter phase rises. To find optimal configurations for gravitational phase separator vessels, several different geometrical and internal design features were evaluated based on simulations using OpenFOAM computational fluid dynamics (CFD) software. The studied features included inlet distributors, vessel dimensions, demister configurations and gas phase outlet configurations. Simulations were conducted as single phase steady state calculations. For comparison, additional simulations were performed as dynamic single and two-phase calculations. The steady state single phase calculations provided indications on preferred configurations for most above mentioned features. The results of the dynamic simulations supported the utilization of the computationally faster steady state model as a practical engineering tool. However, the two-phase model provides more truthful results especially with flows where a single phase does not determine the flow characteristics.

Computational models for and from biology : simple gene assembly and reaction systems

The advancement of science and technology makes it clear that no single perspective is any longer sufficient to describe the true nature of any phenomenon. That is why the interdisciplinary research is gaining more attention overtime. An excellent example of this type of research is natural computing which stands on the borderline between biology and computer science. The contribution of research done in natural computing is twofold: on one hand, it sheds light into how nature works and how it processes information and, on the other hand, it provides some guidelines on how to design bio-inspired technologies. The first direction in this thesis focuses on a nature-inspired process called gene assembly in ciliates. The second one studies reaction systems, as a modeling framework with its rationale built upon the biochemical interactions happening within a cell. The process of gene assembly in ciliates has attracted a lot of attention as a research topic in the past 15 years. Two main modelling frameworks have been initially proposed in the end of 1990s to capture ciliates’ gene assembly process, namely the intermolecular model and the intramolecular model. They were followed by other model proposals such as templatebased assembly and DNA rearrangement pathways recombination models. In this thesis we are interested in a variation of the intramolecular model called simple gene assembly model, which focuses on the simplest possible folds in the assembly process. We propose a new framework called directed overlap-inclusion (DOI) graphs to overcome the limitations that previously introduced models faced in capturing all the combinatorial details of the simple gene assembly process. We investigate a number of combinatorial properties of these graphs, including a necessary property in terms of forbidden induced subgraphs. We also introduce DOI graph-based rewriting rules that capture all the operations of the simple gene assembly model and prove that they are equivalent to the string-based formalization of the model. Reaction systems (RS) is another nature-inspired modeling framework that is studied in this thesis. Reaction systems’ rationale is based upon two main regulation mechanisms, facilitation and inhibition, which control the interactions between biochemical reactions. Reaction systems is a complementary modeling framework to traditional quantitative frameworks, focusing on explicit cause-effect relationships between reactions. The explicit formulation of facilitation and inhibition mechanisms behind reactions, as well as the focus on interactions between reactions (rather than dynamics of concentrations) makes their applicability potentially wide and useful beyond biological case studies. In this thesis, we construct a reaction system model corresponding to the heat shock response mechanism based on a novel concept of dominance graph that captures the competition on resources in the ODE model. We also introduce for RS various concepts inspired by biology, e.g., mass conservation, steady state, periodicity, etc., to do model checking of the reaction systems based models. We prove that the complexity of the decision problems related to these properties varies from P to NP- and coNP-complete to PSPACE-complete. We further focus on the mass conservation relation in an RS and introduce the conservation dependency graph to capture the relation between the species and also propose an algorithm to list the conserved sets of a given reaction system.

