Effect of resonance frequency, power input, and saturation gas type on the oxidation efficiency of an ultrasound horn

The sonochemical oxidation efficiency (eta(ox)) of a commercial titanium alloy ultrasound horn has been measured using potassium iodide as a dosimeter at its main resonance frequency (20 kHz) and two higher resonance frequencies (41 and 62 kHz). Narrow power and frequency ranges have been chosen to minimise secondary effects such as changing bubble stability, and time available for radical diffusion from the bubble to the liquid. The oxidation efficiency, eta(ox), is proportional to the frequency and to the power transmitted to the liquid (275 mL) in the applied power range (1-6 W) under argon. Luminol radical visualisation measurements show that the radical generation rate increases and a redistribution of radical producing zones is achieved at increasing frequency. Argon, helium, air, nitrogen, oxygen, and carbon dioxide have been used as saturation gases in potassium iodide oxidation experiments. The highest eta(ox) has been observed at 5 W under air at 62 kHz. The presence of carbon dioxide in air gives enhanced nucleation at 41 and 62 kHz and has a strong influence on eta(ox). This is supported by the luminol images, the measured dependence of eta(ox). on input power, and bubble images recorded under carbon dioxide. The results give insight into the interplay between saturation gas and frequency, nucleation, and their effect on eta(ox). (C) 2010 Elsevier B.V. All rights reserved.

Bay Area Women in Creative Music

[Reviews]

Music for Sleeping & Waking Minds

Music for Sleeping & Waking Minds is a 8-hour composition intended for overnight listening. It features 4 performers who wear custom-designed EEG sensors. The performers rest and fall asleep as they naturally would. Over the course of one night, their brainwave activity generates a spatial audio environment. Audiences are invited to sleep or listen as they wish. Composition & concept by Gascia Ouzounian. Physiological interface and interaction design by R. Benjamin Knapp. Audio interface and interaction design by Eric Lyon.

Vaughan Williams and contemporary music: composers' forum

Like many long-lived composers, Vaughan Williams suffered a decline in his reputation immediately following his death, as the emergence in the 1960s of a younger generation of composers rendered much of his work outmoded in the eyes of many critics. In recent years, however, the reception of Vaughan Williams's music among composers has improved markedly, a combination of the ebbing of the tide of high modernism and greater pluralism in contemporary music, and a growing awareness that Vaughan Williams was perhaps more modernist (or at least progressive) than had previously been thought. In interviews with four leading British composers (two of whom were part of the 1960s generation mentioned above), I investigate the nature and extent of Vaughan Williams's legacy to his successors, both musical and social. What emerges is a near consensus on Vaughan Williams's greatest works, but a diversity of views on his compositional techniques and on his place among his European contemporaries.