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The macros listed in Table 3.2.20- 3.2.23 can be used to return real face variables in SI units. They are identified by the F_ prefix. Note that these variables are available only in the pressure-based solver. In addition, quantities that are returned are available only if the corresponding physical model is active. For example, species mass fraction is available only if species transport has been enabled in the Species Model dialog box in ANSYS FLUENT. Definitions for these macros can be found in the referenced header files (e.g., mem.h).
Face Centroid (
F_CENTROID)
The macro listed in Table 3.2.20 can be used to obtain the real centroid of a face. F_CENTROID finds the coordinate position of the centroid of the face f and stores the coordinates in the x array. Note that the x array is always one-dimensional, but it can be x[2] or x[3] depending on whether you are using the 2D or 3D solver.
The ND_ND macro returns 2 or 3 in 2D and 3D cases, respectively, as defined in Section 3.4.2. Section 2.3.15 contains an example of F_CENTROID usage.
Face Area Vector (
F_AREA)
F_AREA can be used to return the real face area vector (or `face area normal') of a given face f in a face thread t. See Section 2.7.3 for an example UDF that utilizes F_AREA.
By convention in ANSYS FLUENT, boundary face area normals always point out of the domain. ANSYS FLUENT determines the direction of the face area normals for interior faces by applying the right hand rule to the nodes on a face, in order of increasing node number. This is shown in Figure 3.2.1.
ANSYS FLUENT assigns adjacent cells to an interior face ( c0 and c1) according to the following convention: the cell out of which a face area normal is pointing is designated as cell C0, while the cell in to which a face area normal is pointing is cell c1 (Figure 3.2.1). In other words, face area normals always point from cell c0 to cell c1.
Flow Variable Macros for Boundary Faces
The macros listed in Table 3.2.22 access flow variables at a boundary face.
The story’s central conflict is ignited by the snap judgment of an adult world that equates poverty with criminality. When Aling Marta discovers her wallet—containing her hard-earned savings of three hundred pesos—missing from her market basket, her panic immediately turns into predatory suspicion. Her gaze falls upon a young boy, a customer at her small store, whose only visible "crime" is his presence and his poverty. Pascual skillfully uses the boy’s voice—pleading, terrified, and desperate—to highlight the injustice. "Aling Marta, hindi po ako kumuha... Maawa po kayo," the boy cries. But his pleas fall on deaf ears. The society Aling Marta represents does not see a child; it sees a potential delinquent. The wallet, which the boy has not taken, becomes a symbol of the automatic prejudice that the poor face daily.
The story’s devastating twist—the discovery of the wallet tucked safely in Aling Marta’s own aparador (wardrobe)—transforms the tale from a simple social critique into a profound meditation on guilt and consequence. The wallet was never lost; it was merely misplaced. The three hundred pesos are intact. But what of the boy? He has already been beaten, jailed, and branded a thief. Aling Marta’s moment of relief—"Nandito pala... salamat naman"—is immediately poisoned by the crushing weight of her error. The reader is left with her horrified silence, staring at the wallet that has become an instrument of destruction. The real tragedy is not the temporary loss of money, but the permanent loss of a child’s future. The boy’s name is never given, making him an Everyman for every poor child crushed by an indifferent system. ang kalupi ni benjamin pascual script
In conclusion, Ang Kalupi is a timeless fable about the cost of false accusation. Benjamin Pascual uses a deceptively simple plot to expose the dark underbelly of Filipino society—where the rich are believed, the poor are blamed, and justice is a privilege, not a right. The story’s enduring power lies in its final image: Aling Marta holding the wallet, alone with the knowledge that her mistake has unleashed an irreversible chain of suffering. The script ends, but the reader is left haunted by a single, unanswerable question: Can a society that devours its own children ever truly be called just? Pascual’s answer, echoing from the empty aparador , is a chilling no. The story’s central conflict is ignited by the
As the narrative unfolds, the script format emphasizes the rapid, devastating consequences of accusation. There is no detective, no trial, no chance for defense. Aling Marta’s word, backed by the authority of an adult and the community’s bias, is enough to condemn the boy. She searches him, finds nothing, yet refuses to relent. When a passing policeman arrives, the process becomes a farce of justice. The officer does not investigate; he merely executes Aling Marta’s accusation. The boy is beaten and dragged away, not for theft, but for being poor and afraid. Pascual’s sparse narration forces us to focus on the raw dialogue and action, making every slap and every tear land with brutal immediacy. The physical violence of the policeman’s baton is merely the outward expression of the deeper societal violence of classism. But his pleas fall on deaf ears
Benjamin Pascual’s short story, Ang Kalupi (The Wallet), is a masterful piece of Filipino realistic fiction that compresses a profound tragedy into a few pages of dialogue and narrative. On the surface, it is a simple story: a lost wallet, a blind old woman, and a poor boy falsely accused of theft. However, beneath this simple plot lies a harrowing exploration of social injustice, the destructive power of circumstantial evidence, and the permanent scars left by a hasty judgment. Through the script-like, dialogue-driven narrative, Pascual forces the reader to witness not just the loss of money, but the violent theft of a child’s innocence and future.
See Section 2.7.3 for an example UDF that utilizes some of these macros.
Flow Variable Macros at Interior and Boundary Faces
The macros listed in Table 3.2.23 access flow variables at interior faces and boundary faces.
| Macro | Argument Types | Returns |
| F_P(f,t) | face_t f, Thread *t, | pressure |
| F_FLUX(f,t) | face_t f, Thread *t | mass flow rate through a face |
F_FLUX can be used to return the real scalar mass flow rate through a given face f in a face thread t. The sign of F_FLUX that is computed by the ANSYS FLUENT solver is positive if the flow direction is the same as the face area normal direction (as determined by F_AREA - see Section 3.2.4), and is negative if the flow direction and the face area normal directions are opposite. In other words, the flux is positive if the flow is out of the domain, and is negative if the flow is in to the domain.
Note that the sign of the flux that is computed by the solver is opposite to that which is reported in the ANSYS FLUENT GUI (e.g., the Flux Reports dialog box).
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3.2.3 Cell Macros
