Relevant bibliographies by topics / Nŏmbŏ 3 (Motion picture)

Academic literature on the topic 'Nŏmbŏ 3 (Motion picture)'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Nŏmbŏ 3 (Motion picture)"

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Mitsunaga, M., H. Sasaki, K. Karaki, and N. Uesugi. "Holographic motion picture by Eu^3+:Y_2SiO_5." Optics Letters 19, no. 10 (May 15, 1994): 752. http://dx.doi.org/10.1364/ol.19.000752.

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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Fitria, Nora, Nyak Mutia Ismail, and Cut Mulia Zuhra. "The Employment of Figurative Language in a Motion Picture Artwork." International Journal of Education, Language, and Religion 5, no. 2 (December 2, 2023): 136. http://dx.doi.org/10.35308/ijelr.v5i2.7598.

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This study aimed at finding out the use of figurative language in an artwork, specifically movie called Toy Story 3. The method used in this study was descriptive qualitative which provided the necessary data analysis to gain the information needed from the movie. The data soure was movie entitled Toy Story 3 with xxxx minutes in length. In collecting data, the researcher used document analysis; later in daa analysis, the interactive analysis consisting of data reduction, data display, and dat verification was employed. Te result shows that there are three types of figurative language consisted in the movie: Metaphor, Simile, and Hyperbole. The metaphors were used to describe something by comparing it with other objects, Hyperbole ws employed iin order to make the language used in the film increase a child's imagination to infinity, and Simile usage enhances the sentences to spark the curiosity of the audience—merely children. Then, it was aso found that regarding the frequency, Metaphor occurs nine times and represents 60%, Hyperbole occurs five times and represents 33%, and Simile occurs one time and represents 7%. Iin conclusion, The movie Toy Story 3 used only a few figurative speeches because the target audience is children, hence simple forms of language uses are utilized.
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Kawabe, Takahiro, and Kayo Miura. "New Motion Illusion Caused by Pictorial Motion Lines." Experimental Psychology 55, no. 4 (January 2008): 228–34. http://dx.doi.org/10.1027/1618-3169.55.4.228.

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Motion lines (MLs) are a pictorial technique used to represent object movement in a still picture. This study explored how MLs contribute to motion perception. In Experiment 1, we reported the creation of a motion illusion caused by MLs: random displacements of objects with MLs on each frame were perceived as unidirectional global motion along the pictorial motion direction implied by MLs. In Experiment 2, we showed that the illusory global motion in the peripheral visual field captured the perceived motion direction of random displacement of objects without MLs in the central visual field, and confirmed that the results in Experiment 1 did not stem simply from response bias, but resulted from perceptual processing. In Experiment 3, we showed that the spatial arrangement of orientation information rather than ML length is important for the illusory global motion. Our results indicate that the ML effect is based on perceptual processing rather than response bias, and that comparison of neighboring orientation components may underlie the determination of pictorial motion direction with MLs.
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Hirschman, Elizabeth C. "Resource Exchange in the Production and Distribution of a Motion Picture." Empirical Studies of the Arts 8, no. 1 (January 1990): 31–51. http://dx.doi.org/10.2190/ahpj-p6fc-y9b5-9dty.

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An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.
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Khavronina, Serafima A., and Kasim Emrak. "Teaching Russian verbs of motion to Turkish students, considering national linguistic picture of the worlds." Russian Language Studies 19, no. 3 (September 28, 2021): 313–30. http://dx.doi.org/10.22363/2618-8163-2021-19-3-313-330.

