Exposing Research

A talk given at the Nida Doctoral School in Lithuania, summer of 2017. The talk is concerned with the ups and downs of research practice, and various methods that enable or disable research

Fringe Recorder Development

Author Institution: Third Millennium EngineeringSlides presented at the 6th Annual Photonic Doppler Velocimetry (PDV) Workshop held at Lawrence Livermore National Laboratory, Livermore, California, November 3-4, 2011

On the relevance of Reynolds stresses in resolvent analyses of turbulent wall-bounded flows

The ability of linear stochastic response analysis to estimate coherent motions is investigated in turbulent channel flow at friction Reynolds number Re$_\tau$ = 1007. The analysis is performed for spatial scales characteristic of buffer-layer and large-scale motions by separating the contributions of different temporal frequencies. Good agreement between the measured spatio-temporal power spectral densities and those estimated by means of the resolvent is found when the effect of turbulent Reynolds stresses, modelled with an eddy-viscosity associated to the turbulent mean flow, is included in the resolvent operator. The agreement is further improved when the flat forcing power spectrum (white noise) is replaced with a power spectrum matching the measures. Such a good agreement is not observed when the eddy-viscosity terms are not included in the resolvent operator. In this case, the estimation based on the resolvent is unable to select the right peak frequency and wall-normal location of buffer-layer motions. Similar results are found when comparing truncated expansions of measured streamwise velocity power spectral densities based on a spectral proper orthogonal decomposition to those obtained with optimal resolvent modes

Why Contemporary Art? Why Inside the Freud Museum?

More and more contemporary art exhibitions are finding their way into institutional spaces such as large and small-scale museums: whether they are national historical museums or independent micromuseums, contemporary art seems to be increasingly welcome in these spaces. What makes contemporary art so appealing to these institutions? What can contemporary art contribute to a museum whose primary focus is not art? Is the purpose of contemporary art to raise matters or questions that are otherwise repressed in these sites? Or does contemporary art simply become complicit with the museum’s status quo? Can a contemporary art exhibition make a lasting incursion, or is it a temporary hiatus in the museum’s otherwise normative practices? By considering the Freud Museum London’s extraordinary history of contemporary art exhibitions, this talk will open up these questions for discussion