3 resultados para Progressive aesthetics

em Universidad de Alicante


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Conformational changes of a humic acid (HA) and a fulvic acid (FA) induced by iron complexation were followed by high-performance size exclusion chromatography (HPSEC) with both UV–vis and refractive index (RI) detectors. Molecular size distribution was reduced for HA and increased for FA with progressive iron complexation. Since interactions of Fe with humic components are electrostatic, it is likely that the triple-charged Fe ions formed stronger complexes with the more acidic hydrophilic and hydrated FA than with the less acidic and more hydrophobic HA. The large content of ionized carboxyl groups in FA, thus favored the formation of intra- or intermolecular bridges between the negatively charged fulvic acid molecules, and led to more compact and larger size network than for HA. Conversely, iron complexation with HA disrupted the humic conformational arrangements stabilized by only weak hydrophobic bonds into smaller-size aggregates of greater conformational stability due to formation of strong metal complexes. These results confirmed that humic molecules in solution were organized in supramolecular associations of relatively small molecules loosely bound together by dispersive interactions and hydrogen bonds, and they specifically responded to chemical changes brought about by metal additions. The present study revealed the molecular changes occurring in superstructures of natural organic matter when in metal complexes and contributed to understand and predict the environmental behavior in waters and soil of metal complexes with natural organic matter.

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This paper studies the fracturing process in low-porous rocks during uniaxial compressive tests considering the original defects and the new mechanical cracks in the material. For this purpose, five different kinds of rocks have been chosen with carbonate mineralogy and low porosity (lower than 2%). The characterization of the fracture damage is carried out using three different techniques: ultrasounds, mercury porosimetry and X-ray computed tomography. The proposed methodology allows quantifying the evolution of the porous system as well as studying the location of new cracks in the rock samples. Intercrystalline porosity (the smallest pores with pore radius < 1 μm) shows a limited development during loading, disappearing rapidly from the porosimetry curves and it is directly related to the initial plastic behaviour in the stress–strain patterns. However, the biggest pores (corresponding to the cracks) suffer a continuous enlargement until the unstable propagation of fractures. The measured crack initiation stress varies between 0.25 σp and 0.50 σp for marbles and between 0.50 σp and 0.85 σp for micrite limestone. The unstable propagation of cracks is assumed to occur very close to the peak strength. Crack propagation through the sample is completely independent of pre-existing defects (porous bands, stylolites, fractures and veins). The ultrasonic response in the time-domain is less sensitive to the fracture damage than the frequency-domain. P-wave velocity increases during loading test until the beginning of the unstable crack propagation. This increase is higher for marbles (between 15% and 30% from initial vp values) and lower for micrite limestones (between 5% and 10%). When the mechanical cracks propagate unstably, the velocity stops to increase and decreases only when rock damage is very high. Frequency analysis of the ultrasonic signals shows clear changes during the loading process. The spectrum of treated waveforms shows two main frequency peaks centred at low (~ 20 kHz) and high (~ 35 kHz) values. When new fractures appear and grow the amplitude of the high-frequency peak decreases, while that of the low-frequency peak increases. Besides, a slight frequency shift is observed towards higher frequencies.

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When the act of 'drawing' became what can only be called formalised, (whose growth can be said to have blossomed during the Renaissance), there developed a separation between the drawing and its procurement. Recently, David Ross Scheer, in his book ‘The Death of Drawing, Architecture in the Age of Simulation’ wrote: ‘…whereas architectural drawings exist to represent construction, architectural simulations exist to anticipate building performance.’ Meanwhile, Paolo Belardi, in his work ‘Why Architects Still Draw’ likens a drawing to an acorn, where he says: ‘It is the paradox of the acorn: a project emerges from a drawing – even from a sketch, rough and inchoate - just as an oak tree emerges from an acorn.’ He tells us that Giorgio Vasari would work late at night ‘seeking to solve the problems of perspective’ and he makes a passionate plea that this reflective process allows the concept to evolve, grow and/or develop. However, without belittling Belardi, the virtual model now needs this self-same treatment where it is nurtured, coaxed and encouraged to be the inchoate blueprint of the resultant oak tree. The model now too can embrace the creative process going through the first phase of preparation, where it focuses on the problem. The manipulation of the available material can then be incubated so that it is reasoned and generates feedback. This paper serves to align this shift in perception, methodologies and assess whether the 2D paper abstraction still has a purpose and role in today’s digital world!