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The article deals with Russian prefixed verbs of motion in the reflection of the Turkish language. The topic is relevant due to the fact that in recent years the role of Russian language learning in Turkey is increasing because of the expansion of economic and cultural relations between the two countries. The aim of the study is to create a linguodidactic basis for developing methodological recommendations for teaching Russian prefixed verbs of motion to Turkish students. Different methods have been used to realize the goal. The article is based on the dissertations, textbooks and manuals on the Russian language for foreigners, scientific works comparing the Russian and Turkish languages. The study of verbs of motion in the practical course of the Russian language for Turkish students has a special place. Russian and Turkish language speakers perceive the world and their identity differently. The differences between the pictures of the world are reflected in culture and language, its vocabulary and grammatical categories. Thus, while there are universals in the verb systems of the Russian and Turkish languages, there are also significant differences in the idea of action, state, change, movement, denoted by verb units in the two languages. Russian prefixed verbs of motion do not have exact equivalents in Turkish and are translated by means of verbs with different root or translation transformations. The results of the comparative description of Russian prefixed verbs of motion and transferring their meanings in Turkish, and the identified differences served as the basis for developing methodological recommendations for teaching Russian prefixed verbs of motion to Turkish students, taking into account their native language. Basing on the research, a system of teaching prefixed verbs of motion to Turkish students, including methods of verb presentation and consolidation in oral and written speech, was developed. The prospects of this work are to create a nationally-oriented textbook on the topic Russian prefix verbs of motion.
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Ben-Dov, Yoav. "The Many-Object "Pilot Wave" Theory." Revista de Ciencias 9 (November 8, 2011): 69–77. http://dx.doi.org/10.25100/rc.v9i0.613.

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The "pilot wave." supplementary variables version of quantum mechanics diacusaed. It is claimed that in the many-object a semi-class picture of particles "guided" in their motion by waves m 3-spaces is difficult to maintain-Other interpretative schemes are suggested
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Sasaki, Hiroko, and Koichi Karaki. "Direct pattern recognition of a motion picture by hole-burning holography of Eu^3+:Y_2SiO_5." Applied Optics 36, no. 8 (March 10, 1997): 1742. http://dx.doi.org/10.1364/ao.36.001742.

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Buyuksahin, Utku. "A New Control Method for Using Inkjet Printer Motherboard as 3 Axes CNC Router's Motion Control Card." Advanced Materials Research 445 (January 2012): 225–30. http://dx.doi.org/10.4028/www.scientific.net/amr.445.225.

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As the inkjet printers have two axes of movement, (one for scrolling of the paper and one for travelling of the cartridges) inkjets have closed loop stepper motor control cards for two axes which can be used in CNC routers. There are few studies in literature and internet about this method. The main difficulty while using these cards as motion control card is to send the motion data of the cutting process to the CNCs motor drivers. As programming ability is needed, this is the point where the projects are mostly left unfinished. In this study, a new method to help use of printer motherboards as CNC router motion control cards, with no need of programming skills and buying expensive software, is given. In this method, the third dimension of the picture is represented by colors. After drawing the two dimensional top view of the workpiece with any simple graphics painting software which can be found in every computer like Paint, is painted with the colors black to white, from the lowest level to highest respectively, like in the geographical maps which the oceans are painted darker to lighter according to the depth. As it is known that there are 16.7 millions of colors between black and white, the system is impressively precise in Z axis. The analogue signals of the colors which are sent from printers motherboard to the cartridges are captured with a PIC based circuit, which is designed for this project. Then the color codes are converted to Z axiss position data and PWM signals that are needed in Z axis motion. The X and Y axes stepper motor control PWM signals are generated by printer motherboard and used in the system just as is. While doing the cutting process on a printer motherboard attached CNC, the computer assumes as if a picture is being printed with the printer that is connected to USB or parallel port. This method is candidate to be one of the most common used home based or laboratory based CNC control methods in the near future.
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Krider, Robert E., and Charles B. Weinberg. "Competitive Dynamics and the Introduction of New Products: The Motion Picture Timing Game." Journal of Marketing Research 35, no. 1 (February 1998): 1–15. http://dx.doi.org/10.1177/002224379803500103.

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The extremely short life cycle and the rapid decay in revenues after opening coupled with the rapid and frequent introduction of new competitive products makes the timing of new product introductions in the motion picture industry critical, particularly during the high-revenue Christmas and summer seasons. Each studio wants to capture as much of the season as possible by opening early in the season. At the same time, each wants to avoid head-to-head competition. The authors model competition between two motion pictures in a share attraction framework and conduct an equilibrium analysis of the product introduction timing game in a finite season. The following three different equilibrium configurations emerge: (1) a single equilibrium with both movies opening simultaneously at the beginning of the season, (2) a single equilibrium with one movie opening at the beginning of the season and one delaying, and (3) dual equilibria, with either movie delaying opening. A key factor is the product life cycle, which can be captured well with a two-parameter exponential decline. The authors relate the life-cycle parameters to these possibilities with the general result that the weaker movie may be forced to delay opening. These results are related to case studies of the opening of recently released movies. A statistical analysis of the 1990 summer season in North America provides support for the conclusions and suggests that current release timing decisions can be improved. The authors discuss the rationale of “avoiding the competition” in the general context of product introduction timing.
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Dissertations / Theses on the topic "Nŏmbŏ 3 (Motion picture)"

