Tris[4,4,4-trifluoro-1-(2-thienyl)butane-1,3-dionato]aluminium(III)-tris[4,4,4-trifluoro-1-(2-thienyl)butane-1,3-dionato]iron(III) (3/1)

In the title compound, [Al(C8H4F3O2S)3]3[Fe(C8H4F3O2S)3], the metal centre is statistically occupied by AlIII and FeIII cations in a 3:1 ratio. The metal centre is within an octahedral O6 donor set defined by three chelating substituted acetoacetonate anions. The ligands are arranged around the periphery of the molecule with a mer geometry of the S atoms.

4-Hydroxy-4,4-diphenylbutan-2-one

The mol­ecules of the title compound, C16H16O2, display an intra­molecular O—HO hydrogen bond between the hydroxyl donor and the ketone acceptor. Inter­molecular C—Hπ inter­actions connect adjacent mol­ecules into chains that propagate parallel to the ac diagonal. The chains are arranged in sheets, and mol­ecules in adjacent sheets inter­act via inter­molecular O—HO hydrogen bonds.

Orders of service arranged after the revolution

Digital image

Bis{2-4-(methylsulfanyl)phenyl]-1H-benzimidazol-3-ium} tetrabromidocuprate(II) dihydrate

The asymmetric unit of the title compound, (C14H13N2S)(2)CuBr4]center dot 2H(2)O, contains two cations, one anion and two solvent water molecules that are connected via O-H center dot center dot center dot Br, N-H center dot center dot center dot Br and N-H center dot center dot center dot O hydrogen bonds into a two-dimensional polymeric structure. The cations are arranged in a head-to-tail fashion and form stacks along 100]. The central Cu-II atom of the anion is in a distorted tetrahedral environment.

Optical, electrochemical and morphological investigations of poly (3,4-propylenedioxythiophene)-sultone (PProDOT-S) thin films

In this paper, we have carried out thin film characterization of poly(3,4-propylenedioxythiophene)-sultone (PProDOT-S), a derivative of electrochromic poly(3,4-propylenedioxythiophene) (PProDOT). PProDOT-S was deposited onto transparent conducting oxide coated glass substrates by solution casting method. Single wavelength spectrophotometry is used to monitor the switching speed and contrast ratio at maximum wavelength (lambda (max)). The percentage transmittance at the lambda (max) of the neutral polymer is monitored as a function of time when the polymer film is repeatedly switched. This experiment gives a quantitative measure of the speed with which a film is able to switch between the two states i.e. the coloured and the bleached states. PProDOT-S films were switched at a voltage of 1 center dot 9 V with a switching speed of 2 s at lambda (max) of 565 nm and showed a contrast of similar to 37%. Cyclic voltammetry performed at different scan rates have shown the characteristic anodic and cathodic peaks. The structural investigations of PProDOT-S films by IR spectra were in good agreement with previously reported results. Raman spectra of PProDOT-S showed a strong Raman peak at 1509 cm (-aEuro parts per thousand 1) and a weak peak at 1410 cm (-aEuro parts per thousand 1) due to the C = C asymmetric and symmetric stretching vibrations of thiophene rings. The morphological investigations carried out by using scanning electron microscope (SEM) of polymer films have shown that these polymers are found to be arranged in dense packed clusters with non-uniform distribution having an average width and length of 95 nm and 160 nm, respectively.

Non-uniform beams and stiff strings isospectral to axially loaded uniform beams and piano strings

In this paper, we derive analytical expressions for mass and stiffness functions of transversely vibrating clamped-clamped non-uniform beams under no axial loads, which are isospectral to a given uniform axially loaded beam. Examples of such axially loaded beams are beam columns (compressive axial load) and piano strings (tensile axial load). The Barcilon-Gottlieb transformation is invoked to transform the non-uniform beam equation into the axially loaded uniform beam equation. The coupled ODEs involved in this transformation are solved for two specific cases (pq (z) = k (0) and q = q (0)), and analytical solutions for mass and stiffness are obtained. Examples of beams having a rectangular cross section are shown as a practical application of the analysis. Some non-uniform beams are found whose frequencies are known exactly since uniform axially loaded beams with clamped ends have closed-form solutions. In addition, we show that the tension required in a stiff piano string with hinged ends can be adjusted by changing the mass and stiffness functions of a stiff string, retaining its natural frequencies.

La dinámica del viaje en el contexto del Ms. Esc. K-III-4 : Libro de Apolonio, Vida de Santa María Egipciaca, Libro de los tres reyes de Oriente

Resumen: Los personajes de los tres poemas castellanos del temprano siglo XIII que componen el manuscrito K-III-4 de la Biblioteca de San Lorenzo de El Escorial (Libro de Apolonio, Vida de Santa María Egipciaca, Libro de los tres reyes de Oriente) viajan lamentando aquello que han perdido a causa de la ira regia, el propio pecado o la amenaza de muerte inminente, pero también para superar esas pérdidas. Esos viajes representan la medida de una aventura medieval cuya dinámica expresa la concepción profunda de la trayectoria vital como prueba cristiana, según se analizará en el presente trabajo.

A {Co-32} Nanosphere Supported by p-tert-Butylthiacalix[4]arene

Calixarene-capped Co-32 clusters are constructed by a sodalite Co-24(II) cage and an encapsulated Co-8(III) cube. The spherical units are arranged into three isomeric structures, two of which are stacked by the bcc lattices and the third of which is assembled by the cubic closest packing of the spherical units.

