187 resultados para Sublimation


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Desde la revolución ilustrada e industrial de finales del s. XVIII se ha venido desarrollando, con fuerza inigualada a lo largo de la historia, algo que es consustancial al hombre y que le ha permitido constituirse como tal frente al resto de animales: la técnica. Como sentencia Ortega, no hay hombre sin técnica. Pero, al mismo tiempo, va quedando cada vez más claro -como también nos señala Ortega- que el sentido y la causa de la técnica están fuera de ella, y que la técnica no es en rigor lo primero, sino que su finalidad le ha de ser prefijada por un deseo original pre-técnico. Si esto no fuera así el hombre perdería su propio sentido, pues el hombre es puro afán, un ente cuyo ser consiste no en lo que ya es, sino en la que aún no es. Sin embargo, el progresivo desencantamiento del mundo como consecuencia del desarrollo de la sociedad industrial vino a sustituir los viejos mitos por una interpretación racional y abstracta que renunciaba a cualquier búsqueda de sentido que trascendiese los hechos brutos. De este modo, la perdida de sentido del hombre frente a la técnica desarrollada por él mismo le dejaba desnortado y convertido en un sujeto pasivo en manos de un malentendido progreso. Frente a esta pérdida de sentido detectada ya a principios del siglo XX y denunciada con más fuerza a partir de la Segunda Guerra Mundial, el postmodernismo del último tramo del pasado siglo pudo no sólo oficializar su desaparición, sino consignar su deslegitimación. Ante a esto, sostenemos la necesaria existencia de sentido en cualquier arquitectura que se desarrolle plenamente y, especialmente, en la arquitectura de la modernidad -y aún de la modernidad tardía o postmodernidad- muchas de las veces no explicitado como tal frente al sobredimensionamiento técnico que ha venido marcando la pauta desde la revolución industrial. Al mismo tiempo, ya no se puede hablar de un único sentido, universalizable, sino de una pluralidad de sentidos que definirán distintas arquitecturas. Partiendo de la petitio principii de que el tema capital de la arquitectura en la modernidad ha sido la vivienda, el objeto arquitectónico que reúne las mejores características para desarrollar esta búsqueda de sentido lo hemos encontrado en la cabaña moderna, donde se cumple el aforismo corbusierano que señala que “quand l’économie est au maximum, l’intensité est au maximum”. Al mismo tiempo “al representar la plenitud a través de su misma negación”, la cabaña moderna se puede entender como una sublimación de la arquitectura a través de pequeños objetos donde han quedado destiladas las distintas esencias de la modernidad. Mediante el análisis de seis pequeñas construcciones situadas en archipiélagos arquitectónicos radicalmente distantes –el campamento de Ocatillo (F. Ll. Wright, 1929); la Caja (R. Erskine, 1942); el Cabanon (Le Corbusier, 1952); la casa cúpula en Carbondale (R. B. Fuller, 1960); el refugio en Oropesa (F. J. Sáenz de Oíza, c.1967-1977) y el pabellón de invitados en Kempsey (G. Murcutt, 1992)- la aparente aporía que supone la cabaña moderna, frente a la más lógica, en principio, cabaña primitiva, cobra sentido. Efectiva mente, el referente mítico de la cabaña primitiva, tal y como fue enunciado por Laugier, se correspondía con el estadio más primitivo de la modernidad, con sus orígenes, precisamente porque la crítica que se hacía en ella de la arquitectura se basaba en criterios exclusivamente técnicos que remitían a los orígenes constructivos de la arquitectura como fórmula para salir del entramado retórico en el que ésta se encontraba perdida. La cabaña moderna trasciende, sin embargo, aquella primitiva fase de la modernidad, de la que la cabaña de Laugier es paradigma, en la medida en que la crítica que se realiza ahora es doble, pues a la crítica de carácter técnico que encontramos en cada una de las cabañas se le añade una crítica de sentido que no se encuentra supeditada, en ninguno de los casos, a la componente técnica, tal y como sin embargo sucedía con Laugier, donde la pretendida regeneración moral de la arquitectura era consecuencia directa de su depuración técnica. En la cabaña moderna, al contrario, encontramos una pluralidad de sentidos que orientan y fuerzan el desarrollo de la techné en direcciones que llegan a ser radicalmente diferentes, construyendo unos relatos que habrán de ser, por tanto, necesariamente parciales, pero de los que la arquitectura, en cualquier caso no podrá prescindir si es que quiere seguir siendo fiel a sí misma, tal y como, efectivamente, lo