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Wedzielewski, Daniel. "The impact of blind bidding on market structure and performance in the U.S. motion picture industry." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 134 p, 2009. http://proquest.umi.com/pqdweb?did=1654492601&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Anegekuh, Louis. "Video content-based QoE prediction for HEVC encoded videos delivered over IP networks." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3377.

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The recently released High Efficiency Video Coding (HEVC) standard, which halves the transmission bandwidth requirement of encoded video for almost the same quality when compared to H.264/AVC, and the availability of increased network bandwidth (e.g. from 2 Mbps for 3G networks to almost 100 Mbps for 4G/LTE) have led to the proliferation of video streaming services. Based on these major innovations, the prevalence and diversity of video application are set to increase over the coming years. However, the popularity and success of current and future video applications will depend on the perceived quality of experience (QoE) of end users. How to measure or predict the QoE of delivered services becomes an important and inevitable task for both service and network providers. Video quality can be measured either subjectively or objectively. Subjective quality measurement is the most reliable method of determining the quality of multimedia applications because of its direct link to users’ experience. However, this approach is time consuming and expensive and hence the need for an objective method that can produce results that are comparable with those of subjective testing. In general, video quality is impacted by impairments caused by the encoder and the transmission network. However, videos encoded and transmitted over an error-prone network have different quality measurements even under the same encoder setting and network quality of service (NQoS). This indicates that, in addition to encoder settings and network impairment, there may be other key parameters that impact video quality. In this project, it is hypothesised that video content type is one of the key parameters that may impact the quality of streamed videos. Based on this assertion, parameters related to video content type are extracted and used to develop a single metric that quantifies the content type of different video sequences. The proposed content type metric is then used together with encoding parameter settings and NQoS to develop content-based video quality models that estimate the quality of different video sequences delivered over IP-based network. This project led to the following main contributions: (1) A new metric for quantifying video content type based on the spatiotemporal features extracted from the encoded bitstream. (2) The development of novel subjective test approach for video streaming services. (3) New content-based video quality prediction models for predicting the QoE of video sequences delivered over IP-based networks. The models have been evaluated using subjective and objective methods.
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Eaton, Rebecca Marie Doran. "Unheard minimalisms : the functions of the minimalist technique in film scores /." Thesis, 2008. http://www.lib.utexas.edu/etd/d/2008/eatonr88741/eatonr88741.pdf#page=3.

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Bercov, Kimberly Dawn. "Investing in the domestic : the crisis of the modern city in late new wave cinema." Thesis, 2001. http://hdl.handle.net/2429/11630.

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Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the city of Paris and a young housewife living in a modern apartment on the outskirts of the city. Godard has insisted that this 'elle' is only Paris and not Juliette—the housewife whose daily activities the film documents. Yet the movements of Juliette within the film are inseparable from the knowledge imparted by the filming of the city's public and domestic spaces. Further, her quotidian route through these sites must constantly negotiate an almost excessive overabundance of consumer images. This film, and much of the work of the so-called French New Wave, attempts to articulate the problems posed by the 'Modern City' and the conditions of post-war capitalism. Weekend (1967) and Fahrenheit 451 (1966) envision a city in which the status quo delineated by consumer culture sets the pattern for all forms of urban life. Fahrenheit 451, a dystopic science fiction film directed by Francois Truffaut, describes a world in which the very structure of the home is conflated with technologies of mass culture and consumerism. Technology enters the domestic sphere in this film as a 'screen interface' that 'spectacularly' produces gendered and sexualized modes of identification almost exclusively for the suburban housewife. This thesis explores the gendered spaces of the cinematic city, particularly how architecture, technology, and consumerism are spatialized. In chapter one I address how the spaces of consumerism and the domestic are conflated, leaving it up to the suburban housewife to bear the burden. In chapter two I turn to the formation of female desire as it is reconfigured in the exchanges between the spaces of technology and the domestic. How are these intersecting spheres represented as potential sites of communal transformation? How do they serve to reveal the limits of transformation? The possibility for social change within this cinematic space is ultimately relocated outside of the urban. All three films offer a significant re-appraisal of the 'Modern City,' and in the process reveal its profound links to women's bodies and female desire. I conclude with a discussion of the failures of the post-war 'Modern City' which, in these films, is rejected in favour of a move 'into nature,' a going 'back to zero,' as a possible site for reimagining new patterns of social and sexual relations.
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Books on the topic "Nŏmbŏ 3 (Motion picture)"

