Effect of bulk flow modulations on a normal jet in crossflow at a Mean Blowing ratio of 0.25

An experimental wind tunnel has been designed, built, outfitted with automated hot wire anemometry and laser sheet imagery systems methods of instrumentation and tested with the purpose of performing scientific research on the control and stabilization of a jet issuing 90 degrees into a crossflow. After the design and system characterizations were performed, the system was employed as a experimental platform to conduct an investigation of bulk flow modulation of a jet in crossflow. The Mean Blowing ratio investigated was set at 0.25, and the effect of duty cycle, peak to peak blowing ratio and frequency of excitation are investigated. It has been shown that various vortex structures are associated with the mixing characteristics of the jet with the crossflow. These structures are identified using laser sheet visualizations and hot wire anemometry to investigate the spectra associated with these phenomena. Two vortex structures and their interactions are detailed, specifically the Horseshoe Vortex and Ring Like Vortex. Forcing conditions and their effects on the jet in crossflow are presented in a comprehensive table which brings together spectral analysis, processed time records and high precision imagery in a effort to characterize and understand the complex three dimensional turbulent flow associated with the jet in crossflow

The history and development of ships' bilge pumps, 1500-1840

Due to the character of the original source materials and the nature of batch digitization, quality control issues may be present in this document. Please report any quality issues you encounter to [email protected], referencing the URI of the item.Bibliography: leaves 107-112.Not availabl

The history and development of ships' bilge pumps, 1500-1840

Due to the character of the original source materials and the nature of batch digitization, quality control issues may be present in this document. Please report any quality issues you encounter to [email protected], referencing the URI of the item.Bibliography: leaves 107-112.Not availabl

Made in San Pedro: the production of dress and meaning in a Tz’utujil - Maya municipality

Doctor of PhilosophyDepartment of Interior Design and Fashion StudiesKim Y. HillerThis study examines dress practices – encompassing design and production processes, discussion about dress, use, and styling decisions – in the Tz’utujil - Maya municipality of Tz’unun Ya’, commonly referred to by participants as San Pedro La Laguna (San Pedro), Guatemala. By examining the relationship between women and all available clothing, this study recognizes the development of traditions and attends to dress practices as a way to engage with local culture. This study identifies the dress in use in San Pedro and its importance in the community, determines the influences on dress practices, and evaluates the complexities of dress practices in view of cultural sustainability. Understanding if the dress practices of San Pedro are culturally sustainable required inquiries into people-product relationships, social interaction amongst community members, and the systems that produce these garments. A qualitative data collection method was employed – collecting data primarily through 60-90 minute, semi-structured online interviews with 21 Tz’utujil identifying women. The research process adapted to themes and curiosities emerging from the data. The goal was to understand, clarify, and confirm reoccurring actions, reasons, and motives relating to the phenomenon of dress practices in San Pedro. In-process analysis of interview transcriptions supported data collection and, therefore, the data analysis strategy (Esterberg, 2002). Information from the participants’ interviews was transcribed and translated using Sonix.ai. Documents were edited and open-coded in Spanish and then focused-coded in English, using the MAXQDA qualitative data analysis software. Accounts provided by participants were also coded for premises of Blumer’s (1969b) social interaction theory. During data analysis, procedural and analytical memos were generated and code progression was documented. Data analysis also employed techniques such as the null hypothesis check and diagramming (Esterberg). In San Pedro, the production of dress is the production of meaning. Garments are created through a system influenced by local tradition, social interactions, economic and practical needs, as well as desires to display heritage and individuality. This study’s approach, to assess dress as a measure of culture, led to nuances between traditional garments not accounted for by previous literature. Participants regularly highlighted the importance and role of the blusa Pedrana in the community. Pedranas (women of San Pedro) have distinct relationships with traditional garments, municipal-affiliated clothing, and Western dress. These categories of dress are manufactured and consumed at different speeds. Variations in the fashion cycle reflect the involvement of the residents in these processes, and the value they have for the products. Women’s relationships with dress is based on the communal understanding of the apparel production process. A strong presence of local production, and subsequently involvement in the making of traditional and municipal-affiliated clothing, supported a sustainable product relationship. The emergence of fast fashion cycles is a potential threat to the existing culturally sustainable system. This study’s findings are beneficial to Pedranas concerned about the future of their dress practices and invested in maintaining their heritage. This body of work will also serve as a record of dress for the community, potentially useful for educational or future conservation efforts. Within the scope of cultural sustainability, this project offers a perspective for thinking about traditional dress practices. It reinforces the idea that cultural systems, and their products, develop with respect to human agency. Garments, like the blusa Pedrana, can be undervalued in one region and an emblem of society in another. The meaning of these objects – derived by those who interact with them in everyday life – also change. In a practical sense, this study models a dress-forward approach to investigating social relationships and meaning within a community

Ting Yun-P'eng: a Chinese Artist of the Late Ming Dynasty (Volumes I and II).

Ting Yun-p'eng (1547-ca. 1621), an artist of the late Ming dynasty, has received little attention in modern sources; this is the first study of his life and work other than a few summary notices in surveys or in catalogues. Ting's career coincides with an important period in the development of Chinese painting. He travelled widely and knew most of the important artists and aesthetes of his day, and was on particularly close terms with Tung Ch'i-ch'ang, the most important of these men. Ting's circle of acquaintances is defined in terms of the conservative faction centered around Wang Shih-chen and then later, after the early 1590s, the more liberal group led by Chiao Hung in Nanking. An important change in his approach to figure painting can be linked to ideas circulating in Chiao Hung's camp. One of the most important contributions made by Ting Yun-p'eng was in the craft of the illustrated woodblock. He was active in four publications and he can be identified as the most important artist in the genre during the Wan-li era. It was under his direction that woodblock illustrations progressed from a naive craft to a highly sophisticated art form. The woodblock styles developed by Ting affected his paintings, and his later l and scapes are executed in a more summary manner than his carefully painted early works. In the course of the discussion of Ting's figure paintings, three terms are used that describe the different approaches to the figure found in past styles; these are the classical, the expressive and the manneristic. The first two, associated with the styles of Ku K'ai-chih and Wu Tao-tzu respectively, have been described elsewhere. The third is less understood, and it was in this type of figure painting, characterized by a me and ering and non-descriptive line in the clothing of figures, that Ting developed a new series of stylistic modes. This same approach was used by a group of figure painters active in the late Ming; the list would include Wu Pin, Ch'en Hung-shou, Sheng Mao-yeh and Ts'ui Tzu-chung. Ting's position in relation to these artists is established, and it becomes clear that it was Ting who first revived the importance and significance of the figure. The recognition of Ting's accomplishments and the clarification of his dates make a clear case for his influence on their art.Ph.D.Asian historyUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/157967/1/8025740.pd