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This paper investigates the electroosmotic micromixing of non-Newtonian fluid in a microchannel with wall-mounted obstacles and surface potential heterogeneity on the obstacle surface. In the numerical simulation, the full model consisting of the Navier–Stokes equations and the Poisson–Nernst–Plank equations are solved for the electroosmotic fluid field, ion transport, and electric field, and the power law model is used to characterize the rheological behavior of the aqueous solution. The mixing performance is investigated under different parameters, such as electric double layer thickness, flow behavior index, obstacle surface zeta potential, obstacle dimension. Due to the zeta potential heterogeneity at the obstacle surface, vortical flow is formed near the obstacle surface, which can significantly improve the mixing efficiency. The results show that, the mixing efficiency can be improved by increasing the obstacle surface zeta potential, the flow behavior index, the obstacle height, the EDL thickness.

Robert Zemeckis' Beowulf (2007) is the latest film made using motion capture technology, a film that tells the story of a hero's quest to defeat a series of monsters. This article examines not only the thematic role of monstrosity in the film, but also the way in which the film's very construction, through motion capture and CGI, can be understood as monstrous. That is, after Deleuze's Cinema 2: The Time Image (1989[1985]), Beowulf can be understood as typifying a cinema that has seen a shift from montage to montrage, a cinema that shows. Analysing the aesthetics of monstrosity in Beowulf, the author also considers how the film's motion capture synthespian performances can be understood as comic through Henri Bergson's (1912Bergson's ( [1900) theory of laughter, which suggests that humans laugh at mechanized human beings.