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Yŏnʼguso, Yŏnsedae Midiŏ Atʻŭ. Hakkyo en kwisin i sanda: Yŏgo koedam tu pŏntchae iyagi. Sŏul-si: Igasŏ, 2004.

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Richard, Price. 3 screenplays. Boston: Houghton Mifflin, 1993.

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Paul, Cox. 3 screenplays. Sydney: Currency Press, 1998.

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Bowie, Tom. 3 screen plays for reading. St. Charles, IL: Seven Oaks Press, 1991.

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Barbara, Gladstone, Strietmann Peter, Winget Chris, Bepler Jon 1959-, Romersa Chelsea, Ryle Matthew D, Serra Richard 1939-, et al., eds. Cremaster 3. New York: Guggenheim Museum Publications, 2002.

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Kureishi, Hanif. London kills me: 3 screenplays & 4 essays. New York: Penguin Books, 1992.

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Serreau, Coline. 3 hommes et un couffin. Paris: l'Avant-Scène, 1987.

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Reitz, Edgar. Drehort Heimat: Arbeitsnotizen und Zukunftsentwürfe. Frankfurt am Main: Verlag der Autoren, 1993.

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nazionale, Istituto multimediale Scrittura e. immagine Convegno. Scrittori per il cinema: Convegno nazionale, Pescara 2-3 ottobre 1998. [Pescara]: EDIARS, 1998.

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Istituto multimediale Scrittura e immagine. Scrittori per il cinema: Convegno nazionale, Pescara 2-3 ottobre 1998. Pescara: Ediars, 1998.

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Book chapters on the topic "Nŏmbŏ 3 (Motion picture)"

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Jacob, Dodd. "Motion picture cameras." In 16mm and 8mm Filmmaking, 13–38. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-3.

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Bolle, Ruud, Yiannis Aloimonos, and Cornelia Fermüller. "Toward motion picture grammars." In Computer Vision — ACCV'98, 283–90. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/3-540-63931-4_228.

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Wiryomartono, Bagoes. "Motion Picture, Livability, and Sustainability." In Numanities - Arts and Humanities in Progress, 135–43. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29566-9_10.

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Brown, Blain. "lighting basics." In motion picture and video lighting, 57–90. Third edition. | New York: Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429461422-3.

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Brown, Blain. "Fundamentals." In Motion Picture and Video Lighting, 47–76. 4th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003334989-3.

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Hoggan, Michael. "The Motion Picture Editor/Director Partnership." In The Art and Craft of Motion Picture Editing, 23–40. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003099765-3.

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Kumb, Florian. "Literature Review on the Motion Picture Industry." In Local Movie Supply in the German Motion Picture Industry, 23–47. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-20685-7_3.

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Bernard, Sheila Curran, and Kenn Rabin. "Still and Motion Picture Photography: A Brief History." In Archival Storytelling, 17–41. Second edition. | London ; New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003026204-3.

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Schlemowitz, Joel. "The machine of light and time." In Experimental Filmmaking and the Motion Picture Camera, 27–53. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429504488-3.

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Erdős, László. "Mike Pandey – Using the Power of Motion Picture." In Green Heroes, 133–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-31806-2_27.

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Conference papers on the topic "Nŏmbŏ 3 (Motion picture)"

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Awatsuji, Yasuhiro, Takashi Kakue, Tatsuki Tahara, Peng Xia, Kenzo Nishio, Shogo Ura, Toshihiro Kubota, and Osamu Matoba. "High-speed 3-D motion-picture recording by parallel phase-shifting digital holography." In Frontiers in Optics. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/fio.2012.fm3f.1.

