熱對流=convective heat transfer; 質對流=convective mass transfer; 流場模型=flow pattern
摘要
自1978年我及投身於熱對流的研究，1980年起質對流也進入我的研究領域，從此熱質對流這門學問成為我工程領域中最專精的範疇。在我攻讀碩博士時，經常在實驗室中觀察流體運動，前後四年都用一般燈光照射並以肉眼觀察，有時在流體裡混入鋁粉，藉著鋁粉的反光特性可以得知流體的局部動向，另外亦曾在液體中注入染劑（如紅墨水等），藉著墨水的蹤跡，觀察流動現象。但不可諱言的，染劑法很容易破壞了原有的系統。學位獲得之後返國任教，分別在成功大學、元智大學先後建立了熱質實驗室，在這兩校我都購置了雷射，藉由雷射光暗影法可以得到相當清晰的流場模型圖片。對這些圖片我除了從中攝取科學的意義，經常產生另一種感覺就是它們有的還真「美」。就在這種求真獲美的經驗中，我不斷地將成果在科技刊物發表之外，常思索這些圖片的藝術意義和出路，曾經嘗試在兩本詩集裡擔任插畫的角色，亦曾將某些類似具象寫實但又略為抽象的幾張圖片拿去參加學校的教職員藝術創作展，直到去年才正是出版了流體之美一書。在發展「流體之美」的過程中，我發現流體力學專家和藝術工作者各有所得各有所失，若能體會「真及非真是名真」、「美即非美是名美」兩句真義，則流體力學專家和工作藝術者皆可「真」「美」兼得，不至於失之偏頗，而「流體藝術」亦可以成為科技與人文藝術結合的一個範例。 I have been dedicated to the research on Convective Heat Transfer since 1978 and to Convective Mass Transfer since 1980, both of which have thus become the most scope I specialized in the engineering field. During the period of pursuing my degrees of Master and Ph.D., I had spent lots of time in laboratory observing the movement of flow with my naked eyes in the ordinary light for four years long. Sometimes, I would introduce Alumina powders into the flow and learn of its partial movement by the reflecting-light nature of Alumina powders; other times, I would infuse the dyeing auxiliaries, such as red ink, into the flow and investigate the flowing phenomenon from the trace of ink. Undoubtedly, dyeing auxiliaries are vulnerable to destruction of the flow’s original system. After receiving the Ph.D. degree, I have taught first in Cheng Kung University and then in Yuan Ze University and respectively set up laboratories for Convective Heat Transfer, in which I installed laser devices to help take distinct pictures of flow pattern through its cast shadow. More than scientific meanings, these pictures often give me a feel of beauty. From the experience of questing truth and beauty in flow experiment, I have continuously had the fruitful results published in scientific journals and meantime pondered on the artistic significance of these flow pictures and their outlets. So, I had tried to have them play an illustrating role in two poem collections and also select few of them, with the images of abstract art, to display in the “2000 Creation Exhibition of Faculty and Staffs of Yuan Ze University”. It was not until 2006 the first collection of flow art has been formally published. However, in the course of developing “flow art”, I discover that each has his loss and gain for flow specialists or artist. They can not really attain both truth and beauty unless grasping the point of “the truth which is not true is called truth; the beauty which is not beautiful is called beauty”. With this, “flow art” can be served as a perfect example of combining science with humanity and arts.
