Top Hats Research Articles

An Electrically Small, Vertically Polarized Ultrawideband Antenna With Monopole-Like Radiation Characteristics

We present an electrically small, low-profile, ultrawideband (UWB) antenna with monopole-like radiation characteristics. The antenna is composed of a monopole bow-tie antenna reactively loaded with a cascaded system of top hats, two shorting arms, and a ring slot cut into the ground plane. The reactive loads are used to introduce two additional resonances close to each other and below the lowest resonant frequency of the bow-tie. This results in a very compact, ultrawideband antenna that utilizes the available volume inside the Chu's sphere rather efficiently. At the lowest frequency of operation, the proposed antenna has electrical dimensions of 0.085λ <sub xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">min</sub> ×0.189λ <sub xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">min</sub> ×0.189λ <sub xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">min</sub> , where λ <sub xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">min</sub> is the free-space wavelength. The antenna demonstrates a VSWR of 2.2:1 and consistent monopole-like, omnidirectional radiation patterns over a 5.5:1 bandwidth. A prototype of the antenna, which operates in the 0.6-3.2-GHz band, is fabricated and characterized using a multiprobe spherical near-field system.

Mr. Tiger Goes Wild by Peter Brown (review)

Reviewed by: Mr. Tiger Goes Wild by Peter Brown Thaddeus Andracki Brown, Peter . Mr. Tiger Goes Wild; written and illus. by Peter Brown. Little, 2013. 42p. ISBN 978-0-316-20063-9 $18.00 R 4-8 yrs. Mr. Tiger is tired of his prim world of biped animals in petticoats and top hats, and he comes up with a wild idea: he'll walk on all fours. After gallivanting about for a few days, much to everyone else's dismay, he decides to go a step further and shed his suit. This is too much for the community, which insists he leave. Mr. Tiger lives in the jungle for some time, only to realize that he misses his friends, so he returns to the city, where he finds that he's instigated a revolution where he and everyone else feel free to be whomever they like. Although the story hits some familiar notes, Brown's illustrations—gouache, watercolor, ink, and pencil elements digitally assembled—ensure that it's divertingly and smartly told. The animals populating the early twentieth-century city are comically boxy and flat, with beady eyes and stoic expressions, while the wilder environments are whimsically textured with speckles and squiggles, as well as the thick feathering of gouache and the mottled richness of watercolor. Mr. Tiger's transition to all fours is visually narrated through iterations of his vertical figure progressively lower on the page while his eyes shiftily move about—followed by a striking full-spread of a grinning (still-suited) Mr. Tiger in an experimental four-legged pose. Use this as an entertaining contrast to Willems' Naked Mole Rat Gets Dressed (BCCB 2/09), or just brush up on your best snooty storytime accent and let the stodginess satire rip. [End Page 78] Copyright © 2013 The Board of Trustees of the University of Illinois

Really and Truly by E. Rivard and A. C. Delisle

Rivard, Emilie and Anne-Claire Delisle. Really and Truly. Toronto: Owlkids Books, 2011. Print. Really and Truly is a book that really and truly needed to be written. It is about a boy named Charlie, whose grandfather used to entertain him with wild stories. Now an “awful disease has eaten up his [grandfather’s] memory and his words. It has even swallowed up his smile”. The book is about Charlie’s antics as he tries to connect with the small parts that are left of his grandfather’s memory to get him to eat or laugh or even just smile. Anyone who has cared for a loved one who has suffered a memory loss disorder such as Alzheimer’s will identify with this book. The most valuable thing about this book is the fact that it is accepting of the disease. Charlie’s grandfather just is the way he is. Charlie is upbeat and positive about coping with his grandfather’s memory loss. He is determined to connect with his grandfather, so for each visit he thinks up wild stories like his grandfather used to tell him. Sometimes he’s a ninja, a great African hunter or a magician – whatever it takes to get a reaction. Charlie knows that his grandfather probably won’t know who he is the next time he sees him, but he knows that he can make him smile. It is painful to watch a loved one suffer progressive memory loss, and exhausting to try to provide care for them. Really and Truly affirms the value of working at communicating with elderly people who have lost their memories, even to the point where a smile is a victory and a reply is cause for celebration. It is about focusing not on what is lost, but on what remains. This is primarily a picture book, with small amounts of text appropriate for the age 4 and older target audience. The colour drawings usually take up the whole page with text printed on the facing page or overlaying background images. On almost every page, there are also small line drawings that represent the stories that Charlie tells. The drawings are of gazelles that leap across the pages, pirates that steal cookies and little bugs in top hats that sit on Charlie’s head or insert themselves into pictures. Children will enjoy looking for where they appear next. While this is designed as a children’s book, adult readers will also be uplifted by it. Really and Truly should be included in public and school libraries and should be read by anyone who has a family member who is suffering memory loss. Recommendation: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Count the Monkeys by Mac Barnett (review)

