Effect of sintering temperature on electrochemical performance of LiFe0·4Mn0·6PO4/C cathode materials

Carbon coated LiFe0·4Mn0·6PO4 (LiFe0·4Mn0·6PO4/C) was synthesised using high energy ball milling and annealing processes. The starting materials of Li2C2O4, FeC2O4.2H2O, MnC2O4.2H2O, NH4H2PO4 were firstly milled for 40 h, and followed by further milling for 5 h after adding glucose solution. The milled sample was heated at different temperatures (550, 600, 650 and 700°C) for 10 h to produce LiFe0·4Mn0·6PO4/C composites. The structure and morphology of the samples were investigated using X-ray diffraction, field emission scanning electron microscopy, and high resolution electron microscopy. The phase of samples annealed at 550 and 600°C mainly consists of olivine type LiFePO4, but a small amount of Fe2P impurity phase is formed in the samples annealed at 650 and 700°C. Electrochemical analysis results show that LiFe0·4Mn0·6PO4/C synthesised at 600°C exhibits the best performance with the initial discharge capacity of 128 mAh g-1 at 0·1 C, and 109 mAh g-1 at 1 C after 500 cycles. The LiFe0·4Mn0·6PO4/C exhibits excellent electrochemical properties for high energy density lithium ion batteries.

Breathing in the atmosphere : affect and improvised dance performance

Whether conceptually or experientially atmospheres are hazy. Atmospheric situations often emerge without us being able to control or fully apprehend the conditions of their emergence. Atmospheres affect us not at the cognitive level but through embodiment - through the sensory capacities of our bodies and subsequent registers of affect. We feel atmospheres. Dance improvisers also feel what emerges in an improvisation, whether as the adrenalizing effect of the audience’s presence or because the dancer is immersed in their own movement (as the affect of interest). But dance improvisation is a situation in which atmospheres (and their affective impacts) emerge in unpredictable ways. Becoming attuned to ‘what is going on’ is an aspect of improvisational skill but improvised performance is also an exposure to ‘not knowing’ – not knowing what will happen (or how it will change), not knowing what motivated the movement. This exposure to ‘forces of not knowing’ is similar to many atmospheric situations in everyday life which we negotiate according to personal habits and personal levels of discernment. This performative paper picks up on Gernot Bőhme’s concept of a “new aesthetics” such that hazy atmospheres, and the uncertainty of where they come from, can be claimed as part of an aesthetic encounter. It also reflects on the act of breathing as a potential interface between aesthetic and scientific definitions of ‘atmosphere’.