Organizational creativity – Hegemonic and alternative discourses

SUMMARY Organizational creativity – hegemonic and alternative discourses Over the course of recent developments in the societal and business environment, the concept of creativity has been brought into new arenas. The rise of ‘creative industries’ and the idea of creativity as a form of capital have attracted the interests of business and management professionals – as well as academics. As the notion of creativity has been adopted in the organization studies literature, the concept of organizational creativity has been introduced to refer to creativity that takes place in an organizational context. This doctoral thesis focuses on organizational creativity, and its purpose is to explore and problematize the hegemonic organizational creativity discourse and to provide alternative viewpoints for theorizing about creativity in organizations. Taking a discourse theory approach, this thesis, first, provides an outline of the currently predominant, i.e. hegemonic, discourse on organizational creativity, which is explored regarding themes, perspectives, methods and paradigms. Second, this thesis consists of five studies that act as illustrations of certain alternative viewpoints. Through these exemplary studies, this thesis sheds light on the limitations and taken-for-granted aspects of the hegemonic discourse and discusses what these alternative viewpoints could offer for the understanding of and theorizing for organizational creativity. This study leans on an assumption that the development of organizational creativity knowledge and the related discourse is not inevitable or progressive but rather contingent. The organizational creativity discourse has developed in a certain direction, meaning that some themes, perspectives, and methods, as well as assumptions, values, and objectives, have gained a hegemonic position over others, and are therefore often taken for granted and considered valid and relevant. The hegemonization of certain aspects, however, contributes to the marginalization of others. The thesis concludes that the hegemonic discourse on organizational creativity is based on an extensive coverage of certain themes and perspectives, such as those focusing on individual cognitive processes, motivation, or organizational climate and their relation to creativity, to name a few. The limited focus on some themes and the confinement to certain prevalent perspectives, however, results in the marginalization of other themes and perspectives. The negative, often unintended, consequences, implications, and side effects of creativity, the factors that might hinder or prevent creativity, and a deeper inquiry into the ontology and epistemology of creativity have attracted relatively marginal interest. The material embeddedness of organizational creativity, in other words, the physical organizational environment as well as the human body and its non-cognitive resources, has largely been overlooked in the hegemonic discourse, although thereare studies in this area that give reason to believe that they might prove relevant for the understanding of creativity. The hegemonic discourse is based on an individual-centered understanding of creativity which overattributes creativity to an individual and his/her cognitive capabilities, while simultaneously neglecting how, for instance, the physical environment, artifacts, social dynamics and interactions condition organizational creativity. Due to historical reasons, quantitative as well as qualitative yet functionally- oriented studies have predominated the organizational creativity discourse, although studies falling into the interpretationist paradigm have gradually become more popular. The two radical paradigms, as well as methodological and analytical approaches typical of radical research, can be considered to hold a marginal position in the field of organizational creativity. The hegemonic organizational creativity discourse has provided extensive findings related to many aspects of organizational creativity, although the con- ceptualizations and understandings of organizational creativity in the hegemonic discourse are also in many respects limited and one-sided. The hegemonic discourse is based on an assumption that creativity is desirable, good, necessary, or even obligatory, and should be encouraged and nourished. The conceptualiza- tions of creativity favor the kind of creativity which is useful, valuable and can be harnessed for productivity. The current conceptualization is limited to the type of creativity that is acceptable and fits the managerial ideology, and washes out any risky, seemingly useless, or negative aspects of creativity. It also limits the possible meanings and representations that ‘creativity’ has in the respective discourse, excluding many meanings of creativity encountered in other discourses. The excessive focus on creativity that is good, positive, productive and fits the managerial agenda while ignoring other forms and aspects of creativity, however, contributes to the dilution of the notion. Practices aimed at encouraging the kind of creativity may actually entail a risk of fostering moderate alterations rather than more radical novelty, as well as management and organizational practices which limit creative endeavors, rather than increase their likelihood. The thesis concludes that although not often given the space and attention they deserve, there are alternative conceptualizations and understandings of organizational creativity which embrace a broader notion of creativity. The inability to accommodate the ‘other’ understandings and viewpoints within the organizational creativity discourse runs a risk of misrepresenting the complex and many-sided phenomenon of creativity in organizational context. Keywords: Organizational creativity, creativity, organization studies, discourse theory, hegemony

