Synthesis and growth mechanism of Thin-film TiO2 nanotube arrays on focused-ion-beam micropatterned 3D isolated regions of titanium on silicon

In this paper, the fabrication and growth mechanism of net-shaped micropatterned self-organized thin-film TiO2 nanotube (TFTN) arrays on a silicon substrate are reported. Electrochemical anodization is used to grow the nanotubes from thin-film titanium sputtered on a silicon substrate with an average diameter of ?30 nm and a length of ?1.5 ?m using aqueous and organic-based types of electrolytes. The fabrication and growth mechanism of TFTN arrays from micropatterned three-dimensional isolated islands of sputtered titanium on a silicon substrate is demonstrated for the first time using focused-ion-beam (FIB) technique. This work demonstrates the use of the FIB technique as a simple, high-resolution, and maskless method for high-aspect-ratio etching for the creation of isolated islands and shows great promise toward the use of the proposed approach for the development of metal oxide nanostructured devices and their integration with micro- and nanosystems within silicon-based integrated-circuit devices.

Integrated High-Efficiency Pt/Carbon Nanotube Arrays for PEM Fuel Cells

A facile strategy to deposit Pt nanoparticles with various metal-loading densities on vertically aligned carbon nanotube (ACNT) arrays as electrocatalysts for proton exchange membrane (PEM) fuel cells is described. The deposition is achieved by electrostatic adsorption of the Pt precursor on the positively charged polyelectrolyte functionalized ACNT arrays and subsequent reduction by L-ascorbic acid. The application of the aligned electrocatalysts in fuel cells is realized by transferring from a quartz substrate to nafion membrane using a hot-press procedure to fabricate the membrane electrode assembly (MEA). It is shown that the MEA with vertically aligned structured electrocatalysts provides better Pt utilization than that with Pt on conventional carbon nanotubes or carbon black, resulting in higher fuel cell performance.

Granitic coastal geomorphology: Applying integrated terrestrial and bathymetric LiDAR with multibeam sonar to examine coastal landscape evolution

Coasts composed of resistant lithologies such as granite are generally highly resistant to erosion. They tend to evolve over multiple sea level cycles with highstands acting to remove subaerially weathered material. This often results in a landscape dominated by plunging cliffs with shore platforms rarely occurring. The long-term evolution of these landforms means that throughout the Quaternary these coasts have been variably exposed to different sea level elevations which means erosion may have been concentrated at different elevations from today. Investigations of the submarine landscape of granitic coasts have however been hindered by an inability to accurately image the nearshore morphology. Only with the advent of multibeam sonar and aerial laser surveying can topographic data now be seamlessly collected from above and below sea level. This study tests the utility of these techniques and finds that very accurate measurements can be made of the nearshore thereby allowing researchers to study the submarine profile with the same accuracy as the subaerial profile. From a combination of terrestrial and marine LiDAR data with multibeam sonar data, it is found that the morphology of granite domes is virtually unaffected by erosion at sea level. It appears that evolution of these landscapes on the coast is a very slow process with modern sea level acting only to remove subaerially weathered debris. The size and orientation of the joints determines the erosional potential of the granite. Where joints are densely spaced (<2 m apart) or the bedrock is highly weathered can semi-horizontal surfaces form.

Neurophysiology of insects using microelectrode arrays: Current trends and future prospects

Simple to complex behaviors are directed by the brain, which possess nervous cells, called neurons. Mammals have billions of neurons, organized in networks, making their study difficult. Although methods have well evolved since the last century, studying a simpler model is the key to resolving neuronal communication. In this review, we demonstrate that insects are an excellent model and tool to understand neural mechanisms. Moreover, new technology, such as Microelectrodes Arrays (MEAs), is an innovative method which opens the possibility to study neuron clusters, rather than individual cells. A combined method of an insect model and MEAs technology may lead to great discoveries in neurophysiology, advancing progress in pharmacology, infectious and neurodegenerative diseases, agriculture maintenance and robotics.

Accounting for uncertainty in volumes of seabed change measured with repeat multibeam sonar surveys

Seafloors of unconsolidated sediment are highly dynamic features; eroding or accumulating under the action of tides, waves and currents. Assessing which areas of the seafloor experienced change and measuring the corresponding volumes involved provide insights into these important active sedimentation processes. Computing the difference between Digital Elevation Models (DEMs) obtained from repeat Multibeam Echosounders (MBES) surveys has become a common technique to identify these areas, but the uncertainty in these datasets considerably affects the estimation of the volumes displaced. The two main techniques used to take into account uncertainty in volume estimations are the limitation of calculations to areas experiencing a change in depth beyond a chosen threshold, and the computation of volumetric confidence intervals. However, these techniques are still in their infancy and, as a result, are often crude, seldom used or poorly understood. In this article, we explored a number of possible methodological advances to address this issue, including: (1) using the uncertainty information provided by the MBES data processing algorithm CUBE, (2) adapting fluvial geomorphology techniques for volume calculations using spatially variable thresholds and (3) volumetric histograms. The nearshore seabed off Warrnambool harbour - located in the highly energetic southwest Victorian coast, Australia - was used as a test site. Four consecutive MBES surveys were carried out over a four-months period. The difference between consecutive DEMs revealed an area near the beach experiencing large sediment transfers - mostly erosion - and an area of reef experiencing increasing deposition from the advance of a nearby sediment sheet. The volumes of sediment displaced in these two areas were calculated using the techniques described above, both traditionally and using the suggested improvements. We compared the results and discussed the applicability of the new methodological improvements. We found that the spatially variable uncertainty derived from the CUBE algorithm provided the best results (i.e. smaller confidence intervals), but that similar results can be obtained using as a fixed uncertainty value derived from a reference area under a number of operational conditions.

Hillegonda: 3 projector performance

Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. His career spans a significant portion of the history of abstract and experimental animation in Australia and his films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. MIAF’s look at the various iterations of de Bruyn’s work continues with this special one-off live performance in which he will utilise three projectors to create an experience that blends a suite of moving image artwork drawn from his practice with an improvised sound track. Hosted by the VCA, this performance is FREE and will take place in VCA’s Founders Gallery at 234 St Kilda Rd just a few short minutes walk from ACMI.

Material damage: 4 projector film performance

Dirk de Bruyn’s expanded cinema performances engage the æsthetics of process at a number of levels. At the core of these performances are several of three- or four-screen, essentially abstract films of the same duration which comment upon and echo each other in a constant interplay of flicker-like positive and negative imagery. The soundtrack of the films works in a related way: the same or similar words and sound fragments are overlayed, or are repeated in an absurd call-and-answer pattern running from one speaker to another. This overall design or formal system is then set into play and relativised in the live event through a number of treatment-techniques. Reels are placed out of order or interspliced with other short films or fragments of found footage or tests, the bulb of one or more projectors can be occasionally turned off while the soundtrack continues, or the projector can be stopped altogether, extending, stretching out or disrupting completely the apparent synchrony between each screen and soundtrack. The light beam of each projector is filtered, distorted, split and multiplied using hand-held colour gels, plastic bottles, prisms and mirrors, or else silhouetted or blocked completely with the artist’s own hands and body. The projectors themselves can be inverted, turned around or physically transported across the space, mixing and overlaying the imagery, animating different areas of the performance environment and transforming the body of the audience itself into a screen medium.