The two paths: being lectures on art, and its application to decoration and manufacture, delivered in 1858-9.

Mode of access: Internet.

Criticisms on art: and sketches of the picture galleries of England.

Criticisms on the picture galleries of England.--On Hogarths̓ Marriage à-la-mode.--On the fine arts.--On the Elgin marbles.--Fonthill abbey.--On Flaxmans̓ lectures on sculpture.--Appendix: Catalogue of pictures in the National gallery [etc., etc.]

Form in civilization; collected papers on art & labour,

Mode of access: Internet.

Films on art;

Mode of access: Internet.

Disentangling the impact of seroconversion age and set-point viral load on ART-free HIV survival

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

Valorization of cultural diversity throught Good Practices Dissemination on Art Mediation: sharing experiencies

In this article, as part of the Erasmus+ project “Divercity”, we focus on the collection and analysis of good practices in Spain and other countries in Europe. The project revolves around the development of methods that valorize cultural diversity and in this respect, identifying and sharing best practices on diversity and inclusion through artistic mediation inside museums, culture institutions, our urban walks, forms an mandatory stage of the research process.

Epitaxially Grown Strained Pentacene Thin Film on Graphene Membrane

Organic-graphene system has emerged as a new platform for various applications such as flexible organic photovoltaics and organic light emitting diodes. Due to its important implication in charge transport, the study and reliable control of molecular packing structures at the graphene-molecule interface are of great importance for successful incorporation of graphene in related organic devices. Here, an ideal membrane of suspended graphene as a molecular assembly template is utilized to investigate thin-film epitaxial behaviors. Using transmission electron microscopy, two distinct molecular packing structures of pentacene on graphene are found. One observed packing structure is similar to the well-known bulk-phase, which adapts a face-on molecular orientation on graphene substrate. On the other hand, a rare polymorph of pentacene crystal, which shows significant strain along the c-axis, is identified. In particular, the strained film exhibits a specific molecular orientation and a strong azimuthal correlation with underlying graphene. Through ab initio electronic structure calculations, including van der Waals interactions, the unusual polymorph is attributed to the strong graphene-pentacene interaction. The observed strained organic film growth on graphene demonstrates the possibility to tune molecular packing via graphene-molecule interactions.

Two Women; On the Cinematic Experience in Installation Art

Thesis (Ph.D.)--University of Washington, 2016-07

Impact of antiretroviral therapy (ART), immunosuppression and viraemia on lipid levels: the D:A:D study

Purpose of the study: To investigate the impact of ART, HIV viremia and immunosuppression on triglyceride (TG), total cholesterol (TC) and high density lipoprotein cholesterol (HDL-C) levels. Methods: We considered the cross-sectional associations between TG, TC and HDL-C (mmol/l; first available measurement on/after enrolment in the D:A:D study) and use of ART, HIV viral load (VL; copies/ml), and CD4 count (cells/mm3) measured at the same time. TG was log10 transformed to ensure normality. Analyses were performed using linear regression and adjusted for other factors known to impact lipid levels (table footnote). ART and VL status were combined (off ART&VL _100,000, off ART&VL B100,000, on ART&VL B500, on ART&VL _500), current and nadir CD4 count were categorised as B200, 200_349, 350_499 and _500. Summary of results: 44,322/49,734 participants in the D:A:D Study (89.1%) contributed a TG measurement (median; IQR 1.52; 1.00_ 2.45), 45,169 (90.8%) a TC measurement (4.80; 4.00_5.70) and 38,604 (77.6%) a HDL-C measurement (1.12; 0.90_1.40). Most participants were male (74%), of white ethnicity (51%), without AIDS (78%), were not receiving lipid-lowering drugs (4%) and were ART experienced (61%) with 47% previously exposed to PIs, 61% previously exposed to NRTIs and 29% previously exposed to NNRTIs. The median (IQR) age, current CD4 count and CD4 nadir were 38 (36_45) years, 400 (242_590) cells/ml and 240 (100_410) cells/ml respectively. Compared to those on ART with a suppressed VL, all lipids were lower for those off ART (Table); non-suppressive ART was also associated with lower TC and HDL-C levels (no impact on TG). A low current CD4 count was associated with lower lipid levels, whereas a low nadir CD4 count was associated with higher TC and TG levels. Prior AIDS diagnosis was associated with higher TG and TC, but lower HDL-C levels. Conclusion: Although specific drug classes were not considered, lipid levels are considerably higher in those on a suppressive ART regimen. The higher TC/TG and lower HDL-C levels seen among those with low nadir CD4 count and with a prior AIDS diagnosis suggests severe immunosuppression may be associated with dyslipidaemia over the long-term.

