Gotowe bibliografie tematyczne / Viewing photographs

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji

Gotowa bibliografia na temat „Viewing photographs”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Viewing photographs"

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Blade, Richard A. "Stereographic Photography on the Computer." International Journal of Virtual Reality 1, no. 2 (January 1, 1995): 40–42. http://dx.doi.org/10.20870/ijvr.1995.1.2.2605.

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The author provides a semi-technical review of the principles of stereographic photography usable without special equipment and discusses the current methods of viewing stereo photographs as computer images. Included is a discussion of recently developed commercial software called Wireframe Express that allows two or more photographic images of an object, taken at different but arbitrary positions, to be joined into a composite 3D model for stereographic viewing from any angle. Among other things, this recent technology allows the virtual reality simulation of historic buildings and rooms to b
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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.

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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate e
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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.

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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests
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Huber, J. W., and I. R. L. Davies. "Perception of Slope in Photographs." Perception 26, no. 1_suppl (August 1997): 179. http://dx.doi.org/10.1068/v970323.

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Perceptions of characteristics of space such as slope, distance, and depth are frequently inaccurate, both in the real world and in pictures. We carried out experiments to study factors that influence the accuracy of perceived slope in photographs. Slopes varied in angle from 5° to 45° inclinations against the horizontal, and in the information available to the observer (outline shape and texture characteristics). We found that perceived slope is correlated with real slope ( r=0.99), but that observers consistently overestimate slope. The latter depends not only on the available information, b
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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identifi
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Lomax, Helen, and Janet Fink. "Interpreting Images of Motherhood: The Contexts and Dynamics of Collective Viewing." Sociological Research Online 15, no. 3 (August 2010): 26–44. http://dx.doi.org/10.5153/sro.2157.

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Our research is concerned with cultural representations of birth and mothering and, as part of this, we are engaged with debates concerning competing theoretical and methodological approaches to the analysis of visual images. In particular we are interested in how meanings of an image are reflexively produced, managed and negotiated. That is, whether and to what extent interpretation is influenced by personal experience, emotion and memory; the ways in which the context of viewing may mediate meaning; and how the relationship between researcher and research subject may shape the interpretative
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Kourtzi, Zoe, and Nancy Kanwisher. "Activation in Human MT/MST by Static Images with Implied Motion." Journal of Cognitive Neuroscience 12, no. 1 (January 2000): 48–55. http://dx.doi.org/10.1162/08989290051137594.

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A still photograph of an object in motion may convey dynamic information about the position of the object immediately before and after the photograph was taken (implied motion). Medial temporal/medial superior temporal cortex (MT/MST) is one of the main brain regions engaged in the perceptual analysis of visual motion. In two experiments we examined whether MT/MST is also involved in representing implied motion from static images. We found stronger functional magnetic resonance imaging (fMRI) activation within MT/MST during viewing of static photographs with implied motion compared to viewing
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Yang, Xiaolan. "The Role of Photographs in Online Peer-to-Peer Lending Behavior." Social Behavior and Personality: an international journal 42, no. 3 (April 15, 2014): 445–52. http://dx.doi.org/10.2224/sbp.2014.42.3.445.

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My purpose in this study was to evaluate the role of photographs in online peer-to-peer lending behavior. I recruited 92 college students to rate trustworthiness or emotion by viewing the photographs of borrowers on a peer-to-peer lending platform. Following this, I showed 209 college students an advertisement with a photograph and asked how much money they would be willing to lend the person in the photograph. The lending amount was higher for advertisements with a photograph rated trustworthy than for a photograph rated untrustworthy, and higher for advertisements with a photograph rated hap
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Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.

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The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the
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Grogan, Sarah, Zoe Williams, and Mark Conner. "The Effects of Viewing Same-Gender Photographic Models on Body-Esteem." Psychology of Women Quarterly 20, no. 4 (December 1996): 569–75. http://dx.doi.org/10.1111/j.1471-6402.1996.tb00322.x.

