Some transition metal complexes derived from mono- and di-ethynyl perfluorobenzenes

Transition metal alkynyl complexes containing perfluoroaryl groups have been prepared directly from trimethylsilyl-protected mono- and di-ethynyl perfluoroarenes by simple desilylation/metallation reaction sequences. Reactions between Me3SiC CC6F5 and RuCl(dppe)Cp'[Cp' = Cp, Cp*] in the presence of KF in MeOH give the monoruthenium complexes Ru(C CC6F5)(dppe)Cp'[Cp' = Cp (2); Cp* (3)], which are related to the known compound Ru(C CC6F5)(PPh3)(2)Cp (1). Treatment of Me3SiC CC6F5 with Pt-2(mu-dppm)(2)Cl-2 in the presence of NaOMe in MeOH gave the bis(alkynyl) complex Pt-2(mu-dppm)(2)(C CC6F5)(2) (4). The Pd(0)/Cu(I)-catalysed reactions between Au(C CC6F5)(PPh3) and Mo( CBr)(CO)(2) Tp* [Tp* = hydridotris(3.5-dimethylpyrazoyl)borate], Co-3(mu(3)-CBr)(mu-dppm)(CO)(7) or IC CFc [Fc = (eta(5)-C5H4)FeCp] afford Mo( CC CC6F5)(CO)(2)Tp* (5), Co-3(mu 3-CC CC6F5)(mu-dppm)(CO)(7) (6) and FcC CC CC6F5 (7), respectively. The diruthenium complexes 1,4-{Cp'(PP)RuC C}(2)C6F4 [(PP)Cp'=(PPh3)(2)Cp (8); (dppe)Cp (9); (dppe)Cp* (10)] are prepared from 1,4-(Me3SiC C)(2)C6F4 in a manner similar to that described for the monoruthenium complexes 1-3. The non-fluorinated complexes 1,4-{Cp'(PP)RuC C}(2)C6H4 [(PP)Cp' = (PPh3)(2)Cp (11); ( dppe) Cp (12); ( dppe) Cp* (13)], prepared for comparison, are obtained from 1,4-(Me3SiC C)(2)C6H4. Spectro-electrochemical studies of the ruthenium aryl and arylene alkynyl complexes 2-3 and 8-13, together with DFT-based computational studies on suitable model systems, indicate that perfluorination of the aromatic ring has little effect on the electronic structures of these compounds, and that the frontier orbitals have appreciable diethynylphenylene character. Molecular structure determinations are reported for the fluoroaromatic complexes 1, 2, 3, 6 and 10.

Ab initio prediction of the infrared absorption spectrum of the C2Br radical

The first three electronic states (1(2)A', 2(2)A', 1(2)A '') of the C2Br radical, correlating at linear geometries with (2)Sigma(+) and (2)Pi states, have been studied ab initio, using Multi Reference Configuration Interaction techniques. The electronic ground state is found to have a bent equilibrium geometry, R-CC = 1.2621 angstrom, R-CBr = 1.7967 angstrom, < CCBr 156.1 degrees, with a very low barrier to linearity. Similarly to the valence isoelectronic radicals C2F and C2Cl, this anomalous behaviour is attributed to a strong three-state non-adiabatic electronic interaction. The Sigma, Pi(1/2), Pi(3/2) vibronic energy levels and their absolute infrared absorption intensities at a temperature of 5K have been calculated for the (CCBr)-C-12-C-12-Br-79 isotopomer, to an upper limit of 2000 cm(-1), using ab initio diabatic potential energy and dipole moment surfaces and a recently developed variational method.

One’s own soundtrack: affective music synthesis

Computer music usually sounds mechanical; hence, if musicality and music expression of virtual actors could be enhanced according to the user’s mood, the quality of experience would be amplified. We present a solution that is based on improvisation using cognitive models, case based reasoning (CBR) and fuzzy values acting on close-to-affect-target musical notes as retrieved from CBR per context. It modifies music pieces according to the interpretation of the user’s emotive state as computed by the emotive input acquisition componential of the CALLAS framework. The CALLAS framework incorporates the Pleasure-Arousal-Dominance (PAD) model that reflects emotive state of the user and represents the criteria for the music affectivisation process. Using combinations of positive and negative states for affective dynamics, the octants of temperament space as specified by this model are stored as base reference emotive states in the case repository, each case including a configurable mapping of affectivisation parameters. Suitable previous cases are selected and retrieved by the CBR subsystem to compute solutions for new cases, affect values from which control the music synthesis process allowing for a level of interactivity that makes way for an interesting environment to experiment and learn about expression in music.