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Double Exposure examines the role of film in shaping social psychology’s landmark postwar experiments. We are told that most of us will inflict electric shocks on a fellow citizen when ordered to do so. Act as a brutal prison guard when we put on a uniform. Walk on by when we see a stranger in need. But there is more to the story. Documentaries that investigators claimed as evidence were central to capturing the public imagination. Did they provide an alibi for twentieth century humanity? Examining the dramaturgy, staging and filming of these experiments, including Milgram's Obedience Experiments, the Stanford Prison Experiment and many more, Double Exposure recovers a new set of narratives.

Flow field, atomization field characteristics, and liquid film breakup behaviors of a pre-filming air-blast atomizer are investigated using PIV (Particle Imaging Velocimetry), PLIF (Fuel Planar Laser Induced Fluorescence), and high-speed shadowgraph technique under different air mass rates (ma), fuel mass rates (mf), and fuel temperatures (T). The influence of structures constituting the pre-filming air-blast atomizer on the flow field organization and atomization field organization are investigated too. The results illustrate that air-blast atomizer structures have a great difference on the flow fields and atomization fields. Air-blast atomizer structures have great differences on the liquid film breakup processes too. Flow field structure and atomization structure are mainly determined by the swirler structure, whereas there are seldom influences of air mass rate and fuel mass rate on them. The results of the mechanisms of flow field organization and atomization field organization in this study can be used to support the design of new low-emission combustor.

AbstractThe ignition temperatures and effective activation energies of mixtures of 5–40% H2–air over metallic Rh and stoichiometric mixtures (30–70% H2 + 70–30% C2H6 (and C2H4)) + air over metallic Rh and Pd are experimentally determined at pressures of 1 to 2 atm over the temperature range 20–300°C. It is shown that, for the investigated mixtures, metallic Rh is more effective than Pd, and the effective activation energies of ignition depend not only on the nature of the catalyst but also on the chemical nature of the hydrocarbon in the mixture. The data obtained indicate that catalytic ignition is initiated only by an exothermic surface reaction of hydrogen oxidation on the catalyst; the hydrocarbon on the surface is consumed in reactions involving intermediate products of hydrogen oxidation that do not lead to chain branching; and then combustion propagates into the volume. It is established that in an untreated reactor, the ignition temperature of the mixture of 70% H2 + 30% methane with air above the surface of palladium at a pressure of 1.75 atm is 310°C; and above the surface of rhodium, 105°C. In a reactor treated with ignition, the ignition temperature of a mixture of 70% H2 + 30% methane with air above the surface of palladium at a pressure of 1.75 atm is 270°C; and above the surface of rhodium, 62°C. The result obtained indicates the potential of using a rhodium catalyst to significantly lower the ignition temperature of fuels based on methane and hydrogen mixtures.

AbstractDespite numerous experimental works and predictions, the mechanistic description of the vapor (steam) explosion process remains incomplete. Many poorly resolved questions concern the phase of spontaneous triggering of the fine fragmentation of a particle and a vapor explosion starting itself. In this paper the experimental data on spontaneous triggering of cold water flashing on a hot NaCl salt melt droplet and excitation by this primary explosion of the similar phenomenon on the neighboring melt droplet (droplets) are described and certain characteristics of the process are given.

The research area of this article lies at the junction of the instrument-making industry and gas dynamics and covers a scope of problems, related to designing the optimal software–hardware architecture for processing data from physical experiments. The work concerns experiments on investigations of highspeed continuous spin detonation processes. The velocity of the detonation wave exceeds the velocity of sound in the medium by dozens of times. A photosensitive line that supports sufficiently high velocities is quite suitable for the optimal video filming of similar processes. However, for working with the resultant data stream it is required to design a software–hardware complex equipped with a largevolume random access memory that implements the controller of the available memory. For this purpose, a device allowing an optimal solution of the formulated problems was created. The paper describes turning points in designing the unit and the experimental results obtained during the final adjustment of the unit.