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Morimoto, Takashi, Youmei Harada, Tetsushi Koide, and Hans Jurgen Mattausch. "Low-Complexity, Highly-Parallel Color Motion-Picture Segmentation Architecture for Compact Digital CMOS Implementation." In 2002 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 2002. http://dx.doi.org/10.7567/ssdm.2002.d-3-4.

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Mamassian, P., D. Kersten, and D. C. Knill. "Depth from cast shadow and change of size." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/oam.1992.fo5.

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The motion of an object’s image relative to its casted shadow is a potential depth cue that has received comparatively little attention. Our previous work has shown this cue to be very effective in eliciting percepts of 3-D motion. In this study, we investigate the interaction of the shadow cue with a more well-studied depth cue, namely, the change of size of an object’s image. An open room was rendered in perspective projection, in which a ball was given an oscillating motion. From the elevation of the center of the ball in the picture plane, the depth of the ball is ambiguous. When a moving shadow is added to the scene, however, the distance between the ball and its shadow is sufficient to produce a percept of motion in depth. Changing the size of the ball as it moves can similarly determine the motion percept. We combined in a consistent or contradictory way the information provided by these two cues. The resulting percept is a weighted average of the interpretations if the cues were presented alone, suggesting a cooperative process.
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Nordvik, Andreas, Natalia Khan, Roberto Andrei Burcă, and Thomas J. Impelluso. "A Study of Roll Induced by Crane Motion on Ships: A Case Study of the Use of the Moving Frame Method." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70111.

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This paper presents a new method in dynamics — The Moving Frame Method (MFM) — and applies it to analyze the roll, yaw and pitch of a ship at sea, as induced by an onboard moving crane. The MFM, founded on Lie Group Theory, Cartan’s Moving Frames and a compact notation from geometrical physics, enables this expedited extraction of the equations of motion. Next, the method deploys the power of the special Euclidean Group SE(3) and a restricted variation to be used in Hamilton’s Principle, to extract the equations of motion. The mathematical model is then simplified to get a clearer picture of the parameters that impact the motion of the crane. The equations of interest are numerically solved by using fourth order Runge-Kutta method to obtain the specific data for the motion induced by the crane. Then, The Cayley-Hamilton theorem is used to reconstruct the rotation matrix. To supplement the paper, a webpage is coded with a model of the crane and ship, to graphically visualize the motion in 3D. It is imperative to note that while there are many approaches to dynamics, the MFM presents a consistent method, from 2D to 3D, and across sub-disciplines. The simplification is what has enabled undergraduate students to undertake this project.
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Rand, Richard H., William I. Newman, Bruce C. Denardo, and Alice L. Newman. "Dynamics of a Nonlinear Parametrically-Excited Partial Differential Equation." In ASME 1995 Design Engineering Technical Conferences collocated with the ASME 1995 15th International Computers in Engineering Conference and the ASME 1995 9th Annual Engineering Database Symposium. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/detc1995-0247.

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Abstract We investigate a nonlinear Mathieu equation with diffusion and damping, using both perturbation theory and numerical integration. The perturbation results predict that for parameters which lie near the 2 : 1 resonance tongue of instability corresponding to a mode shape cos nx the resonant mode achieves a stable periodic motion, while all the other modes are predicted to decay to zero. By numerically integrating the p.d.e. as well as a 3-mode o.d.e. truncation, the predictions of perturbation theory are shown to represent an oversimplified picture of the dynamics. In particular it is shown that steady states exist which involve many modes. The dependence of steady state behavior on parameter values and initial conditions is investigated numerically.
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Bons, Jeffrey P., Daniel Reimann, and Matthew Bloxham. "Separated Flow Transition on an LP Turbine Blade With Pulsed Flow Control." In ASME Turbo Expo 2006: Power for Land, Sea, and Air. ASMEDC, 2006. http://dx.doi.org/10.1115/gt2006-90754.

