A brief description of the Jameson-Caughey NYU transonic swept-wing computer program: FLO 22

A computer program for analyzing inviscid, isentropic, transonic flow past 3-D swept configurations is presented. Some basic aspects of the program are: (1) the free-stream Mach number is restricted only by the isentropic assumption; (2) weak shock waves are automatically located wherever they occur in the flow; (3) the finite-difference form of the full equation for the velocity potential is solved by the method of relaxation, after the flow exterior to the airfoil is mapped to the upper half plane; (4) the mapping procedure allows exact satisfaction of the boundary conditions and use of supersonic free stream velocities; (5) the finite difference operator is locally rotated in supersonic flow regions so as to properly account for the domain of dependence; and (6) the relaxation algorithm was stabilized using criteria from a time-like analogy

Eco-aesthetic dimensions: Herbert Marcuse, ecollogy and art

In his last book, The Aesthetic Dimension (1978), Marcuse argued that a concern for aesthetics is justified when political change is unlikely. But the relation between aesthetics and politics is oblique: “Art cannot change the world, but it can contribute to changing the consciousness … of the men and women who could change the world.” (p. 33). Marcuse also linked his critique of capitalism to environmentalism in the early 1970s: “the violation of the Earth is a vital aspect of the counterrevolution.” (Ecology and Revolution, in The New Left and the 1960s, Collected Papers 3, 2005, p. 173). This article revisits Marcuse’s ideas on aesthetics and ecology, and reviews two recent art projects which engage their audiences in ecological issues: The Jetty Project (2014) by Wolfgang Weileder—which used recycled material and community participation to construct a temporary monument within a wider conservation project on the Tyne, N-E England—and Fracking Futures by HeHe (Helen Evans and Heiko Hansen)—which turned the interior of the gallery at FACT, Liverpool, into what appeared to be a fracking site. The aim is not to evaluate the projects, nor to test the efficacy of Marcuse’s ideas, more to ask again whether art has a role in a shift of attitude which might contribute to dealing with the political and economic causes of climate change

Unsteady Interaction Between a Transonic Turbine Stage and Downstream Components

Results from a numerical simulation of the unsteady flow through one quarter of the circumference of a transonic high-pressure turbine stage, transition duct, and low-pressure turbine first vane are presented and compared with experimental data. Analysis of the unsteady pressure field resulting from the simulation shows the effects of not only the rotor/stator interaction of the high-pressure turbine stage but also new details of the interaction between the blade and the downstream transition duct and low-pressure turbine vane. Blade trailing edge shocks propagate downstream, strike, and reflect off of the transition duct hub and/or downstream vane leading to high unsteady pressure on these downstreamcomponents. The reflection of these shocks from the downstream components back into the blade itself has also been found to increase the level of unsteady pressure fluctuations on the uncovered portion of the blade suction surface. In addition, the blade tip vortex has been found to have a moderately strong interaction with the downstream vane even with the considerable axial spacing between the two blade-rows. Fourier decomposition of the unsteady surface pressure of the blade and downstream low-pressure turbine vane shows the magnitude of the various frequencies contributing to the unsteady loads. Detailed comparisons between the computed unsteady surface pressure spectrum and the experimental data are shown along with a discussion of the various interaction mechanisms between the blade, transition duct, and downstream vane. These comparisons show-overall good agreement between the simulation and experimental data and identify areas where further improvements in modeling are needed

Smoke gets in your eyes: re-reading gender in the "nostalgia film"

Upon its release, American Graffiti (George Lucas, 1973) was much admired by critics and audiences alike. Yet, in subsequent years, the film became known for its supposed “flattening of history,” and celebration of patriarchal values. This article demonstrates that such a judgement owes much to Fredric Jameson’s historically contingent work on postmodernism, which argues that American Graffiti constitutes the paradigmatic nostalgia film. In contrast, using close textual analysis, I demonstrate that American Graffiti provides a more complex construction of the past, and of gender, than has hitherto been acknowledged. Far from blindly idealising the early 1960s, the film interrogates the processes through which the period and its gender relations come to be idealised. This article has consequences not only for our understanding of Lucas’ seminal film, but also for the American New Wave, and the “nostalgia” text