The results of an experimental investigation of the self-oscillation regimes of liquid jet outflow into a plane channel with air injection in its dead end are presented. The effect of the volume of the cavity, or the air cushion, and its thickness (or channel width) on the flow is studied on a wide range of the gas injection rate and the liquid outflow velocity. The self-oscillation flow regimes are realized at a constant pressure of water in the supply tank and a constant mass flow rate of the air injected into the cushion. With increase in the air injection rate the self-oscillation regime realized at lower injection intensities is replaced by a higher-frequency regime. High-speed videofilming shows that the difference from the low-frequency regime consists in the absence of the direct interaction between the out flowing jet and the channel wall. It is found that in both low-frequency and high-frequency regimes the self-oscillation frequency and amplitude are independent of the cushion thickness but the moment of the regime changeover is determined by this parameter. It is established that there exists a threshold value of the cavity volume, behind which the low-frequency regime does not occur at any air injection rates.

How can we stimulate sustainable consumption in education? The presented study examined whether making a topical short film about sustainable consumption subsequently influenced personal behavior. A field experiment was conducted at three types of educational institutions in Germany (university, secondary school, vocational school). The study used three content formats - Knowledge, Do-yourself, Commitment - and tested two measures for reported sustainable consumption behavior - (personal) preferences and (public) involvement. The results showed a general effect of filmmaking on involvement (political commitment). The Do-yourself content format, in which participants' own consumption patterns were documented, influenced both types of behavior. No behavioral differences were found between educational institutions. The discussion underlines the structural role of institutions such as schools, which mediate between the private and public spheres.