Computational Market Dynamics of Virtual Economies

The last two decades have provided a vast opportunity to live and explore the compulsive imaginary world or virtual world through massively multiplayer online role-playing games (MMORPGs). MMORPG gives a wide range of opportunities to its users to participate with multi-players on the same platform, to communicate and to do real time actions. There is a virtual economy in these games which is largely player-driven. In-game currency provides its users to build up their Avatars, to buy or sell the necessary goods to play, survive in the games and so on. As a part of virtual economies generated through EVE Online, this thesis mainly focuses on how the prices of the minerals in EVE Online behave by applying the Jabłonska- Capasso-Morale (JCM) mathematical simulation model. It is to verify up to what degree the model can reproduce the virtual economy behavior. The model is applied to buy and sell prices of two minerals namely, isogen and morphite. The simulation results demonstrate that JCM model ts reasonably well to the mineral prices, which lets us conclude that virtual economies behave similarly to the real ones.

Perceptions of creativity in a fashion design course /

Creativity is important to the growth and development of society, to educational institutions, and to the personal growth of individuals. Students who are aware of their creativity are assumed to have innovative ideas and fresh insights. Limited research has been conducted to see if students can identify their own creative abilities. In this study, I explored the students' perceptions and experiences in a fashion design course. This study documented the creative journey from the concept stage of an apparel collection to the final product. Participants were asked to reflect and document their creative moments, describe a creative process, and identify a creative environment. The participants were students who were enrolled in a fashion design course and were asked to participate in this study because they experienced all stages of the design process. Data were collected through personal reflection surveys, focus groups, and personal interviews. Themes of creative moments that emerged from this study were experiences that the participants had as they proceeded through the stages of the fashion design process. All of the participants identified a creative process, but the stages varied for each participant The participants identified themes related to promoting creativity in an environment, including the atmosphere, creative people, teachers, reflection, student needs, and assignments. The participants identified potential barriers in an environment, including rules and guidelines, teachers, the classroom, deadlines and time, feedback, and other important issues. The results ofthis study suggest that there needs to be a better understanding of creativity and greater support and encouragement for creativity in the classroom. Instructors need to support environments that are conducive to creative development and lead to effective learning for students. Students need to learn how to enhance their creativity as well as understand the barriers that block their creative development.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

Sinister creativity: a phenomenological exploration of some of the experiences and perceptions of six lefthanded visual artists

Six lefthanded artist-educators were interviewed to attempt to discover any patterns t6 their perceptions and experiences. Artists have their own culture and priorities. According to the literature, lefthanded people appear more likely to suffer from dyslexia, allergies, asthma and other auto-immune diseases as well as machinery and equipment injuries. Patterns emerging suggested that lefthanded people indeed suffer more from dyslexia. More startling was the distinct possibility that many artists have traumatic childhood histories. This would commonly include negative school experiences, and for a significant number sexual assault, perceived or actual abandonment by parents, and/or consistently low selfesteem. The researcher discovered possible reasons why creative people frequently have problems at school, why they tend to be rebellious and anti-establishment oriented, how many of them perceive societal rules, and why they are more likely to be lefthanded. These characteristics all have significant implications for art school administrators.

The relationship between creativity and moral judgment

A sample of 50 male and female subjects ranging in age from 12 to 73 were divided into three groups according to the scale of maturity of moral judgment developed by Lawrence Kohlberg. Subjects were also tested on a measure of creativity developed by Torrance after the formulations of Guilford in order to test the hypothesis that the re^- lationship between creativity and maturity of moral judgment is curvilinear. Researchers have failed to develop any working hypothesis concerning the relationship between creativity and moral judgment or postulate any consistent theoretical framework concerning the possible relationship between these two constructs. The empirical investigation involved a scientific testing of a random selection of elementary subjects9 high school adolescents, and creative adults. Tests included Kohlberg8s Moral dilemmas and Guilford's Product Improvement Task. A trend analysis was conducted to reveal whether or not a curvilinear relationship existed between the independent variable (Moral Maturity Stages) and the de~ pe dent variable (creativity performance under each level). Curvilinear trends were observed in two out of four creativity subscales but were not statistically significant. It was concluded that these contradictory findings were due to the relatively small number of subjects tested, the narrow range or moral judgment scores, and the limited conception of creativity defined by the creativity measure used (The Product Improvement Task). It was suggested that an instrument assessing an identity status would be most useful as well as a creativity measure better suited for a theory of creativity essentially developmental in perspective.

