University of Leicester Open Journals
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P5 7 Sailing around at the speed of sound
No full textIn this paper we attempted to use a simplified fluid dynamics model to determine how fast the video game character Sonic would need to run in order to run on water, like he does in his movie Sonic the Hedgehog 2. Although our results suggested that the scene is realistic, the velocity required to run on water came out as 2.6 ms−1 - unrealistically slow. This lead us to question our models and conclude that the methods we used were far too simple for something as complex as running on water
P2 1 Whether Wonder Woman's Wearables Would Work
No full textIn this paper we discuss the most appropriate modern-day material that Wonder Woman’s braceletswould likely be made out of, according to the apparent characteristics and ability to reflect bulletsdemonstrated in the comics. We decide that Carbon Nanotubes are the best material candidatedue their light weight nature and having a high Young’s Modulus allowing it to maintain a lowthickness while still absorbing a bullet’s energy elastically. This would be thin and light enoughto be wearable, but would compromise and not reflect the metallic appearance of the bracelets inthe comics
P3 6 Carnage a Trois: Did the Pluriel Reach France?
No full textThis paper looks into The Grand Tour special episode Carnage a Trois, to see if the trebuchet used by the hosts was sufficient to send the Citroen C3 Pluriel to France. The range of the trebuchet used is found, considering drag and non-drag conditions, to be 429 m − 492 m, meaning the C3 Pluriel did not reach France in the episode. A 6.14×1023 kg counterweight is found to be sufficient to complete the Dover to Calais distance considering drag, but resulting in a release velocity of 985c, proving the unfeasibility of using such an unaerodynamic projectile to reach France
P5 5 Investigating the feasibility of Dr. Stone’s sweat-lens
No full textIn this paper we look at a scene in the popular anime Dr. Stone, where a convex lens made of sweat and glass is used to ignite a leather cloth with sunlight. We have assumed that the radius of the lens r = 2.5 cm, the Solar Intesity I_0 = 1366 W/m^-2 and the temperature that the leather ignites at is 300 °C on a sunny day. Our results show that rather than taking 60 seconds to ignite like it did in the show, this process in real life would take 154 seconds. This suggests that the scene in Dr. Stone is inaccurate
P5 8 How clothing keep us warm
No full textIn this paper, we investigate how humans keep warm by wearing clothes in a cold environment, assuming an 18 °C room to maintain a body temperature of 34 °C, where heat is lost to the surroundings via conduction, convection, radiation, and evaporation. We are taking into account a forearm as a cylinder of radius r=0.04m, and length, L=0.6m, covered by a 1 cm thick wool layer having thermal conductivity k = 0.04W/m^2 K. From the results, the heat loss without clothing is 50.5 W and with clothing is 7.96W, which means the clothing is able to trap 85% of the heat from escaping to the surrounding
A2 4 Welcome to the World of Tomorrow!
No full textThe following paper imagines a rocket capable of transporting its passengers to the year 3000 in a time span of only 10 years from the perspective of its passengers. Using some generous assumptions, we found that the rocket burning 403,000 tons of fuel at a constant rate of 1.28 kg/s would be capable of traveling to the future
Flash – Forward
No full textTrigger warning – This poem contains imagery of death and discussions of war. Reader discretion is advised.
This introduction is written in the third person to create a slight emotional distance from the work. The author’s experiences and memories of gender (roles), conflict and violence remain vivid, yet it is a conscious choice to keep the introduction brief, allowing the poem to speak for itself.
In this piece, the author uses Mama to refer to their grandmother and Papa for their grandfather. These familial terms evoke the layered enactment of gender roles, the scars of war, and the unresolved internal conflicts that arise when one is too young to fully process the weight or the memory of such experiences.
It is the author’s hope that the poem conveys these intricate dynamics without further explanation, leaving space for the reader to confront its truths on their own terms
'Reflection: The Process of Re/Creating' and 'Oublie / Moi'
No full textContent warning: sexual violence.
These two pieces engage with the intersections of the scholarship presented at the 2024 summer school and the author’s personal relational experiences of gendered violence. The reflection explores the uncomfortable contradictions of understanding oneself as an accomplished, intelligent, and independent woman and yet finding those aspects of identity seemingly undermined or even completely erased while in an abusive or toxic relationship; ‘Oublie / Moi’ then uses the genre of found poetry to attempt to translate the affects of living and feeling through those contradictions. Together, this work considers how the violence of such relationships can haunt the survivor even after managing to escape, interrupting their attempts to rebuild their concept of self in the aftermath of its apparent destruction
Smallpox baby revisited: Exploring an authorised science heritage discourse in science museum exhibitions
No full textBased on research in two exhibitions in a science museum in the UK, this paper explores how science and society relationships are constructed through the display of one specific object, a WHO leaflet about smallpox. I trace the display of this leaflet through two exhibitions about medicine, 40 years apart. Drawing on the concept of the authorised heritage discourse and work in Black studies and Science and Technology Studies, I analyse the display of the leaflet, the stories it is used to tell and the modes of relation these stories contribute to. Rather than trying to evaluate which exhibition does a better (or worse) job displaying the leaflet, in this paper I argue that both displays were enmeshed with and reproduce an authorised science heritage discourse. I show how nationalistic, celebratory stories about science set up racialised and colonial modes of relation, and suggest counter-stories, not least critically engaging with the ever-present shadow of colonialism, present museums with valuable opportunities for change.