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This study was designed to investigate the effects of viewing same-gender photographic models on women and men's body-esteem. Women and men completed body-esteem scales before and after viewing pictures of same-gender photographic models (experimental group) or landscapes (control group). Women scored significantly lower than men on the body-esteem scale [ F(1, 90) = 58.5, p < .001]. Women [ F(1, 90) = 8.70, p < .05] and men [ F(1, 90) = 4.17, p < .05] in the experimental group showed a significant decrease in body-esteem after seeing the photographs and the controls showed no signifi
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Rozprawy doktorskie na temat "Viewing photographs"

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Dupont, de Dinechin Grégoire. "Towards comfortable virtual reality viewing of virtual environments created from photographs of the real world." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLM049.

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La reconstitution en réalité virtuelle de lieux, personnes, et objets réels ouvre la voie à de nombreux usages, tels que préserver et promouvoir des sites culturels, générer des avatars photoréalistes pour se retrouver virtuellement avec famille et amis à distance, ou encore recréer des lieux ou situations spécifiques à des fins thérapeutiques ou de formation. Tout cela s'appuie sur notre capacité à transformer des images du monde réel (photos et vidéos) en environnements 360° immersifs et objets 3D interactifs. Cependant, ces environnements virtuels à base d'images demeurent souvent imparfait
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Barone, Ryan. "Private viewing /." Online version of thesis, 2009. http://hdl.handle.net/1850/9746.

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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.

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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defi
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Littman, Victoria. "Decolonizing the look, viewing photographic images of the Civil Rights movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/NQ53708.pdf.

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Love, Johanna. "Dust : exploring the relationship between contemporary modes of viewing the printed photographic image." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5887/.

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This practice-based research project was initiated through and informed by my own fine art practice, and examines how dust may be used as a visual element within contemporary image making to generate new modes of viewing and making. The practical work brings together the digital photographic print (as a landscape image) and images of dust to question how digital photographic surface and drawings of dust may sit together within the same pictorial surface to open up new possibilities of reading space and bringing about new apprehensions of temporality and mortality. Theoretical and philosophical
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Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.

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Daine, Nicola A. "Heterosexuality at the movies : an auto-ethnographic study of young heterosexual women and their viewing experiences." Thesis, University of Gloucestershire, 2007. http://eprints.glos.ac.uk/1334/.

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This thesis takes a qualitative, auto-ethnographic approach to interrogating heterosexuality via a series of in-depth interviews with young women about their experiences of watching films. I have adopted a feminist approach to the research, locating myself within the project via a series of extracts from research diaries I have kept during the project, reflecting my own position as 'researched' as well as 'researcher'. This auto-ethnographic approach draws on the work of previous theorists researching women's lives from a feminist perspective (e.g. Skeggs: 1995, 1997; Stanley and Wise: 1990, 1
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Procházka, Václav. "Efektivní tagování fotografií." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-413348.

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This thesis investigates efficient manual image tagging approaches. It specifically focuses on organising images into clusters depending on their content, and thus on simplifying the selection of similar photos. Such selections may be efficiently tagged with common tags. The thesis investigates known techniques for visualisation of image collections according to the image content, together with dimensionality reduction methods. The most suitable methods are considered and evaluated. The thesis proposes a novel method for presenting image collections on 2D displays which combines a timeline wit
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Shirley, Anne. "What a photograph can and cannot do: a visual investigation into the social phenomena of photographs as a memory device." 2008. http://hdl.handle.net/10292/455.

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As members of extended families and genealogical lines we collect and view photographs to remember. By situating the present investigation within the context of archival family photographic collections, this research seeks to understand the assumptions surrounding the interplay between the practice of viewing photographs and notions of remembering. Historically, photography has been connected to concepts of stability and truth with photographic images acting as a metaphor for ‘real lived experiences’. When a photograph is viewed, whatever was present before the camera is verified. In his semin
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Wang, Jia-Hong, and 翁嘉鴻. "Achieving Floating 3D Image with Applying Integral Photography Theory in Oblique Viewing Angle." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/19481816671249812222.

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碩士<br>國立交通大學<br>光電工程研究所<br>103<br>With the rapid growth of the three-dimensional (3D) stereoscopic image technology, the various application and potential has become more and more important in our modern life. However, comparing with the “pop out” 3D image in the direct viewing angle presented by the flat panel display and movie, the fantastic “floating” 3D image which allows people to perceive and interact with in the sci-fi movie is more and more attractive. Therefore, the floating 3D image is undoubtedly the brand new landmark of the display technology in the next generation. To achieve the
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Książki na temat "Viewing photographs"

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Through the viewing glass: Reflections on photographing children. New York: Atria Books, 2004.

