FYFD

Tag: instability

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    A Levitated Boil

    When acoustically levitated, objects tend to clump together and move like a single, large solid. But researchers found more fluid-like states for their levitated particles when the particles were smaller. At low acoustic power, the particles behave like a liquid and shift primarily within a plane. But as the acoustic power increases, the granular liquid begins to “boil” and transition into a gaseous state, with particles moving in all directions. It’s amazing how often these metaphors (e.g., treating a group of particles as a “liquid”) hold true when observing different physical systems! (Image and video credit: B. Wu et al.)

  • Microscale Kelvin-Helmholtz

    Microscale Kelvin-Helmholtz

    When we think of cavitation in a flow, we often think of it occurring at a relatively large scale — on the propeller of a boat, for example. But cavitation takes place on microscales, too, including around fuel-injection nozzles. In this study, researchers investigated submillimeter-scale cavitation using a flow through a tiny Venturi tube. What they found was something we usually associate with larger scale flows: the Kelvin-Helmholtz instability.

    The Kelvin-Helmholtz instability takes place on this cavitation bubble.

    The wavy shape of a Kelvin-Helmholtz instability forms when two layers of fluid move past one another at different speeds and the interface where they meet becomes unstable. Here, that happens along a cavitation bubble, where the bubble and the flow meet. Interestingly, at these scales, the Kelvin-Helmholtz instability seems to be the primary method of break-up, instead of shock wave interactions.

    For those keeping track, we’ve now seen the Kelvin-Helmholtz instability from the quantum scale up to 160 thousand light-years. It’s hard to achieve a much wider range than that! (Image and research credit: D. Podbevšek et al.; submitted by M. Dular)

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    “Art of Paint”

    Filmmaker Roman De Giuli is always coming up with spectacular and visually fascinating new ways to manipulate ink and other liquids. In “Art of Paint,” he applies thin layers atop a custom plate that can be tilted in any direction. The results sometimes resemble acrylic paint pours, sometimes Marangoni flows, and sometimes look more like salt fingers or Rayleigh-Taylor instabilities. The extreme variety of forms is quite unique among these sorts of films and is well worth taking the time to view in fullscreen. (Image and video credit: R. De Giuli)

  • Rotating Waves of Grains

    Rotating Waves of Grains

    Rotating drums are a popular way to explore granular dynamics. Here, researchers fill a cylinder (seen below) with heavy grains and a low-viscosity fluid, then rotate the mixture about a horizontal axis. This sets up a contest between centrifugal forces and gravitational forces on the grains. At the right rotation rates, the grains form annular rings around the outside of the cylinder, where they rotate at a different speed than the fluid. This difference in speed between the two layers can trigger a Kelvin-Helmholtz instability and cause waves along the interface between the grains and the fluid, as seen in the examples above. (Image and research credit: V. Dyakova and D. Polezhaev; top image adapted by N. Sharp)

    Image of the experimental apparatus when not rotating.
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    How Dunes Form

    On its face, the idea that sand and wind can come together to form massive mountainous dunes seems bizarre. But dunes — and their smaller cousins, ripples — are everywhere, not just on Earth but on other planetary bodies where fine particles and atmospheres interact. In this video, Joe Hanson gives a great overview of sand dynamics, beginning with what sand is, how it moves, and what it can ultimately form. It’s well worth a watch, even if you know a little about dunes already; I know I learned a thing or two! (Image and video credit: Be Smart)

  • Aqueous Chandeliers

    Aqueous Chandeliers

    Colorful dyes falling through water form chandelier-like, branching shapes. These formations are the result of a slight density difference between the heavier dyes and the surrounding water. As the dye falls, Rayleigh-Taylor instabilities cause the mushroom-like blobs and their branches. With creativity and photographic skill, Mark Mawson turns these ephemeral shapes into bold liquid sculptures, frozen in time. See more of his work in these previous posts, on his website, and on Instagram. (Image credit: M. Mawson)

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    “Life and Chaos”

    In “Life and Chaos,” artists Roman Hill and Paul Mignot shot fluid flows live in a 1 cm x 1 cm square, then projected those images across 3,300 square meters. There’s something incredible about art on this immersive scale. It is literally impossible for any one visitor — or even the artists themselves — to experience the full piece; each person, by definition, can only take in a small part of the whole. That makes it all the more incredible to derive such a piece from a tiny, tiny canvas. As venues for this sort of immersive art spread, I can only imagine the amazing art we’ll see! (Image and video credit: R. Hill and P. Mignot)

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    “I See You”

    In “I See You,” filmmaker Rus Khasanov captures fluid flows that give the screen an eye with which to gaze back at us. The textures visible in the flows are incredible at mimicking the details of a human iris. These are some seriously neat Marangoni flows. For a similar effect, check out this film of his. (Image and video credit: R. Khasanov)

  • Asperitas Formation

    Asperitas Formation

    In 2017, the World Meteorological Organization named a new cloud type: the wave-like asperitas cloud. How these rare and distinctive clouds form is still a matter of debate, but this new study suggests that they need conditions similar to those that produce mammatus clouds, plus some added shear.

    Using direct numerical simulations, the authors studied a moisture-filled cloud layer sitting above drier ambient air. Without shear, large droplets in this cloud layer slowly settle downward. As the droplets evaporate, they cool the area just below the cloud, changing the density and creating a Rayleigh-Taylor-like instability. This is one proposed mechanism for mammatus clouds, which have bulbous shapes that sink down from the cloud.

    When they added shear to the simulation, the authors found that instead of mammatus clouds, they observed asperitas ones. But the amount of shear had to be just right. Too little shear produced mammatus clouds; too much and the shear smeared out the sinking lobes before they could form asperitas waves. (Image credit: A. Beatson; research credit: S. Ravichandran and R. Govindarajan)

  • When Seeing a Flow Changes It

    When Seeing a Flow Changes It

    Adding dye to a flow is a common technique for visualization. After all, many flows in fluids like air and water are invisible to our bare eyes. But for some classes of flows — especially those driven by variations in surface tension — adding dye can have unforeseen effects. A recent study shows how true this is for bursting Marangoni droplets, where evaporation and alcohol concentration can pull a water-alcohol droplet apart.

    Composite series of photos showing the effect of increased dye concentration on Marangoni bursting.
    As more dye is added to the experiment, the daughter droplets grow larger and more ligaments form. In the first three images, a dashed black line has been added to show the location of the droplet rim.

    Without dye, it’s nearly impossible to see the phenomenon since the refractive indices of the two component liquids are so close. But the researchers found that, as they added more methyl blue dye, it did more than increase the contrast in the flow. It changed the flow, making the droplets larger and creating ligaments between them. They believe that the dye’s own surface tension creates local gradients that alter the flow. It’s a reminder that experimentalists have to be careful to consider how our efforts to measure and observe a flow can change it. (Image credit: top – The Lutetium Project, bottom – C. Seyfert and A. Marin with modification; research credit: C. Seyfert and A. Marin)