Geometry‐coupled reactive fluid transport at the fracture scale: application to CO2 geologic storage

Water acidification follows CO₂ injection and leads to reactive fluid transport through pores and rock fractures, with potential implications to reservoirs and wells in CO₂ geologic storage and enhanced oil recovery. Kinetic rate laws for dissolution reactions in calcite and anorthite are combined with the Navier‐Stokes law and advection–diffusion transport to perform geometry‐coupled numerical simulations in order to study the evolution of chemical reactions, species concentration, and fracture morphology. Results are summarized as a function of two dimensionless parameters: the Damköhler number Da which is the ratio between advection and reaction times, and the transverse Peclet number Pe defined as the ratio between the time for diffusion across the fracture and the time for advection along the fracture. Reactant species are readily consumed near the inlet in a carbonate reservoir when the flow velocity is low (low transverse Peclet number and Da > 10^?1). At high flow velocities, diffusion fails to homogenize the concentration field across the fracture (high transverse Peclet number Pe > 10^?1). When the reaction rate is low as in anorthite reservoirs (Da < 10^?1), reactant species are more readily transported toward the outlet. At a given Peclet number, a lower Damköhler number causes the flow channel to experience a more uniform aperture enlargement along the length of the fracture. When the length‐to‐aperture ratio is sufficiently large, say l/d > 30, the system response resembles the solution for 1D reactive fluid transport. A decreased length‐to‐aperture ratio slows the diffusive transport of reactant species to the mineral fracture surface, and analyses of fracture networks must take into consideration both the length and slenderness of individual fractures in addition to Pe and Da numbers.     

花山岩画岩体开裂机理统计分析

岩体开裂是危害花山岩画最严重的病害,会对岩画造成毁灭性的破坏。为制定有效的灌浆加固措施,在对岩体开裂成因及影响因素分析和现场调查的基础上,做了统计分析。结果表明:1)岩画区共有418处开裂病害,开裂岩体以风化开裂体为主,占69%,且构造开裂体的厚度大于风化开裂体;2)构造开裂体的钙质、钙质与泥质共同充填比例为78%,高于风化开裂体的52%;3)构造裂隙和风化裂隙的张开度均以小于6mm为主,可知当张开度大于6mm时,开裂体将发生剥离掉块;4)风化开裂体的危险性I级、Ⅱ级所占的比例为57%和22%,小于构造开裂体的64%和27%,但风化开裂体多发育于岩画存在部位,易出现开裂和掉块,破坏更大;5)构造开裂体的厚度较大、裂隙连通性好、危险等级高,而风化开裂体厚度较薄、裂隙贯通性差、危险等级较高。本研究结果可为开裂岩画岩体灌浆加固及后期修复提供理论依据。     

Charles Gleyre's ‘Les Romains’: Classics and nationalism in Swiss art

This article looks at an example of how classical antiquity was used by a nineteenth‐century Swiss painter and explores the national dimension of one of his works. Through an examination of the painting, Les Romains passant sous le joug, its Swiss artist Charles Gleyre and his commission from the canton of Vaud, it will elaborate an example of how a classical legend was transformed in an artistic representation of the nation.     

A Multidisciplinary Study of a Group of Post‐Classical Cameos from the National Museum in Krakow,Poland

A group of 18 cameos dated from the 16th to 19th centuries (bearing motifs of Roman emperors and female members of their families) from the Constantine Schmidt‐Ci??yński collection was investigated with gemmological analyses, supported by non‐destructive mineralogical methods such as X‐ray diffraction (XRD) and micro‐Raman spectroscopy (RS) to ascertain the material used. Although there is no scientific method to date the specimens precisely, the mineralogical data supported by archaeological analyses enabled the estimation of the possible timing of the manufacture of the gems. As a result, the cameos were divided into four basic chronological groups: (1) Renaissance, (2) Baroque, (3) uncertain and (4) Classical and Neoclassical.     

Engineering Art and Telling Tales: Anish Kapoor at the Royal Academy

Anish Kapoor has become well known for his enormous architectural installations and for his use of vibrant colour. Much of his work depends critically on good engineering and he has collaborated closely with engineers for many years. I discuss several of Kapoor's large works, approaching them from an engineer's perspective. I also show how Kapoor weaves layers of narrative in some of his work: so that a naïve understanding of a piece's construction is a falsehood layered over the true engineering solution. The story seems initially obvious to the audience but a little digging, a little thought, reveals that it is a fiction and that reality is something other.     

Exploring the Coroplasts’ ‘Techne’ in Greek Architectural Terracottas from Sicily: an Archaeometric Approach

The study intends to support the archaeological questions about the technological choices related to the manufacturing of an important class of archaic artefacts—the fictile roof revetments of the temples—in the Greek colonies of Sicily, unveiling the possible relations among raw materials, decorative and firing techniques and functionality of the architectural terracottas. By applying a multidisciplinary and a multimethodological archaeometric approach, the aforementioned questions have been addressed, explaining the technological expedients employed by the coroplasts in the manufacturing of the roof revetments, and suggesting interesting mobility schemes of both raw materials and ‘techne’ (know‐how) throughout the island.     

试论博物馆艺术授权的结构模式与价值链

博物馆艺术授权是以博物馆藏品等所体现的文化艺术内涵为依托的授权标的物知识产权的授权体系,其发展路径和结构形式即为博物馆艺术授权的结构模式,分为直接授权模式、委托授权模式和综合授权模式三种。这一结构模式决定了其价值链的形成过程和最终形态,总体表现为由若干点、线、面组成的伞状结构的价值网络。     

Competition or exhibition? The Olympic arts and cultural policy rhetoric

Though they are widely forgotten today, the modern Olympic Games once offered competitive medals for art. This tradition, which lasted through the seven summer Games held from 1912 to 1948, found artists competing for gold much as athletes do now. These artists represented their nation in judged competitive events showcasing artistic works. In its initial form, the ‘pentathlon of the muses,’ as it was called, included competitive events in Architecture, Musical Composition, Sculpture, Painting, and Literature. This paper considers the history of these arts competitions and their eventual demise as a study in cultural policy, arguing that no understanding of cultural policy is sufficient unless it considers the rhetorical factors that contribute to its formation. Without abandoning the Foucauldian backbone of cultural-policy studies, this argument makes an interdisciplinary plea to open cultural policy studies to the field of rhetorical scholarship, which it has almost wholly neglected to date.     

Leibniz on Diplomacy and Discernible Art

Abstract

This article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles (objects with the same properties are identical) inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld (objects with the same properties may or may not be art). Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations (IR) theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day.