The evaluation of how Computational Fluid Dynamics (CFD) package may be incorporated into a conceptual design method is performed. The repeatability of the CFD solution as well as the accuracy of the calculated aerodynamic coefficients and pressure distributions was also evaluated on two different wing-body models. The overall run times of three different mesh densities was also evaluated to investigate if the mesh density could be reduced enough so that the computational stage of the CFD cycle may become affordable to use in the conceptual design stage. A farfield method was derived and used in this analysis to calculate the lift and drag coefficients. The CFD solutions were also compared with two methods currently used in conceptual design - the vortex lattice based program Vorview and ACSYNT. The unstructured Euler based CFD package FELISA was used in this study. / Master of Science

Studiens syfte är att undersöka möjligheter till att implementera kommunikativa dragen i utvecklandet av matematikundervisningen genom lärares perspektiv och erfarenheter. Denna studie besvarar tre forskningsfrågor som rör utmaningar, framgångsfaktorer, de kommunikativa dragens effekter och användningen av dessa strategier i undervisningen. I denna fallstudie användes en metodkombination av observation och intervju. Resultaten visade att implementeringen av de kommunikativa dragen stötte på flera utmaningar, såsom tidsbegränsningar och elevers varierande förutsättningar. Det identifierades också framgångsfaktorer, såsom tillgängligheten till dragen, möjligheten att anpassa dragen och en trygg miljö. Att beskriva och resonera var de mest använda kommunikativa dragen av lärarna, medan andra användes i mindre utsträckning. Studien visar att det är möjligt för lärare att med relativt lite stöd introducera kommunikativa drag i undervisningen och att de ser det som ett användbart verktyg för att stödja elevernas kommunikation och matematiska utveckling.

The accuracy of the calculated drag force in OpenRocket was examined in this investigation for a rocket traveling at subsonic, transonic and supersonic speeds. The idea was to compare the computed drag coefficients in OpenRocket to the drag coefficients obtained by running multiple computational fluid dynamics (CFD) simulations in Ansys Fluent. Specifically, the freestream Mach number and altitude parameters were varied for a geometric model of the Mjöllnir rocket. The results obtained converged several orders of magnitude and were exceptionally stable. Both the physical accuracy and numerical independence of the results was verified through examining the solutions' contour plots and conducting multiple sensitivity analyses. The conclusion was that OpenRocket overpredicts the Mjöllnir rocket's drag coefficients by 12 % to 73 % for all examined freestream Mach numbers and altitudes. Additionally, an empirical relationship was found for how the Mjöllnir rocket's drag coefficient changes with altitude and the freestream Mach number. In particular, it is a multivariate function that can be considered valid for an altitude of h ≤ 10 km and a freestream Mach number of 0.2 ≤ M ≤ 3.0. The empirical relationship fitted exceedingly well with simulation data and merits further investigation.

Road vehicles are still largely a consumer product and as such the styling of a vehicle becomes a significant factor in how commercially successful a vehicle will become. The influence of styling combined with the numerous other factors to consider in a vehicle development programme means that the optimum aerodynamic package is not possible in real world applications. Aerodynamicists are continually looking for more discrete and innovative ways to reduce the drag of a vehicle. The current thesis adds to this work by investigating the influence of active flow control devices on the aerodynamic drag of square back style road vehicles. A number of different types of flow control are reviewed and the performance of synthetic jets and pulsed jets are investigated on a simple 2D cylinder flow case experimentally. A simplified ¼ scale vehicle model is equipped with active flow control actuators and their effects on the body drag investigated. The influence of the global wake size and the smaller scale in-wake structures on vehicle drag is investigated and discussed. Modification of a large vortex structure in the lower half of the wake is found to be a dominant mechanism by which model base pressure can be influenced. The total gains in power available are calculated and the potential for incorporating active flow control devices in current road vehicles is reviewed. Due to practicality limitations the active flow control devices are currently ruled out for implementation on a road vehicle. The knowledge gained about the vehicle model wake flow topology is later used to create drag reductions using a simple and discrete passive device. The passive modifications act to support claims made about the influence of in wake structures on the global base pressures and vehicle drag. The devices are also tested at full scale where modifications to the vehicle body forces were also observed.