comprendieron Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza y Murcutt, cuando se esforzaron por que estas pequeñas arquitecturas que hemos visitado, tan sólo unas cabañas, fueran unas cabañas con sentido, unas cabañas modernas. ABSTRACT Since the illustrated and industrial revolution of the XVIII century it has been developing, with unequally strength through history, something that is inherent to man and that has allowed him to become himself against the rest of animals: technique. As Ortega says, there is no man without technique. But, at the same time, it is becoming increasingly clear –as Ortega also says- that the sense and the cause of the technique are beyond technique itself, and that technique is not actually the first thing, but that its purpose must be predefined by a pre-technique original desire. If it were not like this, man would lose his own sense, because man is pure desire, an entity whose being is not what already is, but what still doesn’t is. However, the progressive disenchantment of the world as the result of the development of the industrial society came to change the old myths by a rational and abstract interpretation that renounced to any search of meaning that transcended the brute facts. Thereby, the loss of sense of man against the technique developed by man himself let him aimless and converted in a passive object in the hands of a misunderstood progress. Against this loss of sense already detected at the beginning of the XX century and denounced in a stronger way since the Second World War, the postmodernism of the late decades of the last century could not only formalize its disappearance, but also consign its delegitimization. On the contrary, we maintain the necessary existence of sense in any architecture that is fully developed and, specially, in the modern architecture –and even in the late Modernism or Postmodernism- many times not made explicit as such against the technique oversizing that has been setting the pattern since the industrial revolution. At the same time, we can not talk about an only and universal sense, but about a plurality of senses that will define different architectures. On the basis of the petitio principii that dwelling has been the capital issue of modern architecture, the architectonic object that possesses the best features for developing this search of sense has been found in the modern hut, where is fulfil the Corbusieran aphorism that says that “quand l’économie est au maximum, l’intensité est au maximum”. At the same time, “representing plenitude through its own negation” the modern hut can be understood as a sublimation of architecture through small objects where the different essences of modernity have been distilled. Through the analysis of six small buildings located in radically distant architectonic archipelagos –the Ocatillo dessert camp (F. Ll. Wright, 1929); the Box (R. Erskine, 1942); the Cabanon (Le Corbusier, 1952); the dome-home in Carbondale (R. B. Fuller, 1960); the retreat in Oropesa (F. J. Sáenz de Oíza, c. 1967-1977) and the guest house in Kimpsey (G. Murcutt, 1992)- the apparent aporia that represents the modern hut, against the, initially, more logical primitive hut, makes sense. Indeed, the mythical reference of the primitive hut, as it was enunciated by Laugier, belonged to the most primitive state of modernity, with its origins, precisely because the criticism of the architecture that was made there was based in exclusively technique criteria, referring to the constructive origins of architecture as the formula to get out of the rhetoric labyrinth in which architecture was lost at the moment. However, the modern hut transcends that primitive phase of modernity, of which Laugier’s hut is paradigm, since the criticism that is made is double, because to the criticism on the technique that we find in every hut we must add a criticism on the sense that is never subordinated to the technique component, as it was the case in Laugier, where the intended architectonic moral regeneration was a direct consequence of its technical depuration. In the modern hut, on the contrary, we find a plurality of senses that guides and drives the development of techné in radically different directions, building narratives that must be, then, necessarilly partial, but of which architecture could never leave aside if it still wants to be faithful to itself, as Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza and Murcutt seemed to understand when they tried hardly to make these small architectures that we have visited, these huts, huts full of sense, modern huts.