Reviewed by: Count the Monkeys by Mac Barnett Thaddeus Andracki Barnett, Mac . Count the Monkeys; illus. by Kevin Cornell. Disney Hyperion, 2013. [32p]. ISBN 978-1-4231-6065-6 $16.99 Reviewed from galleys R* 4-7 yrs. Counting the monkeys seems like a simple enough task. The project goes awry right from the start in this counting book, however: one king cobra has scared the monkeys off the page. Then two mongooses ("Or is that 2 mongeese?") chase the cobra away, and things only continue to go downhill from there, with nary a monkey in sight along the way. With an escalating series of silly characters to count—including swarms of bees, grandma beekeepers, and lumberjacks who just won't scram—Barnett guides his audience through the jungle to try to regain control of the story. After ten polka-dotted rhinoceroses with bagpipes and bad breath, though, we're out of pages, and there are zero monkeys in this book. Although audiences never get to count the monkeys, Barnett's adventure is a complete hoot in its absurdity, and, with its predictable structure but unpredictable content, it begs to be read aloud. The text is prescriptive, giving a suggested course of action before turning each page ("Give each lumberjack a high five and then turn the page"), helping novice storytime leaders engage their audiences, while the numeral and name of the countable elements are set off in big red print accessible to young count-o-philes. The acrylic illustrations set the boldly colored characters—cartoonishly drawn with softly painterly outlines—against muted jungle scenery. They also match the tone of the book, with even scary creatures like crocodiles sporting winsome grins, top hats, canes, and vests. This romp would work well as a base for a rainforest-themed storytime, but it might be even more fun paired with other books that run a standard script slantwise, like Kelly Bingham's Z Is for Moose (BCCB 4/12). [End Page 498] Copyright © 2013 The Board of Trustees of the University of Illinois

Before the Bride Really Wore Pink

Before the Bride Really Wore Pink

Dressing Up and Dressing Down: Costumes, Risky Play, Transgender, and Maritime English Canadian Charivari Paradoxes

Why should it seem appropriate to wear a wedding gown at some charivaris, cross dress and be masked at others, but have entirely unremarkable clothing at most? The author's question echoes one from anthropologist Edmund R. Leach. In “Time and False Noses,” he asks “Why should it seem appropriate to wear top hats at funerals, and false noses on birthdays and New Year's Eve?” For Leach, dressing both up and down, despite their symbolic differences–formality versus informality; seriousness versus play--demonstrates a contrast with everyday life. Formality and masquerade alike appear in some practices in Canada related to charivari, a rudimentary form of folk drama. But perhaps equally compelling is the fact that they need not be there, and in most cases do not manifest, as my opening query indicates. The author explores this somewhat paradoxical situation, drawing on interviews and questionnaire responses given by participants in the tradition.