In einem hydronumerischen Modell zur Prognose des Strömungs- und Wasserstandsfeldes flacher Gewässer wird eine auf der Turbulenztheorie basierende Tiefenkorrektur für den Bodenreibungsbeiwertwert eingeführt und auf der Basis von Berechnungen für die DarßZingster Boddenkette überprüft. Für einen ausgewählten Meßpunkt der Darß-Zingster Boddenkette wurde der Reibungsbeiwert sowohl am Boden als auch unter einer Eisschicht experimentell bestimmt. Die Auswirkungen einer Tiefenkorrektur des Reibungsbeiwertes wurden in einem vertikal integrierten hydronumerischen Modell untersucht. Dabei wurden die experimentell bestimmten Reibungsbeiwerte, sowohl für die Reibung am Boden, als auch für die Reibung unter einer Eisschicht im Modell benutzt. Das verwendete Modell zeigt mit den gemessenen Reibungsbeiwerten nach Einführung der Tiefenkorrektur eine bessere Übereinstimmung zwischen Modelldaten und amtlichen Pegelregistrierungen. / For simulation of the flow and water level field in shallow water is introduced a depth correction of the bottom drag coefficient based on the theory of turbulence in a hydronumerical model and tested on calculations for the "Darß-Zingster Boddenkette". The drag coefficient was determined experimentally on the bottom and under ice for a selected measurement point in the "Darß-Zingster Boddenkette". The result of the depth correction was tested with a depth integrated hydronumerical model. The experimentally deterrnined drag coefficient on the bottom and under ice was introduced in the model. The used model shows with the measured drag coefficient after using the depth correction better agreement between the numerically simulated and measured water level.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem por objetivo traçar breves notas sobre algumas movimentações de drag queens e outras artistas da travestilidade que tiveram lugar na cidade do Rio de Janeiro, nos anos de 2009 e 2010. Através de um trabalho de observação participante, foram selecionados alguns locais e espetáculos que poderiam ser representativos desta categoria artística, não se pretendendo um levantamento extenso sobre quem são e onde estão tais artistas. Nomeio como artistas da travestilidade aqueles corpos que têm o ato de travestir-se como central em sua construção artístico-cultural, principalmente construindo corporalidades baseadas em um gênero diferente daquele identificado socialmente no nascimento, como drag queens, atores transformistas, travestis e transexuais artistas. Apoiando-me em pressupostos dos métodos cartográfico e etnográfico assumi, nesta dissertação, o posicionamento de um pesquisador-espectador, objetivando o contato com aquilo que drag queens e outras artistas da travestilidade desejam tornar público, ou seja, seus shows e espetáculos. Acompanhei diversas apresentações deste tipo em teatros, boates, bares e clubes de bairro, bem como em outros locais nos quais se fizeram presentes, como na Parada do Orgulho LGBT do Rio de Janeiro e em alguns blocos do carnaval carioca. Tendo ainda como campo de diálogo alguns postulados da Esquizoanálise vertente teórica fundamentada principalmente nas contribuições de Gilles Deleuze e Félix Guattari , pretendi situar e afirmar as drag queens e a arte da travestilidade dentro dos estudos de gênero e sexualidade, principalmente aqueles mais diretamente relacionados às manifestações de uma subcultura camp e cultura gay e/ou homossexual. / This paper aims to draw some brief notes on the contemporary drag queens' and other female impersonators artists movements, following what took place in the city of Rio de Janeiro during the years 2009 and 2010. Through a study of participant observation, I selected some sites and shows that could be representative of this art category, not intending to make an extensive survey of where they are or who these artists are. I name female impersonators artists those bodies which have the act of transvestiting themselves as central to their artistic and cultural construction/constitution, particularly building up corporalities based on a gender which is distinct from the birth-socially-identified one, e.g. drag queens, crossdresser actors, transvestites and transgender artists. Based on cartographic and ethnographic methods, I took the position of a spectator, that is, of a researcher-spectator, aiming at a connection with what drag queens and