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Magic 3D: Discover the revolutionary world of photographic free-viewing. London: Stanley Paul, 1995.

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Perspectives: Modes of viewing and knowing in nineteenth-century England. Columbus: Ohio State University Press, 2009.

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Library, Women Artists Slide, ed. A second viewing: An exhibition of suffragette banners, posters and photographs. London: The Women Artists Slide Library, 1986.

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Lambert, Phyllis. Viewing Olmsted: Photographs by Robert Burley, Lee Friedlander, and Geoffrey James. The MIT Press, 1997.

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Viewing An American Ethnic Community Rochester New York Italians In Photographs. University Press of America, 2009.

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Photographs, part I: The properties of the J. Paul Getty Museum ... : [auction] Thursday, 5 October 1995 ... : viewing, Saturday, 30 September .. New York: Christie's, 1995.

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Keane, Adrian, and Paul McKeown. 9. Visual and voice identification. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198811855.003.0009.

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This chapter considers the risk of mistaken identification, and the law and procedure relating to evidence of visual and voice identification. In respect of evidence of visual identification, the chapter addresses: the Turnbull guidelines, including when a judge should stop a case and the direction to be given to the jury; visual recognition, including recognition by the jury themselves from a film, photograph or other image; evidence of analysis of films, photographs or other images; pre-trial procedure, including procedure relating to recognition by a witness from viewing films, photographs,
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1957-, Burley Robert, Friedlander Lee, James Geoffrey 1942-, Lambert Phyllis, and Centre canadian d'architecture, eds. Viewing Olmsted. Montréal: Canadian Centre for Architecture, 1996.

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FRAMES: VIEWING FINNISH CONTEMPORARY PHOTOGRAPHY. Frame, 1998.

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Części książek na temat "Viewing photographs"

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Chen, Jun-Liang, Si-Jing Chen, and Chih-Long Lin. "The Impact of an Actual Visit and Photograph Watching of an Exhibition on Visitor Viewing Experience." In Cross-Cultural Design. Cultural Differences in Everyday Life, 269–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39137-8_30.

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Orvell, Miles. "Atomic War and the Destructive Sublime." In Empire of Ruins, 149–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0006.

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This chapter on atomic ruins begins with a discussion of the bomb itself and the iconic form of the mushroom cloud, which quickly emerged from photographs of the explosion. The photography of nuclear war is considered in the work of Japanese photographers like Yamahata and Matsushige, whose horrifying images of the Hiroshima and Nagasaki blasts eventually were shown in the pages of Life magazine after the ban was lifted. Edward Steichen’s celebrated Family of Man exhibition at the Museum of Modern Art is considered in terms of the image of the hydrogen bomb and its later disappearance from the book version of the show. The post-atomic response of artists like Isozaki is examined, along with American photographers who pictured the Southwest US testing grounds in stunning photographs that explored ways of imaging the unimaginable. How beautiful was the bomb itself? Michael Light’s collection of imagery and related museum exhibitions have shown us the ambiguities of viewing the Destructive Sublime.
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"On Viewing Crime Photographs: The Sleep of Reason." In Evidence and the Archive, 125–28. Routledge, 2018. http://dx.doi.org/10.4324/9781315455570-13.

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Jutz, Gabriele. "Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame." In Cinematic Intermediality, 136–49. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0010.