Cosmeceutical sustainability: reaping rewards from the environment

Many cosmeceuticals look to the plant kingdom for unique ingredients to improve the appearance of the skin. These cosmeceuticals utilize the antioxidant, fragrance, preservative, moisturizing, or other benefits derived from the plant material to produce the skin care product. The search for cosmeceutical botanicals suitable for formulation has led to the gathering of flowers, seeds, roots, leaves, twigs, and berries from all over the world. These plant materials must be carefully selected based on the considerations listed in Table 1. Certain parts of the plant must be removed at the proper time of the year under specified growing conditions to optimize the presence of the desired ingredient for incorporation into the skin care product. The plant material must be properly handled and processed to maintain the activity of the extract, which must be placed in proper concentration into the final formulation. This requires great attention to detail on the part of the raw material supplier to deliver ingredients with meaningful benefits. Many of the newer cosmeceuticals come from the far reaches of the earth in remote areas of Africa or the jungles of Brazil. Inhabitants of these areas realize that great financial rewards are available for the harvesting of these plant materials. I envision these individuals on “plant safari” hiking many miles through treacherous terrain in search of the elusive “magical cosmeceutical tree” only to cut it down and haul it back to camp. While adventurers of old thought that nature would provide unending treasures, it is now evident that even nature has bounds. The bounds of nature perhaps were first publicized with the demise of the carrier pigeon. This avian species was prized for its feathers, which provided panache to the felt top hats of society gentlemen. The carrier pigeon was harvested to extinction much to the amazement of all. Certainly, somewhere there must be another pigeon, but none were to be found. While the bounds of nature seem obvious to us in 2009, awareness of these bounds still escapes many who seek financial gain at all costs. This new awareness has led to the concept of sustainability. Sustainability involves the management of natural resources such that they can be maintained for generations to come. This issue has captured the attention of the skin care manufacturers who are harvesting plant materials at an increasingly rapid rate. How can the diversity of plants be preserved and managed to continue to yield to man’s needs without succumbing to man’s destructive forces? Sustainability requires a planned worldwide management of plant materials. Harvesting must be accompanied by replanting. An inventory system must be developed to evaluate the stores of plant material available for harvesting. The growth habits of certain plant species must be studied, as many plants are not amenable to cultivation, but require unique environments to flourish. Plant resources are much different than mineral resources. The southwest United States, especially New Mexico and Arizona, is full of open pit mines that have been “worked out” representing an unattractive reminder of poor resource management. As plants are renewable, it is hoped that better modern management techniques can be implemented. Reaping rewards from the environment is key to the success of human kind. However, continuing to reap these rewards requires careful resource management. Discussions regarding cosmeceutical sustainability are necessary to properly manage the abundance of plant ingredients available for formulation. Sustainability cannot be ignored.

Néant sonore: Mallarmé ou la traversée des paradoxes (review)

Reviewed by: Néant sonore: Mallarmé ou la traversée des paradoxes Stacy Pies Benoit, Éric . Néant sonore: Mallarmé ou la traversée des paradoxes. Genève: Droz, 2007. Pp. 222. ISBN 2-6000-1137-4 A hallmark of Mallarmé's poems is his poetic prestidigitation — the way rhythm, sound and grammar produce meaning. In these essays, Éric Benoit examines how creation arises from nothing, the "creux néant musicien," as the sonnet "Une dentelle s'abolit" figures it. Benoit's investigation spans the 1899 edition of the Poésies, La Dernière Mode, selected letters, articles and prose poems, as well as "Un Coup de dés," Notes pour Un Tombeau d'Anatole, and the sketches for Le Livre. In two parts of seven chapters each, this collection resembles a novel woven from short stories; the main characters are the ideas so intrinsic to Mallarmé's work — "la notion pure," "la disparition élocutoire du poète," "le central rien," "le hasard." Benoit explains how negation shapes these concepts and reveals their essential tie to Mallarmé's notion of fiction, the textual instantiation of the tension of existence and non-existence. In part one, "Autour des Poésies," readings of poems composed from 1862–65 introduce the paradoxes Benoit sees in Mallarmé's work and trace the æsthetic and spiritual itinerary that the poet inscribed into the design of the collection when he revised it in the 1880s and 90s. Chapters one and three survey Mallarmé's shifting portrayal of the demands and desires of art and life, poetry and the flesh, arguing that the poems' later arrangement suggests the interdependence of these contraries. In the second and fourth chapters, Benoit traces the sources of Mallarmé's revised conception of the Absolute as the Néant, which some of the Poésies anticipate. Mallarmé's recognition of the absence of God and the human need for transcendence, albeit imaginary, inspires his experiments with a fragmented linguistic persona and a poetic language that exposes the disengagement of words and their referents. Benoit explains how this new poetics creates meaning — "la notion pure" — through "virtualisation," or fictionalizing, abolishing reality and recreating it verbally. The reading of "Prose (pour des Esseintes)" in chapter five describes how poetic vision, seeing with the eyes of poet, functions in Mallarmé's æsthetics. Chapter six discusses ontological fragility, the "drame solaire" or the spiritual drama of human beings, which Benoit calls the "l'angoisse du Néant" (75). Chapter seven, which investigates what the Poésies' sequence suggests about poetry itself, argues that for Mallarmé, poetry, through fictions that contain the dynamic of creation and negation, gives ontological authentication in the face of potential destruction. The second part, "Vers le Livre," treats the paradox inherent in the poetic, psychological and epistemological pursuit of the Néant, the unattainable Absolute. These chapters consider how Mallarmé forged his ideas from his encounters with death, real and imagined, embodied in the scientific theories of his time, such as thermodynamics and the notion of entropy; in the metaphors of the "drame solaire"; in his observations of merchandising and fashion, which threaten to extinguish the mystery at the center of beauty; in his experience of deaths in his family and his resolution of his grief; in his vision of a new, impersonal lyric subject, "la disparition élocutoire du poète"; and in his evolving understanding of discontinuity. In the epilogue, Benoit sympathetically describes Mallarmé's final year and the poet's daily traversal of the paradoxes of life and art through his engagement with friends, family, and literature. [End Page 174] Among the many beautiful interpretations in these essays are Benoit's exploration of reading: chapter four recounts how the process of simultaneous negation and proposition, via the use of comme si, peut-être, and suppositional verb tenses, is key to the way a poem's meaning, for readers, "s'actualise en notre esprit"(68), and the fascinating discussion of fashion in chapter ten reveals how Mallarmé's descriptions of knickknacks, gaslights, top hats, and women's dresses aimed to deepen his readers' apprehension of the transcendent within "l'univers mondain" (150). Chapter nine sees "Le Démon de l'analogie...

