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The turbulent transition process plays a critical role in the aerodynamic design of wind turbine rotors. Analysis tools such as Computational Fluid Dynamics must accurately predict the boundary layer transition process to be successfully applied to wind turbine design. Early work in the transition modeling field, performed by Langtry and Menter, focused on the coupling of a local correlation based transition model with the SST turbulence closure 1 . This transition modeling approach, referred to as the γ-Reθ model, proved to be very successful in a number of industries, wind power included. As usage of the model diversified, it has been coupled with other turbulence closures and it has also been simplified into a new model known as the γ model, which was recently proposed by Menter 2 . In this work, the two most prominent transition models, namely the γ-Reθ and γ models, are evaluated in conjunction with the SST and Spalart-Allmaras turbulence closures using the CFD solver AcuSolve. These models are validated on a series of test cases relevant to wind turbine blade design in order to assess the accuracy and simulation efficiency of each approach.

In many forms, important trends of current anthropology, like the ontological turn, have been left aside in the analysis of the ancient artistic testimonies of the indigenous people of the Americas, thanks to the inevitable gap and lamentable misunderstandings between ethnology, archaeology and art history. In this text, we retake the notion of "infinition", a term coined by Martin Holbraad in his work about Cuban divination, Truth in Motion (2012), to explore two epigraphic and artistic testimonies from the courts of the Classic Maya period (AD 250-900) and see how what has been seen as mere calendarical manipulation by scheming rulers and elites can be read as ritual acts of divination which created new identities, altered the ontological constitution of their participants and challenged the boundaries of human (and divine) time and space. By reading Maya art à la Roy Wagner, that is, as invention, we want to encourage the very much needed criticism of the tired notion of "justification of power" that seems to pervade Maya Art interpretation among archaeologists and epigraphists.