Contact Sensors for Dexterous Robotic Hands

This thesis examines a tactile sensor and a thermal sensor for use with the Utah-MIT dexterous four fingered hand. Sensory feedback is critical or full utilization of its advanced manipulatory capabilities. The hand itself provides tendon tensions and joint angles information. However, planned control algorithms require more information than these sources can provide. The tactile sensor utilizes capacitive transduction with a novel design based entirely on silicone elastomers. It provides an 8 x 8 array of force cells with 1.9 mm center-to-center spacing. A pressure resolution of 8 significant bits is available over a 0 to 200 grams per square mm range. The thermal sensor measures a material's heat conductivity by radiating heat into an object and measuring the resulting temperature variations. This sensor has a 4 x 4 array of temperature cells with 3.5 mm center-to-center spacing. Experiments show that the thermal sensor can discriminate among material by detecting differences in their thermal conduction properties. Both sensors meet the stringent mounting requirements posed by the Utah-MIT hand. Combining them together to form a sensor with both tactile and thermal capabilities will ultimately be possible. The computational requirements for controlling a sensor equipped dexterous hand are severe. Conventional single processor computers do not provide adequate performance. To overcome these difficulties, a computational architecture based on interconnecting high performance microcomputers and a set of software primitives tailored for sensor driven control has been proposed. The system has been implemented and tested on the Utah-MIT hand. The hand, equipped with tactile and thermal sensors and controlled by its computational architecture, is one of the most advanced robotic manipulatory devices available worldwide. Other ongoing projects will exploit these tools and allow the hand to perform tasks that exceed the capabilities of current generation robots.

Poems by Matthew Francis

Matthew, Francis, 'Poems By Matthew Francis', Poetry Wales (2007) 42.4 RAE2008

The Cambrian Muse: Welsh Identity and Hanoverian Loyalty in the Poems of Jane Brereton (1685-1740)

Prescott, S. (2005). The Cambrian Muse: Welsh Identity and Hanoverian Loyalty in the Poems of Jane Brereton (1685-1740). Eighteenth -Century Studies. 38(4), pp.587-603. RAE2008

COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920

The Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.

The Scherzo in Selected Works for Piano

This performance project will cover performing issues in terms of technique in the scherzo. The Dictionary of Musical Terms defines technique as "the system of creating music, the musical slull to show personality by controlling tones that is not an abstract theory but a practical ability in composition or performance." My project focuses on techniques in fast tempos, specifically those found in the scherzo form and in concertos containing a scherzo character. The term scherzo has varied in its meaning and form throughout history. In the Baroque period, a scherzo was a work of light vocal or instrumental character. In the Classical period, scherzo still meant light in style, but it also indicated a quick tempo, often in 2/4 time. The scherzo was usually a single movement in a suite or multi-movement work. Like the minuet form, the scherzo contained a contrasting trio section. The scherzo was also standard in Romantic and post-Romantic symphonies and related genres. Because of the high degree of subjectivity in Romantic music, genres that stressed emotional content over abstract form developed rapidly. Some composers even wrote one-movement pieces entitled scherzo. These pieces became very important because they usually expressed a particular character or mood. The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 i ?nl Major; K. 271 and Ravel's Piano Concerto in G Major. I will perform these works in December 2002 with a second piano. In addition, I will perform the Ravel with an orchestra in 2003. My second recital will consist of two parts. The fxst half presents multi-movement works with scherzo movements. The pieces are Haydn's Piano Sonata No. 3 in F Majol; Hob. WI/9, Beethoven's Piano Sonata No. 10 in G Major; Op. 14, No. 2. The second half presents independent four scherzi by Chopin. The final program will also include multi-movement works containing scherzo and independent scherzo. These are Prokofiev's Piano Sonata No. 2 in D minor, Op. 14, Grieg Lyric Pieces Op. 54, Schubert Zwei Scherzi D. 593 and Copland Scherzo humoristique; Le Chat et la Souris (The Cat and the Mouse).

SELECTED NINETEENTH CENTURY VARIATIONS FOR PIANO

The beauty and artistry of the variation form were fully developed and represented in the nineteenth century. The treasures of nineteenth century piano variations are a significant part of the total piano repertoire. The main goal of this dissertation is to show how various composers of the nineteenth century used the variation form to project their imagination and coloring of a simple melody. They used many different techniques to vary melodies and create their own music. Beethoven's Piano Sonata No. 12 in A-flat Major Op. 26 breaks with the conventional sonata design by using variation form instead of sonata-allegro form for the first movement, and having no movement in sonata-allegro form. Chopin's Variations Brillantes on "Je Vends des scapulaires" Op. 12 and Henri Herz's Variations on 'Non piu mesta" from "La Cenerentola" shows how they applied their art to composing variations on opera themes. Mendelssohn's Variations Serieuses Op. 54 was a reaction against the salon music in the 19" century. Schubert applies the variation form to his Impromptus in B-flat D. 935 No. 3. Schurnann's Symphonic Etudes represents a perfect example of the arts of variation, using counterpoint, and special coloring; and Faure's Theme and Variations Op. 73 represents one of the most outstanding nineteenth-century works in variation form. As a traditionalist in the nineteenth century, Brahms favored the variations over other classic forms. I have performed three of his most important sets of variations: including Variations on a theme by Schumann Op. 9, Variations on a Theme by Handel Op. 24, and Variations for two pianos on a Theme by Haydn Op. 56b. The variations listed above were divided into three recitals. These variations represent a very important part of the piano music of the nineteenth century. By discovering, preparing, and performing these wonderful works, I have grown, both as a pianist and as a musician.