In “Ferienne” artist Afiq Omar utilizes ferrofluids, magnetism, and vibration to create analog visual effects. Most of the dot and labyrinthine patterns result from the reaction of a ferrofluid submerged in a nonmagnetic fluid to an external magnetic field. Diffusion effects and surface tension instabilities are also visible in the way the darker ferrofluid breaks down in the carrier fluid. Also be sure to check out Omar’s previously featured fluid film “Ferroux”. (Video credit: Afiq Omar)
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Unmanned Aerial Vehicles
In recent years unmanned aerial vehicles (UAVs) have grown in popularity for both military and civilian application and are shifting from a remotely controlled platform to autonomous control. Since no pilot flies onboard an UAV, these craft are much smaller than other fixed-wing aircraft, with wingspans that may range from a few meters to only centimeters. At these sizes, most fixed-wing airfoil theory does not apply because no part of the wing is isolated from end effects. This complicates the prediction of lift and drag on the aircraft, particularly during maneuvering and necessitates the development of new predictive methods and control schemes. Shown above are flow visualizations of a small UAV executing a perching maneuver, intended to allow the craft to land as a bird does by scrubbing speed with a high-angle-of-attack, high-drag motion. (Photo credit: Jason Dorfman; via Hizook; requested by mindscrib)
Microgravity Water Balloons
When a water balloon pops in microgravity, waves propagate from the initial point of contact and the final point of contact (where the balloon skin peels away). As these waves come inward toward one another, the water is compressed from its original potato-like shape into a pancake-like one. In most cases, surface tension will provide a damping force on this oscillatory motion, eventually making the water into a sphere. On Earth, in contrast, a water balloon seems to hold its shape after popping. This is because the effect of gravity on the water is much larger than the effect of the propagating waves. This is one reason that it is useful to have a laboratory in space! Without a microgravity environment, it is much harder to study and observe secondary and tertiary-order forces on a physical event. (Video credit: Don Pettit, Science Off The Sphere)
Magnus Force
Physics students are often taught to ignore the effects of air on a projectile, but such effects are not always negligible. This video features several great examples of the Magnus effect, which occurs when a spinning object moves through a fluid. The Magnus force acts perpendicular to the spin axis and is generated by pressure imbalances in the fluid near the object’s surface. On one side of the spinning object, fluid is dragged with the spin, staying attached to the object for longer than if it weren’t spinning. On the other side, however, the fluid is quickly stopped by the spin acting in the direction opposite to the fluid motion. The pressure will be higher on the side where the fluid stagnates and lower on the side where the flow stays attached, thereby generating a force acting from high-to-low, just like with lift on an airfoil. Sports players use this effect all the time: pitchers throw curveballs, volleyball and tennis players use topspin to drive a ball downward past the net, and golfers use backspin to keep a golf ball flying farther. (Video credit: Veritasium)
The Backward-Facing Step
This photo collage shows vortices shed off a backward-facing step. The flow is left to right. Here the flow is visualized using dye released in water. Initially, the vortex forms near the bottom of the step in the recirculation zone. Because flow over the top of the vortex is much faster than the flow beneath the vortex, a low pressure zone forms over the vortex and gradually draws it up toward the top of the step. Eventually the vortex will rise to the point where the upstream flow pushes it downstream and the process begins anew. (Photo credit: Andrew Carter, University of Colorado)
Homemade Hybrid Rocket Engine
In this video, Ben Krasnow details and demos a small hybrid rocket engine he built in his workshop. Hybrid rockets utilize propellants that are two different states of matter, in this case gaseous oxygen as the oxidizer and solid acrylic as the fuel. Krasnow’s verbal explanation of a convergent-divergent nozzle, used to accelerate flow to supersonic speeds is not quite right. In reality, a compressible fluid like air reaches the sonic point (i.e. Mach 1) at the narrowest point of the nozzle, also called the throat. The divergent portion of the nozzle causes the compressible fluid to expand in volume, which drops the temperature and pressure while the velocity increases beyond the speed of sound.
Krasnow says he did no calculations for his rocket, but I decided to have a little fun by doing some myself. Supersonic flow through the nozzle is only achieved if the flow is choked, meaning that the mass flow rate through the nozzle will not increase if the downstream pressure is decreased further relative to the upstream pressure. For Krasnow’s rocket, the downstream pressure is atmospheric pressure (14.7 psi) and the upstream pressure is provided by the oxygen canister, which he notes was at most 80 psi. Fortunately, the upstream pressure necessary to choke the nozzle is only 27.8 psi, so even with the ball valve partially closed, Krasnow’s rocket is definitely capable of supersonic speeds.
The Mach number achievable by any given supersonic nozzle is related to the ratio of the nozzle throat to its exit diameter (#). Krasnow gives the throat diameter as ¼-inch and the exit diameter as 5/8-inch. This means that the Mach number at the exit of the nozzle, assuming choked supersonic flow, is about Mach 3.4. (Video credit: Ben Krasnow; via Universe Today; submitted by jshoer)
Acoustic Levitation
Researchers at Argonne National Laboratory are using acoustic levitation of droplets to further pharmaceuticals. By placing two precisely aligned speakers opposite one another, a standing wave can be created. At nodes along the standing wave, there is no net transfer of energy, but the acoustic pressure is sufficient to cancel the effect of gravity, allowing light objects like droplets to levitate. This is why, in the video, you see the droplets are placed at equally spaced distances and if one is slightly off the node, it vibrates noticeably. The benefit of this levitation to pharmaceutical research comes at the molecular level; drugs formed from solutions kept in a solid container are likely to be crystalline in structure and thus less efficiently absorbed by the body. If the drug can instead be kept in an amorphous state by evaporating the solution without a container, then the resulting drug may be effective at a lower dosage than its crystalline counterpart. (Video credit: Argonne National Laboratory, via Laughing Squid, submitted by @__pj)
Ferrofluid Drop
A drop of ferrofluid is shaped by seven small circular magnets sitting beneath the glass and paper. Ferrofluids are made up of nanoscale ferromagnetic particles suspended in a carrier liquid. Under the influence of magnetic fields, they can take on fantastic shapes, including sharp-tipped droplets and labyrinthine mazes. This image is taken from the National Academy of Science’s book Convergence, focused on the intersection between science and art. (Photo credit: Felice Frankel)
The Veil Nebula
There is no grander scale for the observation of fluid dynamics than that of the astronomical. Here Hubble astronomers discuss the formation of the Veil Nebula, a supernova remnant formed some 5,000-10,000 years ago. Wisps of gas and plasma remain, creating stunning astronomical landscapes that are the result of shock waves, turbulence, diffusion, and other processes familiar to us here on Earth. (Video credit: ESA/Hubble)
Chronoscapes
Exeter University artist-in-residence Pery Burge uses ink, water, soap films, and other fluids to create her spectacular “artistic flow visualization”. Looking closely, one sees the influence of bubbles, vortices, diffusion, and many fluid instabilities, all combined to create psychedelic and dream-like landscapes. For more on her work and additional galleries, see her website Chronoscapes. (Photo credit: Pery Burge)