稀土及过渡金属离子Fe(III)、Zn(II)、Cd(II）的协同萃取研究

自从1956年Blake等研究HDEHP萃取铀时发现协同效应以来，由于协同萃取具有可以显著地提高萃取效率，改变萃取选择性等优点，所以对协同萃取进行了大量研究工作，目前已广泛应用于核燃料稀有金属湿法冶金分离分析。但协同萃取研究领域十分广阔，新协萃体系，协萃机理和协萃配合物结构等许多方面还有待进一步研究。Fe~(3+)、Zn~(2+)和Cd~(2+)等过渡金属离子常与稀土离子在一起，成为高纯稀土产品的重要杂质元素，因此寻找Fe(III)、Zn(II)和Cd(II)与RE（III）的新协同萃取分离体系，不但具有理论意义，也有实际意义。本文研究了萃取分离中广泛使用的四种萑取剂，甲基膦酸二（1-甲基庚基）酯（P_(350), 以B表示）、仲碳伯胺N_(1923)(以RNH_2表示）、1-苯基-3-甲基-4-苯甲酰基吡唑酮-5（PMBP，以HL表示）和2-乙基基膦酸单（2-乙基已基）酯（P_(507)，以HA表示）对盐酸介质中Fe(III)、Zn(II)、Cd(II)和Nd(III)等金属离子的协同萃取，得到了六个新协萃体系，并且对协萃机理和萃取平稀奇规律等进行了研究，得到了一些有意义的结果。

Twin and grain boundary in InP: A synchrotron radiation study

Experimentally observed X-ray reflectivity curves show bi-crystal(twin) characteristics. The study revealed that there was defect segregation at the twin boundary. Stress was relaxed at the edge of the boundary. Relaxation of the stress resulted in formation of twin and other defects. As a result of formation of such defects, a defect-free and stress-free zone or low defect density and small stress zone is created around the defects. So a twin model was proposed to explain the experimental results. Stress(mainly thermal stress), chemical stoichiometry deviation and impurities nonhomogeneous distributions are the key factors that cause twins in LEC InP crystal growth. Twins on (111) face in LEC InP crystal were studied. Experimental evidence of above mentioned twin model and suggestions on how to get twin-free LEC InP single crystals will be discussed.

Factors affecting the estimation of gas hydrate and free gas saturation

Attenuations of different types of gas hydrate cementation in fluid-saturated porous solids are discussed. The factors affecting estimation of gas hydrate and free gas saturation are analyzed. It is suggested that porosity of sediment, the P wave velocity model and methods of calculating elastic modulus are key factors in the estimation of gas hydrate and free gas saturations. Attenuation of gas hydrate-bearing sediment is closely related with the cementation types of gas hydrate. Negative anomalies of quality factors indicate that gas hydrate deposits away from grain as part of fluid. Positive anomalies of the quality factors indicate that gas hydrate contacts with solid and changes the elastic modulus of matrix. Low frequency velocity and high frequency velocity models are used to estimate gas hydrate and free gas saturation in the Blake Ridge area according to the well log data of the hole 995 in ODP leg 164. The gas hydrate saturation obtained by low frequency velocity is 10% similar to 20% of the pore space and free gas saturation is 0.5% similar to 1% of the pore space. The gas hydrate saturation obtained by high frequency velocity is 5% similar to 10% of the pore space and free gas saturation is 1% similar to 2% of the pore space.

13万年以来黄土高原东缘与捷克的风成沉积序列

The loess-paleosols in the Chinese loess plateau and Europe are the main eolian sediment sequences in mid-latitude area of north hemisphere. They record not only the paleoclimatic and paleoenvironmental processes since the last interglacial, but also the configuration of magnetic field during polarity transition. Comparisons of environmental magnetism, paleomagnetism and climate proxy analysis has been made for the loess/paleosol sequences in Datong and Czech Republic. The Datong loess/paleosol sequence is composed of the Holocene soil SO, the last glacial loess LI, the last interglacial soil SI and the upper penultimate loess L2. A basalt layer occurs in L2. The main magnetic minerals in LI and SI are magnetite, maghemite and ilmenite. The presence of local volcanic elastics in the loess and the characteristics of the magnetic minerals indicate that there are local materials in Datong loess, which differentiate the Datong loess from the central and eastern loess of the Chinese Loess Plateau. In addition, there are four polarity events in Datong loess, which are generally consistent with Gothenburg> Mono Lake, Laschamp and Blake events. Some signals of the East Asia monsoon were recorded in the Datong loess/paleosol sequences. Magnetic susceptibility, the content of >63um grains and the organic matter are used as climate proxies, which are similar to those of the typical eolian sediments in the loess plateau. In addition, it is possible that the Datong loess also recorded the Younger Dryas and the climatic fluctuations during the Holocene. The main magnetic minerals in the loess/paleosol at Znojmo section are magnetite, maghemite, hematite, pyrite, pyrrhotite and goethite. The morphology of these grains reveals that the iron sulfides originated from the eluvium loam above hypothetical ore deposits in the vicinity of the section or glaciofluvial sediments from nearby glacial margins. The pattern of the susceptibility variation at Dolni Vestonice section is coincident with that of the organic matter content. The grain size variation along the section recorded the climate instability since the last interglacial. The climate events in the Dolni Vestonice section may be correlated with the Heinrich events recorded in North Atlantic sediments, suggesting they controlled by the same marine-continent climate system.

