Triggering the generation of an iron(IV)-oxo compound and its reactivity toward sulfides by RuII photocatalysis

The preparation of [FeIV(O)(MePy2tacn)]2+ (2, MePy2tacn = N-methyl-N,N-bis(2-picolyl)-1,4,7-triazacyclononane) by reaction of [FeII(MePy2tacn)(solvent)]2+ (1) and PhIO in CH3CN and its full characterization are described. This compound can also be prepared photochemically from its iron(II) precursor by irradiation at 447 nm in the presence of catalytic amounts of [Ru II(bpy)3]2+ as photosensitizer and a sacrificial electron acceptor (Na2S2O8). Remarkably, the rate of the reaction of the photochemically prepared compound 2 toward sulfides increases 150-fold under irradiation, and 2 is partially regenerated after the sulfide has been consumed; hence, the process can be repeated several times. The origin of this rate enhancement has been established by studying the reaction of chemically generated compound 2 with sulfides under different conditions, which demonstrated that both light and [Ru II(bpy)3]2+ are necessary for the observed increase in the reaction rate. A combination of nanosecond time-resolved absorption spectroscopy with laser pulse excitation and other mechanistic studies has led to the conclusion that an electron transfer mechanism is the most plausible explanation for the observed rate enhancement. According to this mechanism, the in-situ-generated [RuIII(bpy)3] 3+ oxidizes the sulfide to form the corresponding radical cation, which is eventually oxidized by 2 to the corresponding sulfoxide

A study of the effects of PVAC on works of art on paper and wood: pH and colour change

This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.

A study of the effects of PVAC on works of art on paper and wood: pH and colour change

This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.

A study of the effects of PVAC on works of art on paper and wood: pH and colour change

This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.

A study of the effects of PVAC on works of art on paper and wood: pH and colour change

This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.

A simple model to describe the thixotropic behavior of paints.

We propose a simple rheological model to describe the thixotropic behavior of paints, since the classical hysteresis area, which is usually used, is not enough to evaluate thixotropy. The model is based on the assumption that viscosity is a direct measure of the structural level of the paint. The model depends on two equations: the Cross-Carreau equation to describe the equilibrium viscosity and a second order kinetic equation to express the time dependence of viscosity. Two characteristic thixotropic times are differentiated: one for the net structure breakdown, which is defined as a power law function of shear rate, and an other for the net structure buildup, which is not dependent on the shear rate. The knowledge of both kinetic processes can be used to improve the quality and applicability of paints. Five representative commercial protective marine paints are tested. They are based on chlorinated rubber, acrylic, alkyd, vinyl, and epoxy resins. The temperature dependence of the rheological behavior is also studied with the temperature ranging from 5 ºC to 35 ºC. It is found that the paints exhibit both shear thinning and thixotropic behavior. The model fits satisfactorily the thixotropy of the studied paints. It is also able to predict the thixotropy dependence on temperature. Both viscosity and the degree of thixotropy increase as the temperature decreases.

Contribución al conocimiento de la geología del depósito de Au-Cu de La Pava (Península de Azuero, Panamá)

The «La Pava» Au-Cu deposit is hosted by a vulcanosedimentary sequence, named Ocú Formation,developed in an island arc environment that resulted from the subduction of the Nazca Plate beneath the Caribbean Plate during the Cretaceous times. The deposit consists of disseminations and stockworks of pyrite and chalcopyrite accompanied by barite, quartz and carbonates. Three hydrothermal alteration zones have been recognized: silicic, argillic and propilityc, typical of gold-related high sulfidation systems. A supergenic alteration overprints the hydrothermal alterations developing a cap rich in silica and Feoxides. The detailed study of the Ocú Fm. indicates that the sulfides and the accompanying gold was formed in a submarine environment. Therefore we suggest that «La Pava» represents an Au-Cu hybrid deposit between high sulphidation epithermal and VMS types, which are found in volcanogenic massive sulphide environments.