Performing Communism in the American Dance: Culture, Politics and the New Dance Group

The artist is simply reflecting his time. (Martha Graham) On the stage set of Sing for Your Supper, a limousine transforms into a Madison Avenue bus and a fence holding back a crowd in tuxedos and top hats breaks down. The men don blackened glasses and insert ‘‘I Am Blind’’ signs into their hats. From stage left, four United States Senators enter and perform ‘‘an eccentric dance. ...They go through an investigation with futile results.’’ As the Senators prance off, the company sings: ‘‘Sell your stocks to your mother, buy them back from your brother.’’ As another scene opens, they continue, ‘‘It tickles all of Karl Marx’ men/to wreck Tuxedo Park’s men.’’ 1 Sing for Your Supper opened in 1939 as one of the final productions of the Works Project Administration (WPA), a US government relief agency. As a WPA musical revue, it satirized Uncle Sam as a character who could not keep tune. The production had been in rehearsals for over a year, and government officials had reviewed and sanctioned content that highlighted the weaknesses of capitalism and demanded governmental support for the nation’s people. 2 Its dance scenes were choreographed by Anna Sokolow, who employed dancers from the New Dance Group (NDG) and was also a member of the nongovernmental Workers Dance League (WDL), an offshoot of the Sovietinspired Workers Cultural Federation (WCF). *Victoria Phillips Geduld is PhD candidate in History at Columbia University. She has an MA in History from Columbia, an MA in English from NYU, and an MBA from Columbia’s Business School. She has worked with various dance companies, has extensive management experience, and has written about dance history both in professional and academic journals. She presented the keynote address at the 2008 ‘‘Dance is a Weapon’’ conference held by the Centre National de la Danse Pantin, France, and is the founder and head of the Historic Dance Theatre. Email: LVB3@columbia.edu

Series Editor's Foreword

Series Editor's Foreword

Starcross: A Stirring Adventure of Spies, Time Travel and Curious Hats (review)