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Flow measurements were made on a highly loaded low pressure turbine blade in a low-speed linear cascade facility. The blade has a design Zweifel coefficient of 1.34 with a peak pressure coefficient near 47% axial chord (mid-loaded). Flow and surface pressure data were taken for Rec = 20,000 with 3% inlet freestream turbulence. For these operating conditions, a large separation bubble forms over the downstream portion of the blade suction surface, extending from 59% to 86% axial chord. A Single-element hotfilm measurements were acquired to clearly identify the role of boundary layer transition in this separated region. Higher-order turbulence statistics were used to identify transition and separation zones. Similar measurements were also made in the presence of unsteady forcing using pulsed vortex generator jets just upstream of the separation bubble (50% cx). Measurements provide a comprehensive picture of the interaction of boundary layer transition and separation in this unsteady environment. Similarities between pulsed flow control and unsteady wake motion are highlighted.
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Bunton, Patrick H., Richard F. Haglund, Dengfa Liu, and Norman H. Tolk. "Excitonic Mechanism of Photon-Stimulated Desorption of Excited Alkali Atoms from Alkali Halides." In The Microphysics of Surfaces: Beam-Induced Processes. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/msbip.1991.wc9.

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The mechanism leading to photon-stimulated desorption (PSD) of excited atoms from the surfaces of alkali halides has been a subject of controversy since it was first discussed a decade ago [1]. We have recently carried out a systematic experimental study of PSD from alkali halides under both valence-band [2] and core-level [3] excitation. Our data demonstrate that the desorption yields for excited alkali atoms track the excitonic optical response of these crystals even at photon energies below the bulk band gap. Secondary electron measurements, taken simultaneously, implicate the formation of excess metal in the time and dose dependence of PSD yields. These results suggest a unified picture of PSD in which the ion motion initiating desorption is pictured as the decay of a localized, highly deformed vibrational mode of the crystal. Plausible mechanisms for creation of the excited atomic state include relaxation of excited F-centers and resonant neutralization into the excited state on metallic microclusters.
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Schein, David B., and William C. Meecham. "Computation of Jet Noise Using Large-Eddy Simulation and Lighthill’s Analogy." In ASME 1997 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/imece1997-0087.

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Abstract Computational aeroacoustics involves numerical study of the acoustic field generated by unsteady fluid motion. An area of significant interest is unsteady turbulent flow in free jets and resultant far field acoustic pressure fluctuations. Since Lighthill’s mathematical formulation for jet noise generation in the early 1960’s, a search has continued for a physical interpretation of his formal results and, in particular, the noise source term. Far field measurements have not provided a clear picture concerning the nature of the acoustic source. Therefore, industry standard procedures for prediction of far field noise from exhaust jets rely on semi-empirical methods to calculate mean sound pressure levels and directivity. Our objective is to contribute to a more thorough understanding of the acoustic source from a shear flow using Large-Eddy Simulation (LES) turbulence modeling. Published work for direct numerical simulation of these flows has been confined to low Reynolds number (< 3000) with Mach numbers up to 2.0, to study the physics of sound generation and test aeroacoustic prediction methods (Mitchell, et al, 1995). While furthering understanding of jet noise generation, these cases limit exhaust dimensions to millimeters and make it difficult to compare results to measured data. Here we address large Reynolds numbers and high subsonic Mach number (compressible) flow combined with realistic geometries more representative of aircraft engine exhausts. Standard turbulence models compute the average flow field, which cannot be used to calculate the aeroacoustic field. Temporal fluctuations are required and can be obtained using LES, with a spatial filtering operation applied to the equations of motion. The technique is based on computing only large scale motions directly subject to the problem’s boundary conditions, while small scale motions are assumed to be more universal and their statistics and effect upon large scales are predicted using a “subgrid-scale” model. The motivation for this approach is that experimental observations of turbulent flows show that large scale turbulent structures vary markedly from one flow situation to another, while small scales show less variation from case to case. The acoustic radiation calculation consists of three steps; 1) an approximate result for the mean flow field using a compressible flow code employing a k-ϵ turbulence model, 2) unsteady turbulent fluid field simulation using the CFD code appended with a LES turbulence model (the k-ϵ prediction serving as an initial guess) and 3) far field acoustics obtained using Lighthill’s analogy. Extensive far field noise data from ground static measurements of a WR19-4 mini-turbofan engine are being drawn from for comparisons between computed results and measurements.
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