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A cold atomic cloud is a versatile object, because it offers many handles to control and tune its properties. This facilitates studies of its behavior in various circumstances, such as sample temperature, size and density, composition, dimensionality and coherence time. The range of possible experiments is constrained by the specifications of the atomic species used. In this thesis presents the work done in the experiment for laser cooling of strontium atoms, focusing on its stability, which should provide cold and ultracold samples for the study of collective effects in light scattering. From the initial apparatus, innumerous changes were performed. The vacuum system got improved and now reached lower ultra high vacuum due to the pre-baking done to its parts and adding a titanium-sublimation stage. The quadrupole trap were improved by the design and construction of a new pair of coils. The stability of the blue, green and red laser systems and the loss prevention of laser light were improved, giving rise to a robust apparatus. Another important point is the development of homemade devices to reduce the costs and to be used as a monitor of different parts of an cold atoms experiment. From this homemade devices, we could demonstrate a dramatic linewidth narrowing by injection lock of an low cost 461 nm diode laser and its application to our strontium experiment. In the end, this improved experimental apparatus made possible the study of a new scattering effect, the mirror assisted coherent back-scattering (mCBS).

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A quantitative model of development of magmatic and ore-magmatic systems under crests of mid-ocean ridges is constructed. Correct physical models of melting zone formation in approximation to active spreading, non-stationary dynamics of magma intrusion from a center of generation, filling of magma chambers of various shapes, feeding of fissure-type volcanoes, and retrograde boiling of melts during solidification of intrusive bodies beneath axial zones of spreading in crests of ridges are proposed. Physicochemical and mathematical theories of disintegration of multi-component solutions, growth of liquational drops of ore melts, and sublimation of components from magmatic gases are elaborated. Methods for constructing physically correct models of heat and mass transfer in heterophase media are devised. Modeling of development of magmatic and ore-magmatic systems on the basis of the Usov-Kuznetsov facies method and the Pospelov system approach are advanced. For quantitative models numerical circuits are developed and numerical experiments are carried out.

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The McMurdo Dry Valleys, Antarctica (MDV) are among the oldest landscapes on Earth, and some landforms there present an intriguing apparent contradiction such that millions of years old surface deposits maintain their meter-scale morphology despite the fact that measured erosion rates are 0.1-4 m/Ma. We analyzed the concentration of cosmic ray-produced 10Be and 26Al in quartz sands from regolith directly above and below two well-documented ash deposits in the MDV, the Arena Valley ash (40Ar/39Ar age of 4.33 Ma) and the Hart ash (K-Ar age of 3.9 Ma). Measured concentrations of 10Be and 26Al are significantly less than expected given the age of the in situ air fall ashes and are best interpreted as reflecting the degradation rate of the overlying sediments. The erosion rate of the material above the Arena Valley ash that best explains the observed isotope profiles is 3.5 ± 0.41 x 10**-5 g/cm**2/yr (~0.19 m/Ma) for the past ~4 Ma. For the Hart ash, the erosion rate is 4.8 ± 0.21 x 10**-4 g/cm**2/yr (~2.6 m/Ma) for the past ~1 Ma. The concentration profiles do not show signs of mixing, creep, or deflation caused by sublimation of ground ice. These results indicate that the slow, steady lowering of the surface without vertical mixing may allow landforms to maintain their meter-scale morphology even though they are actively eroding.