Reviewed by: The Key to Rondo Katrina Bromann Rodda, Emily The Key to Rondo. Scholastic, 2008 [342p] ISBN 978-0-545-03535-4$16.99 Reviewed from galleys R* Gr. 5-9 Hardly a year has gone by since Arthur Mumby, his prissy sister Myrtle, and intergalactic adventurer Jack Havock and his crew defeated a nefarious megalomaniac, and now—wouldn't you know it—the universe is in need of saving once again. Sir Launcelot Sprigg returns as villain this time around, and he's mustered the forces of mind-altering Moobs (who prefer to manifest themselves as innocent top hats) to compel his victims to do his bidding. The righteous defenders of Reeve's alternative British Empire are bound to prevail, though, with Myrtle displaying an aptitude for running the alchemical engine of the starship, the Mumby siblings' millions-year-old mother back in domestic command, and the services of the Threls and their prodigious knitting skills (don't ask—it actually makes perfect sense within the story) to bring the baddies to bay. Readers who delighted in the clever send-up of British imperialism in the debut adventure Larklight (BCCB 2/07) will be equally pleased with this sequel, wherein Reeve manages to make the most outlandish creatures and plot points conform to loopy but unassailable internal logic. With Myrtle showing unexpected mettle, and myriad cosmic nooks and crannies yet to explore, fans will be primed for another installment. Copyright © 2008 The Board of Trustees of the University of Illinois

Morphology for matrix data: Ordering versus PDE-based approach

Matrix fields are becoming increasingly important in digital imaging. In order to perform shape analysis, enhancement or segmentation of such matrix fields, appropriate image processing tools must be developed. This paper extends fundamental morphological operations to the setting of matrices, in the literature sometimes referred to as tensors despite the fact that matrices are only rank two tensors. The goal of this paper is to introduce and explore two approaches to mathematical morphology for matrix-valued data: one is based on a partial ordering, the other utilises nonlinear partial differential equations (PDEs). We start by presenting definitions for the maximum and minimum of a set of symmetric matrices since these notions are the cornerstones of the morphological operations. Our first approach is based on the Loewner ordering for symmetric matrices, and is in contrast to the unsatisfactory component-wise techniques. The notions of maximum and minimum deduced from the Loewner ordering satisfy desirable properties such as rotation invariance, preservation of positive semidefiniteness, and continuous dependence on the input data. These properties are also shared by the dilation and erosion processes governed by a novel nonlinear system of PDEs we are proposing for our second approach to morphology on matrix data. These PDEs are a suitable counterpart of the nonlinear equations known from scalar continuous-scale morphology. Both approaches incorporate information simultaneously from all matrix channels rather than treating them independently. In experiments on artificial and real medical positive semidefinite matrix-valued images we contrast the resulting notions of erosion, dilation, opening, closing, top hats, morphological derivatives, and shock filters stemming from these two alternatives. Using a ball shaped structuring element we illustrate the properties and performance of our ordering- or PDE-driven morphological operators for matrix-valued data.

Mathematical morphology for matrix fields induced by the Loewner ordering in higher dimensions

Positive semidefinite matrix fields are becoming increasingly important in digital imaging. One reason for this tendency is the introduction of diffusion tensor magnetic resonance imaging (DT-MRI). In order to perform shape analysis, enhancement or segmentation of such tensor/matrix fields, appropriate image processing tools must be developed. This paper extends fundamental morphological operations to the matrix-valued setting. We start by presenting novel definitions for the supremum and infimum of a set of matrices since these notions lie at the heart of the morphological operations. In contrast to naive approaches like the component-wise maximum or minimum of the matrix channels, our approach is based on the Loewner ordering for symmetric matrices. The notions of supremum and infimum deduced from this partial ordering satisfy desirable properties such as rotation invariance, preservation of positive semidefiniteness, and continuous dependence on the input data. We introduce erosion, dilation, opening, closing, top hats, morphological derivatives, shock filters, and mid-range filters for positive semidefinite matrix-valued images. These morphological operations incorporate information simultaneously from all matrix channels rather than treating them independently. Experiments on DT-MRI images with ball- and rod-shaped structuring elements illustrate the properties and performance of our morphological operators for matrix-valued data.

The mighty working of a symbol: From idea to organization

The mighty working of a symbol: From idea to organization

The Medical Kipling

The Medical Kipling

Reducing the height of a circular array of monopoles using top hats and dielectric coatings

Using a Radial Guide Field Matching Method, an investigation is performed into reducing the height of an electronically steered circular array of monopole antennas composed of a central active element surrounded by passive elements being either short‐ or open‐circuited. It is shown that a considerable height reduction can be achieved using top hats attached to monopoles ends and by applying dielectric coating underneath the top hats. The trade‐off in achieving height reduction is narrower impedance bandwidth.