SARS-CoV-2 mRNA vaccination elicits robust antibody responses in children

Publisher Copyright: Copyright © 2022 The Authors, some rights reserved; exclusive licensee American Association for the Advancement of Science. No claim to original U.S. Government Works. Distributed under a Creative Commons Attribution License 4.0 (CC BY)Although children have been largely spared from coronavirus disease 2019 (COVID-19), the emergence of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) variants of concern (VOCs) with increased transmissibility, combined with fluctuating mask mandates and school reopenings, has led to increased infections and disease among children. Thus, there is an urgent need to roll out COVID-19 vaccines to children of all ages. However, whether children respond equivalently to adults to mRNA vaccines and whether dosing will elicit optimal immunity remain unclear. Here, we aimed to deeply profile the vaccine-induced humoral immune response in 6- to 11-year-old children receiving either a pediatric (50 μg) or adult (100 μg) dose of the mRNA-1273 vaccine and to compare these responses to vaccinated adults, infected children, and children who experienced multisystem inflammatory syndrome in children (MIS-C). Children elicited an IgG-dominant vaccine-induced immune response, surpassing adults at a matched 100-μg dose but more variable immunity at a 50-μg dose. Irrespective of titer, children generated antibodies with enhanced Fc receptor binding capacity. Moreover, like adults, children generated cross-VOC humoral immunity, marked by a decline of omicron-specific receptor binding domain, but robustly preserved omicron spike protein binding. Fc receptor binding capabilities were also preserved in a dose-dependent manner. These data indicate that both the 50- and 100-μg doses of mRNA vaccination in children elicit robust cross-VOC antibody responses and that 100-μg doses in children result in highly preserved omicron-specific functional humoral immunity.publishersversionPeer reviewe

The production and consumption activities relating to the celebrity artist

This paper considers the impact of the celebrity artist on the associated production and consumption activities. It also considers the role which entrepreneurial marketing plays in helping to create the celebrity artist aura. The artist Thomas Kinkade is used to illustrate how this occurs in practice. Here, authenticity and nostalgia dimensions are also influential factors. Underpinning these relationships are the roles played out by the media, including communication of celebrity artist identity, and the catalysing of its commodification within the celebrity artist brandscape. An enduring celebrity brand results due to the market creation activities of the celebrity artist. A conceptual model is developed which synthesises the factors behind the production and consumption of the celebrity artist which can stimulate further research. This paper provides innovative insight into the world of the celebrity artist by interrogating the market making and shaping devices behind successful production and consumption practices

Co-production: towards a utopian approach

This article outlines how co-production might be understood as a utopian method, which both attends to and works against dominant inequalities. It suggests that it might be positioned ‘within, against, and beyond’ current configurations of power in academia and society more broadly. It develops this argument by drawing on recent research funded through the UK’s Connected Communities programme, led by the Arts and Humanities Research Council; and by attending to arguments from the field of Utopian Studies. It explores particular issues of power and control within the field of co-production, acknowledging that neoliberalism both constrains and co-opts such practice; and explores methodological and infrastructural issues such that its utopian potential might be realised

Serial killing and the postmodern self

© 2006 by SAGE PublicationsThe self has been a consistently central theme in philosophy and the social sciences and, in the last decades of the 20th century, the fragmentation of the modern self has engendered extensive academic commentary. In order to contribute to current discussions about self, it is perhaps most effective to map the transformation of a single representation of the self in contemporary culture. As a cultural ‘flashpoint’, the serial killer could provide an apposite analytical focus. Drawing critically on Mark Seltzer's work on serial killers this article interprets serial killing as a form of commodified transgression. In contrast to the modern self, established through state-institutionalized routines, serial killers establish their identities through ecstatic intercourse. These acts of bodily and ethical transgression are facilitated by the use of commodities. In this way, the serial killer represents a self which is consistent with the colonization of interpersonal relations by multinational capital. The serial killer signifies the appearance of a postmodern self