On self-similarity in the drop-filament corner region formed during pinch-off of viscoelastic fluid threads

2012 ◽  
Vol 24 (8) ◽  
pp. 083101 ◽  
Author(s):  
Pradeep P. Bhat ◽  
Santosh Appathurai ◽  
Michael T. Harris ◽  
Osman A. Basaran
Author(s):  
Feng-Chen Li ◽  
Hong-Na Zhang ◽  
Wei-Hua Cai ◽  
Juan-Cheng Yang

Direct numerical simulations (DNS) have been performed for drag-reduced turbulent channel flow with surfactant additives and forced homogeneous isotropic turbulence with polymer additives. Giesekus constitutive equation and finite extensible nonlinear elastic model with Peterlin closure were used to describe the elastic stress tensor for both cases, respectively. For comparison, DNS of water flows for both cases were also performed. Based on the DNS data, the extended self-similarity (ESS) of turbulence scaling law is investigated for water and viscoelastic fluids in turbulent channel flow and forced homogeneous isotropic turbulence. It is obtained that ESS still holds for drag-reduced turbulent flows of viscoelastic fluids. In viscoelastic fluid flows, the regions at which δu(r)∝r and Sp(r)∝S3(r)ζ(p) with ζ(p) = p/3, where r is the scale length, δu(r) is the longitudinal velocity difference along r and Sp(r) is the pth-order moment of velocity increments, in the K41 (Kolmogorov theory)-fashioned plots and ESS-fashioned plots, respectively, are all broadened to larger scale for all the investigated cases.


2020 ◽  
Vol 29 (2) ◽  
pp. 196-215
Author(s):  
Luke Connolly

This essay proposes that the picture of a broken circle encountered by Watt during the second part of his tale marks a crucial collision point between Beckett's literary and mathematical interests and triggers a process of fractal scaling self-similarity. Building on recent interest concerning the role of the mathematics and mathematical forms found in Beckett's work, I argue that the broken circle depicted in the picture from Watt is a geometric form which (re)appears within at least three interlocking scales throughout Beckett's novel-length prose: (i) its moment of arrival in the picture from Watt, (ii) a macroscopic reinscription in the names of the protagonists populating the five novels spanning Watt through to The Unnamable and (iii) buried within the narratological depths of How It Is. As a structural principle, the interminable irregularity of fractals offered Beckett a viable solution for what he considered the defining task of the modern artist: ‘to find a form to accommodate the mess’. Moreover, the specific shape selected for his fractal is shown to contain within its geometry one of Beckett's most universal and pressing concerns: the inevitable insufficiency of language. Therefore, although this essay restricts itself to examining Beckett's novel-length prose, the idea of a broken circle fractal promises to provide a valuable heuristic through which to reassess the author's other generic avenues. Fractals thus offer a means through which one can bind together the length and breadth of Beckett's oeuvre without ever reducing dynamic chaos to stable order.


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