Marketing Modernity: The J. Walter Thompson Company and North American Advertising in Brazil, 1929–1939

Marketing Modernity: The J. Walter Thompson Company and North American Advertising in Brazil, 1929–1939

Budgeting entitlements: the politics of food stamps

Preface and Acknowledgments 1. Introduction: Budget Politics and Welfare Politics 2. Model Behavior: Th Problems of Costs and the Forms of Budget Control 3. Stamping In: Discretionary Budgeting and the Origins of the Food Stamp Program, 1964-1973 4. Caps On: Entitlement Budgeting and the Politics of Uncontrollable Food Stamp Spending, 1974-1977 5. Cap Sizes: Food Stamp Budget Caps under Unified Partisan Control, 1978-1980 6. Top Hats: Food Stamp Budget Caps under Divided Partisan Control, 1981-1984 7. Caps Off: The Repeal of Food Stamp Budget Caps in an Era of Fiscal Constraint, 1985-1990 8. Old Hat: The Return of Entitlement Politics and the Revival of Budget Cap Proposals, 1991-1994 9. Block HeadsL Food Stamp Budget Control and the Politics of Welfare Reform, 1995-1996 10. Re-Caps: Food Stamps and Budget Rules in Retrospect and Prospect AppendixFood Stamp Program, Fiscal Years 1961-1998, Authorization Ceilings, Appropriations, and Outlays Index

Before the Modern: The New York Renaissance, 1876–95

On the evening of March 31, 1895, three hundred of New York City's most notable artists and patrons assembled in Madison Square Garden to honor Chicago architect Daniel H. Burnham. Led by Burnham, Chicago had bested New York in a hotly contested competition for sponsorship of the Columbian World Exposition that proudly exhibited the nation's Gilded Age accomplishments in art, architecture, and technology. Astride New York's most prestigious public square, Madison Square Garden might well have been built for the occasion. Arriving by carriages in livery, New York'sfin de siècleelite, dressed in top hats, black ties, and tails, leisurely entered architect Stanford White's resplendent edifice, accompanied by their glitteringly attired female companions. Atop the Garden's Florentine tower rested a nude sculpture of Diana, Greek goddess of the hunt.

Effect of Air Extraction for Cooling and/or Gasification on Combustor Flow Uniformity

Reducing emissions is an important issue facing gas turbine manufacturers. Almost all of the previous and current research and development for reducing emissions has focused, however, on flow, heat transfer, and combustion behavior in the combustors or on the uniformity of fuel injection without placing strong emphasis on the flow uniformity of fuel injection without placing strong emphasis entering the combustors. In response to the incomplete understanding of the combustor’s inlet air flow field, experiments were conducted in a 48 percent scale, 360 deg model of the diffuser-combustor section of an industrial gas turbine. In addition, the effect of air extraction for cooling or gasification on the flow distributions at the combustors’ inlets was also investigated. The following three different air extraction rates were studied: 0 percent (baseline), 5 percent (airfoil cooling), and 20 percent (for coal gasification). The flow uniformity was investigated for the following two aspects: (a) global uniformity, which compared the mass flow rates of combustors at different locations relative to the extraction port, and (b) local uniformity, which examined the circumferential flow distribution into each combustor. The results indicate that even for the baseline case with no air extraction there was an inherent local flow non uniformity of 10 ∼ 20 percent at the inlet of each combustor due to the complex flow field in the dump diffuser and the blockage effect of the cross-flame tube. More flow was seen in the portion further away from the gas turbine center axis. The effect of 5 percent air extraction was small. Twenty percent air extraction introduced approximately 35 percent global flow asymmetry diametrically across the dump diffuser. The effect of air extraction on the combustor’s local flow uniformity varied with the distances between the extraction port and each individual combustor. Longer top hats were installed with the initial intention of increasing flow mixing prior to entering the combustor. However, the results indicated that longer top hats do not improve the flow uniformity; sometimes, adverse effects can be seen. Although a specific geometry was selected for this study, the results provide sufficient generality to benefit other industrial gas turbines.