L'origine picturale du cinéma : le tableau vivant, une esthétique du film des premiers temps

Le cinéma des premiers temps, c'est-à-dire la production des deux premières décennies du cinéma, majoritairement caractérisée par des plans autonomes, des histoires courtes et un cadre fixe, n'a essentiellement connu d'études esthétiques que sous un angle narratologique, centrées notamment sur les prémisses du montage. Cette thèse déplace le regard - ou plus simplement le convoque -, en proposant de faire sa place à l'image. Car à qui sait les regarder, les premiers films dévoilent une parenté picturale jusqu'alors ignorée. Les images du cinéma des premiers temps - alors significativement appelées « tableaux » - se sont en effet définies à l'aune de la peinture, et même plus précisément par une imitation littérale des oeuvres d'art. Cette étude révèle que le tableau vivant, défini dans les termes stricts de la reconstitution d'une composition picturale par des acteurs vivants (que ceux-ci tiennent la pose ou non), est au fondement d'une esthétique du film des premiers temps. L'argument est structuré par les illustrations que l'auteure exhume (et compare, à la manière d'un spectaculaire et vivant jeu des 7 différences) parmi cette production filmique majoritairement disparue, brûlée, effacée, et ces références picturales aujourd'hui perdues, dénigrées, oubliées... Néanmoins ce ne sont pas quelques exemples isolés, mais un vrai phénomène historique qui est mis au jours à travers un corpus de films traversant tous les genres du cinéma des premiers temps, et prouvant que les productions du Film d'Art et des séries d'art ou le film Corner in Wheat (D.W. Griffith, 1909), souvent tenus comme un commencement, consistent bien plus en un aboutissement de cette tradition qui consiste à créer des images filmiques sous forme de tableaux vivants. Traçant d'abord ses « contexte et contours », le texte montre que la reconstitution picturale hante toutes les formes de spectacle à l'heure de l'émergence du cinéma. Les scènes de l'époque cultivent internationalement une esthétique de tableau vivant. Et la scène n'a pas l'exclusivité du phénomène : le médium photographique, dès son apparition, s'approprie le procédé, pour (chose jusqu'alors impossible) documenter l'effet visuel de ces reconstitutions, mais aussi pour les réinventer, en particulier pour se légitimer en tant que moyen artistique capable de rivaliser avec la peinture. Le cinéma émergent procède à une appropriation similaire du tableau vivant, qui fait le coeur de ce travail en y étant analysée selon quatre axes théoriques : Reproduire - où l'on découvre le caractère fondamentalement indirect de la filiation picturale de ces tableaux vivants, pris dans une dynamique de reproduction intermédiale qui en fait de véritables exercices de style, par lesquels les producteurs expérimentent et prennent conscience des moyens .artistiques de l'image filmique - ; Réincarner - où l'on étudie les problématiques engagées par la « mise en vie », et plus précisément la « mise en corps » des figures picturales (en particulier de Jésus et du nu), impliquant des enjeux de censure et un questionnement du regard sur l'art, sur le corps, et sur le statut de ces images qui semblent plus originales que l'original - ; Réanimer - où l'on examine la manière dont le cinéma mouvemente la peinture, en remettant la composition en action, en en redéployant l'instant prégnant, en expérimentant la pose gestuelle, l'arrêt du photogramme et tout le spectre de la temporalité cinématographique - ; enfin Recadrer - où l'on analyse le cadrage de ces tableaux repensés à l'aune de la caméra et de l'écran, qui nécessitent de complexifier les catégories théoriques baziniennes, et qui font émerger le tableau vivant comme un lieu de cristallisation d'une image filmique tabu/aire, offrant une résistance au montage linéaire. Or cette résistance se vérifiera jusque dans les films très contemporains, qui, en réactualisant le motif du tableau vivant, briseront la linéarité narrative du montage et feront rejaillir le poids artistique de l'image - ravivant en cela une esthétique fondatrice du cinéma.