impersonators artists wish to make public, i.e., their concerts and shows. I followed various performances of this kind in theaters, nightclubs, bars and neighborhood clubs, as well as in other places in which they were present, as in Rio de Janeiro's LGBT Pride Parade and in some groups of Rio's carnival. Having also as a field of dialogue some postulates of Schizoanalysis - the theoretical model based mainly on contributions from Gilles Deleuze and Felix Guattari -, I meant to situate and affirm the drag queens and the female impersonation art within the studies of gender and sexuality, especially within those more closely related to manifestations of a camp subculture and gay or homosexual culture.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem por objetivo traçar breves notas sobre algumas movimentações de drag queens e outras artistas da travestilidade que tiveram lugar na cidade do Rio de Janeiro, nos anos de 2009 e 2010. Através de um trabalho de observação participante, foram selecionados alguns locais e espetáculos que poderiam ser representativos desta categoria artística, não se pretendendo um levantamento extenso sobre quem são e onde estão tais artistas. Nomeio como artistas da travestilidade aqueles corpos que têm o ato de travestir-se como central em sua construção artístico-cultural, principalmente construindo corporalidades baseadas em um gênero diferente daquele identificado socialmente no nascimento, como drag queens, atores transformistas, travestis e transexuais artistas. Apoiando-me em pressupostos dos métodos cartográfico e etnográfico assumi, nesta dissertação, o posicionamento de um pesquisador-espectador, objetivando o contato com aquilo que drag queens e outras artistas da travestilidade desejam tornar público, ou seja, seus shows e espetáculos. Acompanhei diversas apresentações deste tipo em teatros, boates, bares e clubes de bairro, bem como em outros locais nos quais se fizeram presentes, como na Parada do Orgulho LGBT do Rio de Janeiro e em alguns blocos do carnaval carioca. Tendo ainda como campo de diálogo alguns postulados da Esquizoanálise vertente teórica fundamentada principalmente nas contribuições de Gilles Deleuze e Félix Guattari , pretendi situar e afirmar as drag queens e a arte da travestilidade dentro dos estudos de gênero e sexualidade, principalmente aqueles mais diretamente relacionados às manifestações de uma subcultura camp e cultura gay e/ou homossexual. / This paper aims to draw some brief notes on the contemporary drag queens' and other female impersonators artists movements, following what took place in the city of Rio de Janeiro during the years 2009 and 2010. Through a study of participant observation, I selected some sites and shows that could be representative of this art category, not intending to make an extensive survey of where they are or who these artists are. I name female impersonators artists those bodies which have the act of transvestiting themselves as central to their artistic and cultural construction/constitution, particularly building up corporalities based on a gender which is distinct from the birth-socially-identified one, e.g. drag queens, crossdresser actors, transvestites and transgender artists. Based on cartographic and ethnographic methods, I took the position of a spectator, that is, of a researcher-spectator, aiming at a connection with what drag queens and impersonators artists wish to make public, i.e., their concerts and shows. I followed various performances of this kind in theaters, nightclubs, bars and neighborhood clubs, as well as in other places in which they were present, as in Rio de Janeiro's LGBT Pride Parade and in some groups of Rio's carnival. Having also as a field of dialogue some postulates of Schizoanalysis - the theoretical model based mainly on contributions from Gilles Deleuze and Felix Guattari -, I meant to situate and affirm the drag queens and the female impersonation art within the studies of gender and sexuality, especially within those more closely related to manifestations of a camp subculture and gay or homosexual culture.