Microfluidic fabrication of advanced microcapsules for use in self-healing materials

The proposed work aims to facilitate the development of a microfluidic platform for the production of advanced microcapsules containing active agents which can be the functional constituents of self-healing composites. The creation of such microcapsules is enabled by the unique flow characteristics within microchannels including precise control over shear and interfacial forces for droplet creation and manipulation as well as the ability to form a solid shell either chemically or via the addition of thermal or irradiative energy. Microchannel design and a study of the fluid dynamics and mechanisms for shell creation are undertaken in order to establish a fabrication approach capable of producing healing-agent-containing microcapsules. An in-depth study of the process parameters has been undertaken in order to elucidate the advantages of this production technique including precise control of size (i.e., monodispersity) and surface morphology of the microcapsules. This project also aims to aid the optimization of the mechanical properties as well as healing performance of self-healing composites by studying the effects of the advantageous properties of the as-produced microcapsules. Scale-up of the microfluidic fabrication using parallel devices on a single chip as well as on-chip microcapsule production and shape control will also be investigated. It will be demonstrated that microfluidic fabrication is a versatile approach for the efficient creation of functional microcapsules allowing for superior design of self-healing composites.

Wireless and passive pressure sensor system based on the magnetic higher-order harmonic field

The goal of this work is to develop a magnetic-based passive and wireless pressure sensor for use in biomedical applications. Structurally, the pressure sensor, referred to as the magneto-harmonic pressure sensor, is composed of two magnetic elements: a magnetically-soft material acts as a sensing element, and a magnetically hard material acts as a biasing element. Both elements are embedded within a rigid sensor body and sealed with an elastomer pressure membrane. Upon excitation of an externally applied AC magnetic field, the sensing element is capable of producing higher-order magnetic signature that is able to be remotely detected with an external receiving coil. When exposed to environment with changing ambient pressure, the elastomer pressure membrane of pressure sensor is deflected depending on the surrounding pressure. The deflection of elastomer membrane changes the separation distance between the sensing and biasing elements. As a result, the higher-order harmonic signal emitted by the magnetically-soft sensing element is shifted, allowing detection of pressure change by determining the extent of the harmonic shifting. The passive and wireless nature of the sensor is enabled with an external excitation and receiving system consisting of an excitation coil and a receiving coil. These unique characteristics made the sensor suitable to be used for continuous and long-term pressure monitoring, particularly useful for biomedical applications which often require frequent surveillance. In this work, abdominal aortic aneurysm is selected as the disease model for evaluation the performance of pressure sensor and system. Animal model, with subcutaneous sensor implantation in mice, was conducted to demonstrate the efficacy and feasibility of pressure sensor in biological environment.

ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC

The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which “Soothes the savage breast,” as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence—the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music—and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer’s rhetorical situation, by offering the idea of “openings” to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.