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Thesis (Master's)--University of Washington, 2016-06

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Tetrazolo[1,5-a] quinazoline (9) is converted to 2-azidoquinazoline (10) on sublimation at 200 degrees C and above, and the azide-tetrazole equilibrium is governed by entropy. 2-Quinazolylnitrenes 11 and 27 and/ or their ring expansion products 14 and 29 can undergo type I (ylidic) and type II (diradicaloid) ring opening. Argon matrix photolysis of 9/10 affords 2-quinazolylnitrene (11), which has been characterized by ESR, UV, and IR spectroscopy. A minor amount of a second nitrene, formed by rearrangement or ring opening, is also observed. A diradical (19) is formed rapidly by type II ring opening and characterized by ESR spectroscopy; it decays thermally at 15 K with a half-life of ca. 47 min, in agreement with its calculated facile intersystem crossing (19T -> 19OSS) followed by facile cyclization/rearrangement to 1-cyanoindazole (21) (calculated activation barrier 1- 2 kcal/mol) and N-cyanoanthranilonitrile (22). 21 and 22 are the isolated end products of photolysis. 21 is also the end product of flash vacuum thermolysis. An excellent linear correlation between the zero-field splitting parameter D (cm(-1)) and the spin density F on the nitrene N calculated at the B3LYP/EPRIII level is reported (R-2 = 0.993 for over 100 nitrenes). Matrix photolysis of 3-phenyltetrazolo[1,5-a] quinazoline (25) affords the benzotriazacycloheptatetraene 29, which can be photochemically interconverted with the type I ring opening product 2-isocyano-alpha-diazo-alpha- phenyltoluene (33) as determined by IR and UV spectroscopy. The corresponding carbene 37, obtained by photolysis of 33, was detected by matrix ESR spectroscopy.

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Lyophilised orally disintegrating tablets (ODTs) have achieved a great success in overcoming dysphagia associated with conventional solid dosage forms. However, the extensive use of saccharides within the formulation limits their use in treatment of chronic illnesses. The current study demonstrates the feasibility of using combination of proline and serine to formulate zero sacharide ODTs and investigates the effect of freezing protocol on sublimation rate and tablets characteristics. The results showed that inclusion of proline and serine improved ODT properties when compared to individual counterparts. Additionally, annealing the ODTs facilitated the sublimation process and shortened the disintegration time. © 2010 by the authors; licensee Molecular Diversity Preservation International, Basel, Switzerland.

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The yellow Luminescence in GaN centered at 2.2 eV has been studied in various epitaxial layers grown by MOVPE on sapphire and by the sandwich sublimation method on 6H-SiC substrates. The photoluminescence and optically detected magnetic resonance results can be consistently explained by a recombination model involving shallow donors and deep donors.

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A atividade vitícola praticada na região do Douro é uma das mais importantes atividades agrícolas do país, não só devido a fatores socioculturais, como também pelo seu valor económico. A Região Demarcada do Douro (RDD) é uma das regiões vitícolas mais antiga do mundo, onde é produzido um dos vinhos generosos mais famosos do mundo, o Vinho do Porto. Contudo, no cultivo intensivo da vinha, o uso recorrente a pesticidas para o controlo de pragas das vinhas pode ter repercussões a nível da qualidade dos solos e dos cursos de água na envolvente às vinhas. O presente estudo foi desenvolvido numa área-piloto da sub-região Baixo Corgo da RDD, com o intuito de averiguar os possíveis efeitos e estimar os prováveis riscos ambientais promovidos pela viticultura. Foram selecionadas três vinhas, com idades de plantação distintas, onde foram recolhidas amostras de solos à superfície, tendo-se ainda feito uma recolha de amostras de água, sedimentos e águas intersticiais dos rios e da barragem na envolvente da área de estudo. Diferentes parâmetros químicos e físico-químicos foram analisados para uma avaliação global da área e prováveis fontes dos elementos. Especial destaque foi dado ao Cu, C, P, N, NO3 e S quer pelos teores anómalos e elevada variação espacial, quer pela sua importância como traçadores das atividades vitícolas e alguns como potenciais contaminantes. O Cu é o elemento potencialmente contaminante com mais destaque, visto que os seus teores são consideravelmente elevados nos solos e, a par, o P e N tendem a apresentar teores mais elevados na vinha mais velha, o que pode indicar efeitos de acumulação. Já os nitratos são mais elevados na vinha mais nova, visto que os processos de acumulação são mais difíceis neste caso devido à sua alta solubilidade e mobilidade. Apesar da elevada aplicação de S nas vinhas, os teores nestes solos são mais baixos do que nos solos sem atividades vitícolas, o que pode dever-se à sua baixa temperatura de sublimação e migração para níveis mais profundos dos solos. As baixas concentrações determinadas nos sedimentos e águas permitem concluir que as práticas vitícolas não parecem estar a interferir na qualidade dos mesmos. Contudo, novas campanhas de amostragem, abrangendo períodos sazonais distintos e próximos de épocas de aplicação de fertilizantes e pesticidas, deverão ser realizadas para validação temporal destes resultados.

