肝脏中生物流体流动的多重介质渗流模型和数值模拟

本文采用生物渗流理论，建立了肝脏内不同生物流体流动的多重介质渗流模型，采用有限元法求解这种特殊的渗流问题，根据数值计算结果揭示了肝内血液、组织液以及胆汁等的流动规律，并探讨了肝脏血流动力学的一些问题。论文将肝脏内部与生物代谢功能有关的肝血窦和窦周间隙当作两重并存的多孔介质，血液在肝血窦中，以及组织液在窦周间隙中的流动均当作渗流处理，通过Starling公式考虑了两重介质之间的流量交换，从而建立了肝血窦-窦周间隙的双重介质模型。针对肝脏胆汁分泌功能，将肝脏内密布的毛血肝管网当作多孔介质，以受静压及渗透压驱动的流体跨壁流动表示肝汁从肝细胞向毛细肝管的分泌，肝汁在毛细胆管网中的流动作为渗流处理，从而建立了肝汁分泌与输运的双重介质模型。采用有限元法求解了生物流体的双重介质渗流问题，针对非牛顿渗流和两重介质的相互作用，本文发展了一种嵌套迭代方法，即采用直接迭代求解血液在肝血窦中的非线性渗流，采用交替迭代解决双重介质渗流中由跨壁流支引起的相互流体交换，直接迭代嵌套于交替迭代中。这种算法比较有效的解决了包含非牛顿渗流的双重介质渗流问题。根据生物多孔介质中微细管系统的构筑方式以及不同微细管系统之间的联系方式，论文提出将生物多孔介质划分为分级多孔介质和多重多孔介质两种主要类型。基于多相混合物的平均化的理论，论文推导了双重多孔介质中的动量守恒方程、质量守恒方程以及相应的渗流方程，建立了双重多孔介质渗流的平均化模型。基于分级多孔介质渗流的理论，论文将脏器中的血管树按管径分为不同级别的多孔介质，各级血管中和血液流动均作为渗流处理，从而提出了计算脏器整体血流的一种渗流方法。采用这种方法，在论文提出的肝血窦 - 窦周间隙双重介质渗流流模型的基础之上，初步研究了肝脏门静脉系统的血液动力学规律。采用本文提出的肝血窦 - 窦周间隙双重介质模型和胆汁分泌 - 流动的双重介质模型，得到了血液、组织液和胆汁在肝小叶中的压力分布和速度分布，并分析了肝血窦壁的跨壁流动模式，胆汁流量的影响因素，以及窦周间隙中组织液流量与肝血窦中血液流动及肝血窦壁渗透系数等因素的关系，揭示了肝脏内血液、组织液及胆汁等生物流体流动的一般规律。

A second order control-volume finite-element least-squares strategy for simulating diffusion in strongly anisotropic media

An unstructured mesh �nite volume discretisation method for simulating di�usion in anisotropic media in two-dimensional space is discussed. This technique is considered as an extension of the fully implicit hybrid control-volume �nite-element method and it retains the local continuity of the ux at the control volume faces. A least squares function recon- struction technique together with a new ux decomposition strategy is used to obtain an accurate ux approximation at the control volume face, ensuring that the overall accuracy of the spatial discretisation maintains second order. This paper highlights that the new technique coincides with the traditional shape function technique when the correction term is neglected and that it signi�cantly increases the accuracy of the previous linear scheme on coarse meshes when applied to media that exhibit very strong to extreme anisotropy ratios. It is concluded that the method can be used on both regular and irregular meshes, and appears independent of the mesh quality.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Microwave International Media Art Festival

An international festival that champions a pioneer role in promoting media/digital art in Hong Kong. Apart from organising international video screenings in which the latest media art with the most recent trend and development being introduced, a series of artist-in-resident workshops, exhibitions, seminars and symposiums were also hosted with a view to enhancing culture exchange and stimulating media art creation among overseas and local artists

Chasing reporters : Infotainment, intertextuality and media satire

The Chaser’s War on Everything is a night time entertainment program which screened on Australia’s public broadcaster, the ABC in 2006 and 2007. This enormously successful comedy show managed to generate a lot of controversy in its short lifespan (see, for example, Dennehy, 2007; Dubecki, 2007; McLean, 2007; Wright, 2007), but also drew much praise for its satirising of, and commentary on, topical issues. Through interviews with the program’s producers, qualitative audience research and textual analysis, this paper will focus on this show’s media satire, and the segment ‘What Have We Learned From Current Affairs This Week?’ in particular. Viewed as a form of ‘Critical Intertextuality’ (Gray, 2006), this segment (which offered a humorous critique of the ways in which news and current affairs are presented elsewhere on television) may equip citizens with a better understanding of the new genre’s production methods, thus producing a higher level of public media literacy. This paper argues that through its media satire, The Chaser acts not as a traditional news program would in informing the public with new information, but as a text which can inform and shape our understanding of news that already exists within the public sphere. Humorous analyses and critiques of the media (like those analysed in this paper), are in fact very important forms of infotainment, because they can provide “other, ‘improper,’ and yet more media literate and savvy interpretations” (Gray, 2006, p. 4) of the news.