Leaving Planet Earth (Follow-on Voucher Project).

SFC FOLLOW-ON VOUCHER The project was undertaken as a SFC Follow-on Voucher (£40K) alongside a student project with BDes (Hons) Design & Digital Arts (D&DA).James Blake (Centre for Media & Culture) brought together students and staff to develop digital content, including films, for a transmedia project and the induction video on the coaches to Ratho. Malcolm Innes, Ian Lambert, Andrew O’Dowd, and Euan Winton (Centre for Design Practice & Research) developed the Old Earth Museum (both physical and virtual), and transmedia designer and research student Beata Zemanek oversaw the transmedia strategy and making of the Gatekeeper film, supported by D&DA students and graduates.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Animated virtual agents to cue user attention: comparison of static and dynamic deictic cues on gaze and touch responses

This paper describes an experiment developed to study the performance of virtual agent animated cues within digital interfaces. Increasingly, agents are used in virtual environments as part of the branding process and to guide user interaction. However, the level of agent detail required to establish and enhance efficient allocation of attention remains unclear. Although complex agent motion is now possible, it is costly to implement and so should only be routinely implemented if a clear benefit can be shown. Pevious methods of assessing the effect of gaze-cueing as a solution to scene complexity have relied principally on two-dimensional static scenes and manual peripheral inputs. Two experiments were run to address the question of agent cues on human-computer interfaces. Both experiments measured the efficiency of agent cues analyzing participant responses either by gaze or by touch respectively. In the first experiment, an eye-movement recorder was used to directly assess the immediate overt allocation of attention by capturing the participant’s eyefixations following presentation of a cueing stimulus. We found that a fully animated agent could speed up user interaction with the interface. When user attention was directed using a fully animated agent cue, users responded 35% faster when compared with stepped 2-image agent cues, and 42% faster when compared with a static 1-image cue. The second experiment recorded participant responses on a touch screen using same agent cues. Analysis of touch inputs confirmed the results of gaze-experiment, where fully animated agent made shortest time response with a slight decrease on the time difference comparisons. Responses to fully animated agent were 17% and 20% faster when compared with 2-image and 1-image cue severally. These results inform techniques aimed at engaging users’ attention in complex scenes such as computer games and digital transactions within public or social interaction contexts by demonstrating the benefits of dynamic gaze and head cueing directly on the users’ eye movements and touch responses.

Johnny's in the Basement: Keats, Bob Dylan and Influence

Marggraf Turley, Richard, 'Johnny's in the Basement: Keats, Bob Dylan and Influence', In: 'The Monstrous Debt: Modalities of Romantic Influence in Twentieth Century Literature', (Detroit, MI: Wayne State University Press), pp.181-204, 2006 RAE2008

Approaching the Unapproached Light: Milton and the Romantic Visionary

Shears, J. (2006). Approaching the Unapproached Light: Milton and the Romantic Visionary. In G. Hopps and J. Stabler (Eds.), Romanticism and Religion from William Cowper to Wallace Stevens (pp.25-40). The Nineteenth Century Series. Aldershot: Ashgate. RAE2008

The game jam movement: disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art.

An impression of home: player nostalgia and the impulse to explore game worlds

This is the accepted version of the paper following peer review.

An Institutional Approach to Donor Control: From Dyadic Ties to a Field‐Level Analysis

Literature on the nonprofit sector focuses on charities and their interactions with clients or governmental agencies; donors are studied less often. Studies on philanthropy do examine donors but tend to focus on microlevel factors to explain their behavior. This study, in contrast, draws on institutional theory to show that macrolevel factors affect donor behavior. It also extends the institutional framework by examining the field‐level configurations in which donors and fundraisers are embedded. Employing the case of workplace charity, this new model highlights how the composition of the organizational field structures fundraisers and donors alike, shaping fundraisers’ strategies of solicitation and, therefore, the extent of donor control.