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International audience

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Este trabajo de grado consistió en la elaboración y desalcoholización de 3 recetas de cerveza artesanal basadas en recetas previamente diseñadas -- Las cervezas fueron desalcoholizadas mediante un proceso de sublimación bajo vacío y luego reconstituidas con agua carbonatada -- Usando espectrometría infrarroja y cromatografía de gases se determinó que más del 98% del alcohol presente en cada una de las muestras originales fue removido exitosamente -- El grado de aceptación de cada una de las 6 variedades de cerveza se determinó mediante un panel de consumidores -- Los resultados del panel mostraron un mayor grado de aceptación para las cervezas alcohólicas que para las cervezas no alcohólicas y permitieron determinar que existían diferencias significativas entre el sabor de las cervezas no alcohólicas y las cervezas originales -- Por último se elaboró un diseño conceptual de la planta para la elaboración de cerveza con y sin alcohol a partir del cual se realizó un análisis económico en el que se observa que el proyecto no es económicamente viable bajo las condiciones estudiadas, presentando una TIR del 7% y un VPN ($1,054’498,368) menor a la inversión inicial ($1,151’965,681)

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This work is licensed under a Creative Commons Attribution 3.0 License.

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Field effect transistors (FETs) based on organic materials were investigated as sensors for detecting 2,4,6-trinitrotoluene (TNT) vapors. Several FET devices were fabricated using two types of semiconducting organic materials, solution processed polymers deposited by spin coating and, oligomers (or small molecules) deposited by vacuum sublimation. When vapors of nitroaromatic compounds bind to thin films of organic materials which form the transistor channel, the conductivity of the thin film increases and changes the transistor electrical characteristic. The use of the amplifying properties of the transistor represents a major advantage over conventional techniques based on simple changes of resistance in polymers frequently used in electronic noses.

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El siguiente TFG es un análisis del uso de las redes sociales en la estrategia de comunicación de las empresas. El interés surge en la medida en que las redes sociales constituyen en la actualidad un instrumento de conexión con los diferentes públicos que está creciendo de manera significativa. Las empresas tienen a su alcance, por tanto, una vía excelente para desarrollar marcas, interacciones y conversación, pero es necesario entender las reglas del juego de este nuevo contexto. Por ello, primero hemos estudiado cómo ha evolucionado el marketing en los entornos digitalizados, desde el marketing 1.0 hasta el marketing 3.0, así como las herramientas que utilizamos y cómo se mide y se posiciona en el marketing digital. En este contexto, nos hemos centrado en las redes sociales, analizando su historia, cómo han evolucionado a lo largo de los años, qué tipos de redes sociales hay, cuáles son las más utilizadas, los nuevos perfiles profesionales que han surgido a través de las redes sociales, y qué riesgos implican las redes sociales en la gestión empresarial. Finalmente, y con el fin de valorar en un caso práctico real lo estudiado desde la perspectiva teórica, hemos realizado un análisis comparado del uso de redes sociales en la empresa en la que he estado realizando prácticas los pasados cinco meses en relación con su competencia, esto es, empresas del sector de la impresión digital textil por sublimación.