Stability of aquatic animal locomotion

A self-propelled fish swimming in viscous fluid is investigated by solving the incompressible Navier–Stokes equations numerically with the space-time finite element method to understand the mechanisms of aquatic animal locomotion. Two types of propulsion strategies, undulatory body and traveling wave surface (TWS), are considered. Based on the simulations, we find that by performing lateral undulation, the fish is able to move forward with a reverse von Kármán vortex street in its wake. In addition, there is no vortex street in the wake of the fish using TWS. In this case, the thrust of the fish is generated by the jets outside the boundary layer and the high pressure on the leeward side of the traveling wave. The results obtained in this paper will be of help in understanding of the propulsive performance of aquatic animal locomotion.

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3. Mathematics of Aquatic Animal Locomotion at Low Reynolds Number

Mathematical Biofluiddynamics ◽

10.1137/1.9781611970517.ch3 ◽

1975 ◽

pp. 45-63 ◽

Cited By ~ 3

Keyword(s):

Reynolds Number ◽

Low Reynolds Number ◽

Aquatic Animal ◽

Animal Locomotion ◽

Low Reynolds

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Renewable fluid dynamic energy derived from aquatic animal locomotion

Bioinspiration & Biomimetics ◽

10.1088/1748-3182/2/3/l01 ◽

2007 ◽

Vol 2 (3) ◽

pp. L1-L3 ◽

Cited By ~ 11

Author(s):

John O Dabiri

Keyword(s):

Fluid Dynamic ◽

Aquatic Animal ◽

Animal Locomotion

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Muybridge / Technology

Zeitschrift für Medien- und Kulturforschung ◽

10.28937/1000106299 ◽

2010 ◽

Vol 1 (1) ◽

pp. 51-62

Author(s):

Marta Braun

Keyword(s):

Single Camera ◽

Art And Science ◽

Animal Locomotion ◽

Human Figure ◽

Final Work

Eadweard Muybridge's 1887 photographic atlas Animal Locomotion is a curious mixture of art and science, a polysemic text that has been subject to a number of readings. This paper focuses on Muybridge's technology. It seeks to understand his commitment to making photographs with a battery of cameras rather than a single camera. It suggests reasons for his choice of apparatus and shows how his final work, The Human Figure in Motion (1901), justifies the choices he made.

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