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-10-20T13:32:11Z No. of bitstreams: 1 analuciapitta.pdf: 3104957 bytes, checksum: cbb696cdfecdb29ceaca03fdf6d58ae1 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-10-21T13:12:03Z (GMT) No. of bitstreams: 1 analuciapitta.pdf: 3104957 bytes, checksum: cbb696cdfecdb29ceaca03fdf6d58ae1 (MD5) / Made available in DSpace on 2017-10-21T13:12:03Z (GMT). No. of bitstreams: 1 analuciapitta.pdf: 3104957 bytes, checksum: cbb696cdfecdb29ceaca03fdf6d58ae1 (MD5) Previous issue date: 2016-11-11 / O presente trabalho abarca a relação de determinados sujeitos com o vestuário, buscando compreender como o uso de certas peças pode criar interessantes narrativas contra hegemônicas. Assim, almejamos pensar em como, através da roupa, certos grupos são capazes de acionar singularidades frente às investidas da máquina capitalística, criando novos modos de existência. Dentre os sujeitos e suas roupas que provocaram as discussões levantadas neste trabalho, destacam-se os homens e mulheres que performam como drag queens e mulheres gordas que utilizam roupas que geralmente lhes são proibidas, como peças muito justas ou curtas. As narrativas acerca desses sujeitos serão costuradas pelas leituras que fizemos, bem como por imagens extraídas de livros, filmes, das próprias ruas da cidade. / The study covers the relationship of certain subjects with clothing, trying to understand how the use of certain pieces can create interesting n arratives against hegemonic. Thus, we aim to think about how, through clothing, certain groups are able to trigger singularities front of investees of capitalistic machine, creating new ways of existence. Among the subjects and their clothes that provoked discussions raised in this paper, we highlight the men and women who perform as drag queens and fat women using clothing hat are generally prohibited for them, as too tight or short pieces. The narratives about these subjects will be stitched by the readings we did, as well as images taken from books, movies, the streets of the city.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-08-01T18:48:44Z No. of bitstreams: 1 henriqueluizcapronineto.pdf: 5440794 bytes, checksum: 9ca8202be5f808d63dce7e7c08c4a1bb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-01T19:10:43Z (GMT) No. of bitstreams: 1 henriqueluizcapronineto.pdf: 5440794 bytes, checksum: 9ca8202be5f808d63dce7e7c08c4a1bb (MD5) / Made available in DSpace on 2018-08-01T19:10:43Z (GMT). No. of bitstreams: 1 henriqueluizcapronineto.pdf: 5440794 bytes, checksum: 9ca8202be5f808d63dce7e7c08c4a1bb (MD5) Previous issue date: 2016-03-31 / PROQUALI (UFJF) / Busquei na presente dissertação compreender o fazer e o desfazer do gênero de drag queens de Belo Horizonte, utilizando especialmente as obras de Judith Butler (2003, 1993, 1997, 2004). O referencial teórico foi estruturado com base na discussão sobre o gênero em uma visão não essencialista, considerando-o como um fazer, e não uma propriedade dos sujeitos; e as críticas ao binarismo de gênero; e na problematização da questão transgender, sem a pretensão de esgotá-la, dada sua complexidade. Abordo também o fazer e o desfazer do gênero com apoio principalmente em Judith Butler, autores organizacionais e das ciências sociais; a hetero(norma) e a (des)identificação, com foco nas reflexões de Butler sobre o sujeito relacionado diretamente com as normas sociais, tendo em vista que as identificações nunca são completas, possibilitando diferenciações e subversões; a performatividade, a paródia e a performance de gênero, diferenciando-as e reconhecendo a performatividade imbricada com a reiteração das normas discursivas; uma breve introdução sobre o mundo dxs drags, especialmente, com foco nos estudos brasileiros. Destarte, realizei uma pesquisa qualitativa, com uma epistemologia pós-estruturalista, por meio narrativas de biográficas de dez drag queens, com inspiração na análise crítica do discurso de Fairclough (2003, 2008). A análise foi pensada a partir da obra e dos conceitos de Judith Butler tendo as seguintes categorias: Performances que contém as subcategorias sobre performances, produções e cachês, performances com o público "hétero" e "LGBTIQ", performances e sentimentos, e humor; As relações entre drags: famílias, "amigxs", "colegas" e jogos de poder; Em busca de reconhecimento para x drag queen; (Des)Identificações; e Fazendo e desfazendo gênero. Por fim, as considerações remetem à complexidade e ambivalência dessa temática nas identificações, fazeres, desfazeres e contingencialidade do gênero. Também, pensou-se na possibilidade de uma relação direta com estudos organizacionais