Creativity and the schizophrenia spectrum unveiled : the similarities and the differences

This study examined the commonalities and the differences between creativity and the schizophrenia spectrum. The variables measured as potential commonalities and differences were creativity, schizotypy, cognitive inhibition, spatial ability, balancing skills, positive and negative presence, absorption, mystical experiences, childhood abuse, and neuroticism. Three community groups were recruited, consisting of 31 artists, 10 people with schizophrenia, and 31 comparisons matched for gender and age with the artists. A larger student group consisting of 102 students was also recruited in order to examine the correlations among the same variables within a larger, more normative, group. The largest commonality between the artist and the schizophrenic groups, who represented the extreme end of the schizophrenia spectrum, was the propensity to mystical experiences. The greatest differences between the artist and the schizophrenic groups were that the artists were higher in creativity, performed better on spatial abilities, had better balance, had more positive states of presence, and were lower in neuroticism than the schizophrenic group. In the student group, creativity was correlated with spatial ability, positive presence, absorption, and mystical experiences. In addition, creativity was significantly related to two facets of schizotypy, unusual experiences and impulsive nonconformity. In other words, students high in certain facets of schizotypy, who may share certain characteristics with those who have schizophrenia, are higher in creativity, but people who are on the extreme end of the schizophrenia spectrum, who have been diagnosed with schizophrenia, are not. The differences between the artist and schizophrenic groups on spatial ability, balance, sense of presence, and neuroticism may help to determine whether mystical experiences help to integrate creative work or destabilize and disorganize the sense of self. It may be that mystical experiences can be used more positively by the creative individuals than people with schizophrenia, in that artists and people high in creativity were higher in positive traits such as positive presence and lower on negative variables such as neuroticism, and introvertive anhedonia.

Experimental and Computational Studies on Copper and Hydrobenzoin Derivatives in Catalytic Asymmetric Reactions

The use of theory to understand and facilitate catalytic enantioselective organic transformations involving copper and hydrobenzoin derivatives is reported. Section A details the use of theory to predict, facilitate, and understand a copper promoted amino oxygenation reaction reported by Chemler et al. Using Density Functional Theory (DFT), employing the hybrid B3LYP functional and a LanL2DZ/6-31G(d) basis set, the mechanistic details were studied on a N-tosyl-o-allylaniline and a [alpha]-methyl-[gamma]-alkenyl sulfonamide substrate. The results suggest the N-C bond formation proceeds via a cisaminocupration, and not through a radical-type mechanism. Additionally, the origin of diastereoselection observed with [alpha]-methyl-[gamma]-alkenyl sulfonamide arises from avoidance of unfavourable steric interactions between the methyl substituent and the N -protecting group. Section B details the computationally guided, experimental investigation of two hydrobenzoin derivatives as ligands/ catalysts, as well as the attempted synthesis of a third hydrobenzoin derivative. The bis-boronic acid derived from hydrobenzoin was successful as a Lewis acid catalyst in the Bignielli reaction and the Conia ene reaction, but provided only racemic products. The chiral diol derived from hydrobenzoin successfully increased the rate of the addition of diethyl zinc to benzaldehyde in the presence of titanium tetraisopropoxide, however poor enantioinduction was obseverved. Notably, the observed reactivity was successfully predicted by theoretical calculations.

