The cultural concepts of identity, life and nature are under constant negotiation. The world have been defined as; the given (nature) and the constructed (culture). Without this constructed dichotomy it is more complex. Nature and culture mimic each other’s qualities and as transparencies can hardly be differentiated as they can act and feel alike.1 Autonomous (hu)man made system have become so complex that we start to perceive them as nature. Although we can not trust our means of technological saviour we deny technological advances its “natural” aspects: mortality, fragility, complex interactivity and dependence on flows of energy and material sustenance.2 Altering nature is central to humans and the more we learn to control it the more it loses the natural character and enter the realms of culture. Everything is co-evolutionary a copy of a copy and as a designers and artists we must use what has already been shaped. Perhaps success is manifested when we alters existing forces and work counter cultural. Or amplify the directions we are currently rendering. Is it time to reverse our concept of not what is possible and what isn’t, but to accept the impossibility of omnipotent immortality? The world is largely messy and it is not possible, nor desirable, to know what is going on, instead we should be certain that we don’t know and learn how to feel from uncertainty, to try to make sense on how to navigate.3 Preoccupied caring for ourselves affects the strategy for survival for both humans and non-humans in this entangled universe. In our present technological reality of conquering the biological, this speculative project is in reference to the uncertainty of our future and the brutal advances that shape human minds. The crisis of being human in the surrealism of our culturally altered nature. The fear of a lost world and our need to reinvent ourselves. A reflection of the contiguity of life between species. Telling the story through an artificial enhancement strategy for solidago canadensis it is about the human hubris worldview and the unique and often troubling realities of the present and the conventional problem-solving/ truth-seeking of the messy, unstable, in flux complexity of nature and culture.4 Living in the extreme times of the weird and wonderful times of nanotechnology, synthetic biology and neuroscience it is now longer about designing the things in the environment around us but designing life itself. Our advances and innovations have huge consequences on what it means to be human, how we relate not only to each other but our coexistence in this sphere. [1]The posthuman, Rosi Braidotti, 2013 [2,4] Next Nature: Nature Changes Along with Us, Koert van Mensvoort, Hendrik-Jan Grievink, 2012 [3] Lilla drevet podcast, episode 182, 2018

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<p>1D engine simulations of turbocharged engines are difficult to <!-- @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } --></p><p>Techniques that can increase the SI- engine efficiency while keeping the emissions very low is to reduce the engine displacement volume combined with a charging system. Advanced systems are needed for an effective boosting of the engine and today 1D engine simulation tools are often used for their optimization.</p><p>This thesis concerns 1D engine simulation of a turbocharged SI engine and the introduction of CFD computations on components as a way to assess inaccuracies in the 1D model.</p><p>1D engine simulations have been performed on a turbocharged SI engine and the results have been validated by on-engine measurements in test cell. The operating points considered have been in the engine’s low speed and load region, with the turbocharger’s waste-gate closed.</p><p>The instantaneous on-engine turbine efficiency was calculated for two different turbochargers based on high frequency measurements in test cell. Unfortunately the instantaneous mass flow rates and temperatures directly upstream and downstream of the turbine could not be measured and simulated values from the calibrated engine model were used. The on-engine turbine efficiency was compared with the efficiency computed by the 1D code using steady flow data to describe the turbine performance.</p><p>The results show that the on-engine turbine efficiency shows a hysteretic effect over the exhaust pulse so that the discrepancy between measured and quasi-steady values increases for decreasing mass flow rate after a pulse peak.</p><p>Flow modeling in pipe geometries that can be representative to those of an exhaust manifold, single bent pipes and double bent pipes and also the outer runners of an exhaust manifold, have been computed in both 1D and 3D under steady and pulsating flow conditions. The results have been compared in terms of pressure losses.</p><p>The results show that calculated pressure gradient for a straight pipe under steady flow is similar using either 1D or 3D computations. The calculated pressure drop over a bend is clearly higher1D engine simulations of turbocharged engines are difficult to <!-- @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } -->using 1D computations compared to 3D computations, both for steady and pulsating flow. Also, the slow decay of the secondary flow structure that develops over a bend, gives a higher pressure gradient in the 3D calculations compared to the 1D calculation in the straight pipe parts downstream of a bend.</p><p> </p>

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 1998. / Description based on microfiche version record. Includes bibliographical references.

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 1998. / Description based on microfiche version record. Includes bibliographical references.

Diss. (sammanfattning) Linköping : Univ., 2005. Diss. (sammanfattning) Jönköping : Högsk., 2005. / Härtill 8 uppsatser.

Thesis--University of Western Ontario. / Includes bibliographical references (p. 131-134).

Thesis--University of Western Ontario. / Includes bibliographical references (p. 131-134).

Solo is an eating scene for a single person. The aim is to break today’s traditional way of eating alone at a restaurant through a series of instruments, arranged in a specific order, combined with a set menu. The eating experience is a melody, conducted by the instruments. By presenting different alternatives and choices along the way, there is also space for the guest to jam. To compose their own experience and make their own kind of music. To slow down, think, look, taste, feel, reflect, evaluate, act and compose. To activate and stimulate the hands, the heart and the brain , to really appreciate the situation and to give time for oneself through the act of eating. Solo — in the company of food

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