It is thus notwithstanding their different ideas about how to negotiate the political pitfalls of the communicative operations of contemporary German neoliberal control society that Graf, Petzold, and Hochhäusler collaborate across the obvious chasms that mark the aesthetic, narrative, and formal differences between their films in an effort to use the cinema as a means to intervene in a dissensual manner in the political sphere of postunified Germany. And their political interventions are precisely aesthetic in nature, and in turn their aesthetic choices enact a politics: for although nearly dia- metrically opposed, both positions labor to make language stutter, as Petzold, clearly referencing [Gilles Deleuze], suggests in the Mailwechsel exchange, when diagnosing, with reference to an event both he and Graf had attended, the desire to speak differently, to \"stutter or what have you,\" precisely because, as he later suggests, the task today is first of all \"once again to see something, to hear.\"28 To make language stutter-to become a stranger in one's own language-this seems not the worst way of formulating an imperative that one could argue forms a platform for what seem otherwise rather different aesthetic preferences, ones that might even strike us as incommensurable. That such apparent incommensurability does not have to be an impediment is evident from the conflictual nature of the Mailwechsel. Indeed, at various moments in their discussion the interlocutors affirm the need for their discourse to maintain and even intensify its agonistic quality, lest it end up performing the very (false) resolution of an antagonism that sells ideology for politics (in the Rancièrean sense articulated above): When, for example, Graf begins one of his e-mails by asking his interlocutors whether \"it might be possible that we currently move in circles\" before asserting that it is insufficient merely to \"exchange preferences,\" since notwithstanding their illus- trative character the stating of which would merely prevent actual \"arguments\" from piercing each other and thus lead to the fortification of individually held positions, Hochhäusler, a mere two hours later, replies by challenging Graf that as \"attacker\" he would have \"to get tougher.\"29 And that this welcoming of agonism-its affirma- tion by all three directors-wasn't merely for show is embodied by the subsequent transformation of their theoretical discussion into the Dreileben films and is further substantiated by the expressed desire on the directors' part to keep working with each other beyond this unique televisual experiment. Word has it that they are consider- ing extending their discursive and practical collaboration by getting another trilogy off the ground-this time one conceived as a three part series rather than as three relatively independent entries in a constellative attempt to approach not only the same narrative setup but also the same political problem. Should it come to this (it may not, given these directors' busy production schedules), then I think we can be assured that Graf, Petzold, and Hochhäusler will be approaching the task with the same rigorously agonistic spirit that defines both their Mailwechsel exchange and the relationship of the three films they ended up making as a means to explore how, by \"expanding [contemporary German cinema's] narrative possibilities,\"30 their strongly felt disagreement with the state of contemporary Germany and German film might most productively be proffered so that the current neoliberal ordering of the sensible will be redistributed. I don't think it is a stretch to postulate that this fundamental political position is one shared by Graf, Petzold, and Hochhäusler, regardless of whether or not they would put matters in Rancièrean terms. Indeed, this sense of agonism qua dissen- sus-rather than as antagonism, the internal hostility of which ultimately is supposed to be overcome through a process of dialectical consensus building-is all over the Streitgespräch (debate) the directors conducted through an e-mail exchange that ultimately led them to concoct the idea for the Dreileben project. Indeed, as Graf explained in a conversation with Christoph Wahl, one of the most difficult aspects of their conversation was the need to develop the right kind of rapport between the interlocutors so that their conversation would neither become little more than an exchange of a mutual admiration society nor deteriorate into unproductive antago- nism.10 This is perhaps all the more remarkable if we consider the initial impetus for the Mailwechsel that effected the production of what may be the most important document discussing matters of film aesthetics, film politics, and film production in Germany in a generation. For the idea for the Mailwechsel emerged from the fact that Graf was not only unable but also unwilling to attend a symposium on the \"New Berlin School\" that took place on September 29, 2006 in Berlin as part of the celebration of the 40th anniversary of the German Film and Television Academy Berlin (Deutsche Film- und Fernsehakademie Berlin or dffb). Contrary to what most commentators claim, the ensuing e-mail exchange was first published not in Revolver's 16th issue but actually by the dffb itself in lieu of Graf's actual participation in the proceedings, some nine months prior to the exchange's appearance in the Berlin School's Hausorgan.11 The dffb publication's preface reports that Graf stayed away from the symposium not only due to lack of time but also because of his reservations (\"Einwände\") about the Berlin School-objections that he had already publically voiced prior to this event.12 In essence, Graf did not feel like crashing the Berlin School party that appeared to be designed to celebrate the very kind of cinema, and the kind of film aesthetic, that he has spent a lifetime, if not combatting then at least criticizing, both in his copious writings on the history of cinema and with his own films in which he celebrates the cinema as a medium rooted in genres such as the melodrama, the horror film, the thriller, and of course most importantly the policier. As Graf, addressing Petzold and Hochhäusler, puts the matter in his e-mail from August 15, 2006, he felt unsure what his contribution to the panel could have been given that he \"had problems precisely with those characteristics of these films that one could designate as, so to speak, unified, even 'wave'-like characteristics. A certain clarity of the images, a brittleness of the narration, etc.\"13

The problem of the fall of a fluid droplet onto the free surface of another fluid filling a cuvette with the bottom inclined to the horizon is experimentally solved.

The formation of wave structures on an unstable (in the Rayleigh-Taylor criterion) boundary of a plane cavity is studied using high-speed video filming. It is shown that at the head of the cavity a quasiperiodic wave regime develops, with a mean wavelength similar to that obtained from a linear stability analysis for the cavity boundary. Observations of the initial-regime breakdown show that its scenarios are similar to the development of subharmonic instability in the one-mode regime. The waves are classified with respect to the wave development rate. It is shown that the large-wave amplitude growth law is on average closely approximated by a quadratic parabola, with the total gas entrainment from the cavity being proportional to the square of the cavity length. The existence of a scaling effect is detected, which in the case considered reduces mainly to a dependence of the gas entrainment coefficient on the Weber number. It is shown that with decrease in the Weber number the gas entrainment coefficient may significantly increase.