1,721,230 research outputs found
What's the use of colour? On the role of salience in overspecification
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157564.pdf (Publisher’s version ) (Open Access)RU Radboud Universiteit, 22 juni 2016Promotor : Geurts, B. Co-promotor : Broersma, M.185 p
Perspective and Word Choice. A Study of Expressives, Slurs, and Narrative
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214015.pdf (Publisher’s version ) (Open Access)Radboud University, 18 december 2019Promotores : Bary, C.L.A., Geurts, B., Sandt, R.A. van de
Quantity matters: implicatures, typicality, and truth
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127889.pdf (Publisher’s version ) (Open Access)Radboud Universiteit Nijmegen, 11 juni 2014Promotores : Geurts, B., Sandt, R.A. van de
A Dynamic Subfilter-scale Stress Model for Large Eddy Simulations Based on Physical Flow Scales
We propose a new definition of the length scale in an eddy-viscosity model for large-eddy simulations (LES). This formulation extends and generalizes a previous proposal [Piomelli, Rouhi and Geurts, Proc. ETMM10, 2014], in which the LES length scale was expressed in terms of the integral length-scale of turbulence determined by the flow characteristics and explicitly decoupled from the simulation grid; this approach was named Integral Length-Scale Approximation (ILSA). As in the original ILSA, the model coefficient was determined by the user, and required to maintain a desired contribution of the unresolved, subfilter scales (SFS) to the global transport. We propose a local formulation (local ILSA) in which the model coefficient is local in space, allowing a precise control over SFS activity as a function of location. This new formulation preserves the properties of the global model; application to channel flow and backward-facing step verifies its features and accuracy
When Does Eddy Viscosity Damp Subfilter Scales Sufficiently?
Large eddy simulation (LES) seeks to predict the dynamics of spatially filtered turbulent flows. The very essence is that the LES-solution contains only scales of size ≥Δ, where Δ denotes some user-chosen length scale. This property enables us to perform a LES when it is not feasible to compute the full, turbulent solution of the Navier-Stokes equations. Therefore, in case the large eddy simulation is based on an eddy viscosity model we determine the eddy viscosity such that any scales of size <Δ are dynamically insignificant. In this paper, we address the following two questions: how much eddy diffusion is needed to (a) balance the production of scales of size smaller than Δ; and (b) damp any disturbances having a scale of size smaller than Δ initially. From this we deduce that the eddy viscosity νe has to depend on the invariants q = ½tr(S^2) and r =−⅓tr(S^3) of the (filtered) strain rate tensor S. The simplest model is then given by νe = 3/2(Δ/π)^2|r|/q. This model is successfully tested for a turbulent channel flow (Reτ = 590).
Going Beyond Counting First Authors in Author Co-citation Analysis
The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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