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This chapter discusses filmic and photographic works that focus on isolated film frames, whether extracted from the continuum of a film strip, as in Slide Movie (Gebhard Sengmüller, 2007) and Und ich blieb stehen. (Thames, London) (Susanne Miggitsch, 2017), or captured photographically from a book or a viewing table, as in Motion Picture (La Sortie des Ouvriers de l’Usine Lumière à Lyon) (Peter Tscherkassky, 1984/2008) and Précis de decomposition (Éric Rondepierre, 1993–1999). Usually rendered invisible during projection, a single frame represents the ‘blind spot’ of cinematography. An explicitly ideological perspective was offered in 1971 by French film critic Sylvie Pierre Ulmann, who distinguished between the use of extracted frames (or ‘photograms’) and idealized still photographs produced on a film set. These ‘parasitic photographs’ no longer bear traces of the material state of a given film copy; they look flawless and perfectly meet ideological requirements of ‘legibility’ and ‘beauty’. The examples presented here bypass ideological claims, because, on the one hand, their dissected frames belong to the same order as the film they are taken from, and, on the other, they result in varying forms of ‘illegibility’.
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Hanna, Erika. "Clasped Hands and Clear Complexions." In Snapshot Stories, 58–85. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0003.

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Chapter 2 explores the portrait studio, which defined many Irish people’s experience of family photography for much of the twentieth century. Familial milestones were commemorated by photographs of people in their Sunday best posing stiltedly in front of painted backdrops depicting domestic anywhere-spaces. In particular, it examines two studio portraitists in Waterford in the mid-twentieth century, run by the Poole family and Annie Brophy. Poole catered to the wealthier rural elite, while Brophy’s clientele were predominantly the shop owners of Waterford and small farmers of the district. These photographers were united in how they recorded the rhythms of town and country in a way which remained markedly consistent, through these portraits creating an image of a respectability—that profoundly visual quality—in rural Ireland. The repeated patterned similarities between images, in particular, the recurrence of objects and clothes, shows how portraitists kept props, and how those within the frame participated in the restaging of their lives in front of the lens for display both within the home and to circulate amongst extended family. Moreover, close examination of the marks on the negative reveals how blemishes were removed, hair was thickened, and skin was smoothed, and shows how the photography was manipulated in order to create appropriate families for display and viewing. An exploration of the construction of the studio portrait provides a way to explore how social norms were understood, and how the families sitting for these photographs aspired to reach these standards.
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"“Documents, vues et reproductions” Parisian photographs as administrative viewing tool." In Die Stadt und ihre Bildmedien, 73–91. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846763193_005.

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Keane, Adrian, and Paul McKeown. "9. Visual and voice identification." In The Modern Law of Evidence, 276–300. Oxford University Press, 2020. http://dx.doi.org/10.1093/he/9780198848486.003.0009.

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This chapter considers the risk of mistaken identification, and the law and procedure relating to evidence of visual and voice identification. In respect of evidence of visual identification, the chapter addresses: the Turnbull guidelines, including when a judge should stop a case and the direction to be given to the jury; visual recognition, including recognition by the jury themselves from a film, photograph, or other image; evidence of analysis of films, photographs, or other images; pre-trial procedure, including procedure relating to recognition by a witness from viewing films, photographs, either formally or informally; and admissibility where there have been breaches of pre-trial procedure. In respect of evidence of voice identification, the chapter addresses: pre -trial procedure; voice comparison by the jury with the assistance of experts or lay listeners; and the warning to be given to the jury (essentially an adaption of the Turnbull warning, but with particular focus on the factors which might affect the reliability of voice identification).
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Guégan, Xavier. "Colonial Photography." In Postcolonial Realms of Memory, 360–70. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0034.

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The succession of political regimes in post-1848 France was experienced in similar ways in post-conquest Algeria. The political, social and cultural ideologies that emerged during this period were mirrored in the North African départements, and therefore it is perhaps not surprising that connected events happened simultaneously in the métropole and Algeria. It was not only through its common events and political principles that the Algerian territories became French, but undoubtedly also as a result of the emergence of new cultural media and cultural political attitudes. Taking and viewing photographs were aligned with the new French paradigm of the modern Nation, its identity construction, and interconnection with Algeria. Up to the beginning of World War I there were two moments that connected the photographic visual imagery of Algeria as part of the creation of lieux de mémoire within the Second Empire and Third Republic regimes; the 1850s with its ‘cataloguing’ of the newly established French Algeria and the 1880s-1900s with its portraiture of ‘consumptions and ideologies’ of a French Republican Algeria.
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Denny, Margaret. "Viewing and Display." In The Handbook of Photography Studies, 456–75. Routledge, 2020. http://dx.doi.org/10.4324/9781003103974-34.