Raising Creativity: Exploring How Creativity Can be Nurtured in Educational Contexts

The question of how we can encourage creative capacities in young people has never been more relevant than it is today (Pink, 2006; Robinson as cited in TEDtalksDirector, 2007; Eisner as cited in VanderbiltUniversity, 2009). While the world is rapidly evolving, education has the great challenge of adapting to keep up. Scholars say that to meet the needs of 21st century learners, pedagogy must focus on fostering creative skills to enable students to manage in a future we cannot yet envision (Robinson as cited in TEDtalksDirector, 2007). Further, research demonstrates that creativity thrives with autonomy, support, and without judgment (Amabile, 1996; Codack [Zak], 2010; Harrington, Block, & Block, 1987; Holt, 1989; Kohn, 1993). So how well are schools doing in this regard? How do alternative models of education nurture or neglect creativity, and how can this inform teaching practice all around? In other words, ultimately, how can we nurture creativity in education? This documentary explores these questions from a scholarly art-based perspective. Artist/researcher/teacher Rebecca Zak builds on her experience in the art studio, academia, and the art classroom to investigate the various philosophies and strategies that diverse educational models implement to illuminate the possibilities for educational and paradigmatic transformation. The Raising Creativity documentary project consists of multiple parts across multiple platforms. There are five videos in the series that answer the why, who, how, what, and now what about creativity in education respectively (i.e., why is this topic important, who has spoken/written on this topic already, how will this issue be investigated this time, what was observed during the inquiry, and now what will this mean going forward?). There is also a self-reflexive blog that addresses certain aspects of the topic in greater depth (located here, on this website) and in the context of Rebecca's lived experience to complement the video format. Together, all video and blog artifacts housed on this website function as a polyptych, wherein the pieces can stand alone individually yet are intended to work together and fulfill the dissertation requirements for Rebecca's doctorate degree in education in reimagined ways.

Towards reverse engineering of Photosystem II: Synergistic Computational and Experimental Approaches

ABSTRACT Photosystem II (PSII) of oxygenic photosynthesis has the unique ability to photochemically oxidize water, extracting electrons from water to result in the evolution of oxygen gas while depositing these electrons to the rest of the photosynthetic machinery which in turn reduces CO2 to carbohydrate molecules acting as fuel for the cell. Unfortunately, native PSII is unstable and not suitable to be used in industrial applications. Consequently, there is a need to reverse-engineer the water oxidation photochemical reactions of PSII using solution-stable proteins. But what does it take to reverse-engineer PSII’s reactions? PSII has the pigment with the highest oxidation potential in nature known as P680. The high oxidation of P680 is in fact the driving force for water oxidation. P680 is made up of a chlorophyll a dimer embedded inside the relatively hydrophobic transmembrane environment of PSII. In this thesis, the electrostatic factors contributing to the high oxidation potential of P680 are described. PSII oxidizes water in a specialized metal cluster known as the Oxygen Evolving Complex (OEC). The pathways that water can take to enter the relatively hydrophobic region of PSII are described as well. A previous attempt to reverse engineer PSII’s reactions using the protein scaffold of E. coli’s Bacterioferritin (BFR) existed. The oxidation potential of the pigment used for the BFR ‘reaction centre’ was measured and the protein effects calculated in a similar fashion to how P680 potentials were calculated in PSII. The BFR-RC’s pigment oxidation potential was found to be 0.57 V, too low to oxidize water or tyrosine like PSII. We suggest that the observed tyrosine oxidation in BRF-RC could be driven by the ZnCe6 di-cation. In order to increase the efficiency of iii tyrosine oxidation, and ultimately oxidize water, the first potential of ZnCe6 would have to attain a value in excess of 0.8 V. The results were used to develop a second generation of BFR-RC using a high oxidation pigment. The hypervalent phosphorous porphyrin forms a radical pair that can be observed using Transient Electron Paramagnetic Resonance (TR-EPR). Finally, the results from this thesis are discussed in light of the development of solar fuel producing systems.