críticos, tendo vista que a matriz heteronormativa habita a administração, mas não impede que criemos matrizes rivais. / I sought in this dissertation to understand the doing and undoing of the gender of drag queens from Belo Horizonte, using especially the works of Judith Butler (2003, 1993, 1997, 2004). The theory was structured discussing: the gender in a non-essentialist view, considering it as a doing and not a property of the subject, the criticis of the gender binary and questioning the transgender issue without intending to exhaust it given its complexity; doing and undoing the gender supporting me especially in Judith Butler, organizational and social sciences authors; (hetero) norm and the (dis) identification appropriating Butler's reflections on the subject related directly to social norms, given that the identifications are never complete, allowing differentiations and subversions; the performativity, parody and gender performance, differentiating them and recognizing the performativity imbricated with the reiteration of the discursive norms; a brief introduction to the world of drags especially focusing on Brazilian studies. Thus, I realized a qualitative research, with a poststructuralist epistemology through biographical narratives of ten drag queens, with inspiration in critical discourse analysis of Fairclough (2003, 2008). The analysis was designed from the work and concepts of Judith Butler and has the following categories: Performances that contains sub-categories: on performances, productions and caches, performances with the "straight" and "LGBTIQ" public, performances and feelings, and humor; The relationship among drags: family, "friends", "colleagues" and power games; Seeking recognition for x drag queen; Humor; (Dis) Identifications; Doing and undoing gender. Finally, considerations lead the complexity and ambivalence of this theme in the identifications, the doings, undoings and the contingentiality of the gender. Also thinking about the possibility of a direct relationship with critical organizational studies, having seen that the heteronormative matrix inhabits the administration, but does not prevent us to create rivals matrices.

This report documents the design and construction of a computer-controlled engraver (CNC engraver). Whereas most common machines used for this purpose are dimensioned towards milling, this project aims to create a dedicated engraver which could be of reduced size and complexity in comparison to standard CNC routers. This is partly because engraving imparts no need for a spindle motor, and that the machine only needs to withstand forces related to engraving, which are often significantly smaller than those present when milling. The proposed construction is designed towards use on aluminium and retains about the size of a laptop computer. Additionally, it should allow for engraving on material of almost any size, which is not a common feature in CNC machines. The design uses Arduino and open-source software to generate and execute G-code and is built with off-the-shelf components as well as both 3D-printed and machined components. Key conclusions are that it is indeed possible to make such a machine and that it could fulfil some useful purposes, even if the prototype, as built, has some issues with structural rigidity and therefore the final tolerances of the engraving. These issues primarily stem from the assembly supporting the Z-Axis and engraving bit, which lacks the stiffness needed for desirable results. Taking the fairly low complexity of the build and the price tag of under 2000 SEK in consideration, the prospects are deemed as promising. / Denna rapport beskriver konstruktionen och byggandet av en datorkontrollerad (CNC) gravyrmaskin. Emedan de gängse maskinerna för detta ändamål är en vanlig fräs eller dylikt, så syftar detta projekt att bygga en dedikerad gravyrmaskin, som då jämförelsevis kan vara av reducerad storlek och komplexitet. Maskinen använder Arduino och öppen källkod för att generera och exekvera G-kod, och byggs med inköpta standardkomponenter, såväl som både 3D-printade och egentillverkade komponenter. De främsta slutsatserna är att det mycket riktigt går att bygga en sådan maskin, och det finns användningsområden för en sådan, även om prototypen som den slutligen blev har problem med styvhet, och därför även med noggrannheten i gravyrerna.