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"About the cover photograph." In Re-Viewing Resistance in Namibian History, 317–18. University of Namibia Press, 2015. http://dx.doi.org/10.2307/j.ctvh8qxrv.27.

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Streszczenia konferencji na temat "Viewing photographs"

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Wirtz, Andreas, Florian Jung, Matthias Noll, Anqi Wang, and Stefan Wesarg. "Automatic model-based 3-D reconstruction of the teeth from five photographs with predefined viewing directions." In Image Processing, edited by Bennett A. Landman and Ivana Išgum. SPIE, 2021. http://dx.doi.org/10.1117/12.2582253.

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Nguyen, C. V., and J. C. Wells. "Investigation of Near-Wall Coherent Structures by Stereo Particle Image Velocimetry." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45202.

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We consider issues of camera calibration and measurement validation for a stereo P.I.V. system designed for high-resolution measurements at 15 Hz in a cross-stream plane of an open channel flow, in which Willert’s “front-and-rear” stereo camera arrangement is applied with a new three-dimensional calibration target. The most commonly used mathematical expression of the pinhole camera model contains eleven constants, even though an ideal camera, i.e. one free from lens aberrations and with a uniform and rectilinear distribution of pixels on the sensor face, is characterized by only seven constan
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Vinod-Buchinger, Aditya, and Sam Griffiths. "Spatial cultures of Soho, London. Exploring the evolution of space, culture and society of London's infamous cultural quarter." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/sxol5829.

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Space as affording social interaction is highly debated subject among various epistemic disciplines. This research contributes to the discussion by shedding light on urban culture and community organisation in spatialised ways. Providing a case of London’s famous cultural quarter, Soho, the research investigates the physical and cultural representation of the neighbourhood and relates it to the evolving socio-spatial logic of the area. Utilising analytical methods of space syntax and its network graph theories that are based on the human perception of space, the research narrates the evolution
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Diacon, Liliana Daniela, Luminiţa Mirela Lăzărescu, Vasile Efros, and Cristian Ciubotaru. "Virtual Tourism during the Pandemic. Comparative Study between Suceava and Maramureş Counties." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/47.

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The measures taken by the states of the world to limit the disease with the Sars Cov 2 virus imposed, in the first phase of the pandemic, numerous restrictions on mobility and physical distance, a situation that significantly changed the way tourism is carried out worldwide. In this context, some typologies of tourist activities were highlighted, which before the pandemic represented only a small segment of tourist flows and economic benefits. The natural areas with dispersed tourist objectives, with low population densities, the local villages, have entered the sphere of interest of some soci
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Fetterly, Kenneth A., and Ehsan Samei. "Photographic measurement of the effects of viewing angle on the luminance and contrast of liquid crystal displays." In Medical Imaging, edited by Robert L. Galloway, Jr. and Kevin R. Cleary. SPIE, 2005. http://dx.doi.org/10.1117/12.595772.

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Bentley, Callan, Robin Rohrback, Gene Cooper, and Alan Pitts. "TELLING NORTH AMERICA'S GEOLOGIC STORY WITH ULTRAHIGH RESOLUTION GIGAPAN PHOTOGRAPHY, THE GIGAMACRO VIEWING PLATFORM, 3D MODELS, AND GOOGLE EARTH." In Joint 70th Annual Rocky Mountain GSA Section / 114th Annual Cordilleran GSA Section Meeting - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018rm-313936.

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Weiland, Chris, and Pavlos Vlachos. "The Effect of Mach Number and Aspect Ratio on the Interfacial Characteristics of a Submerged Rectangular Gas Jet." In ASME 2010 3rd Joint US-European Fluids Engineering Summer Meeting collocated with 8th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-31030.

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Gas jets formed by rectangular nozzles submerged in water were studied using a non-invasive photographic technique which allowed simultaneous measurements of the entire interface. Three aspect ratios were considered corresponding to 2, 10, and 20 with all nozzles sharing a common width. As far as the authors know this study represents the first time the effects of aspect ratio and Mach number on a submerged gas jet have been studied. The results indicate aspect ratio and Mach number play a large role in dictating both the unsteadiness of the interface and the penetration of the gas jet into th
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