Electrochemical deposition of praseodymium oxide on tin-doped indium oxide as a thin sensing film

Fabrication of a thin praseodymium oxide film is of great technological interest in sensor, semiconducting, and ceramic industries. It is shown for the first time that an ultrathin layer of praseodymium oxide can be deposited on tin-doped indium oxide surface (ITO) by applying a negative sweeping voltage (cathodic electrodeposition) to the aqueous solution containing Pr(NO3)(3) and H2O2 using cyclic voltammetry, followed by annealing the film at 500 S C for 1 h. X-ray diffraction suggested that the predominant phase of the film is Pr6O11 and atomic force microscopy and scanning electron microscopy characterizations indicated that this film is assembled with a monolayer coverage of spherical praseodymium oxide nanoparticles packed closely on the ITO surface. AC impedance measurements of the thin Pr6O11 film on ITO also revealed that the composite material displays a much higher electrical conductivity compared to the pure ITO. As a result, the material could suitably be used as a new chemical sensor. (c) 2006 The Electrochemical Society.

Development of Nanostructured Electrochemical Sensor Based on Polymer Film Nickel-Salen for Determination of Dissolved Oxygen

An amperometric oxygen sensor based on a polymeric nickel-salen (salen = N,N '-ethylenebis(salicydeneiminato)) film coated platinum electrode was developed. The sensor was constructed by electropolymerization of nickel-salen complex at a platinum electrode in acetonitrile/tetrabuthylamonium perchlorate by cyclic voltammetry. The voltammetric behavior of the modified electrode was investigated in 0.5 mol L-1 KCl solution in the absence and presende of molecular oxygen. A significant increased of cathodic peak current (at -0.20 vs. SCE) of the modified electrode with addition of oxygen to the solution was observed. This result shows that the nickel-salen film on the surface of the electrode promotes the reduction of oxygen. The reaction can be brought about electrochemically where in the nickel(II) complex is first reduced to a nickel(I) complex at the electrode surface. The nickel(I) complex then undergoes a catalytic oxidation by the oxygen molecular in solution back to the nickel(II) complex, which can then be electrochemically re-reduced to produce an enhancement of the cathodic current. The plot of the cathodic current versus the dissolved oxygen concentration for chronoamperometry (potential fixed = -0.20 V) at the sensor was linear in the concentration range of 3.95 to 9.20 mg L-1 with concentration limit of 0.17 mg L-1 O-2. The modified electrode proposed is useful for the quality control and routine analysis of dissolved oxygen in commercial water and environmental water samples. The results obtained for the levels of dissolved oxygen are in agreement with the results obtained with an O-2 commercial sensor. (C) 2011 Published by Elsevier Ltd.

Nanohardness of a Ti thin film and its interface deposited by an electron beam on a 304 SS substrate

The results of nanohardness measurements at a film surface and film-substrate interface are presented and discussed. An electron beam device was used to deposit a Ti film on a 304 stainless steel (304 SS) substrate. The diluted interface was obtained by thermal activated atomic diffusion. The. Ti film and Ti film-304 SS interface were analyzed by energy dispersive spectrometry and were observed using atomic force microscopy. The nanohardness of the Ti film-304 SS system was measured by a nanoindentation technique. The results showed the Ti film-304 SS interface had a higher hardness value than the Ti film and 304 SS substrate. The Ti film surface had a lower hardness due to the presence of a TiO2 thin layer.

Electrochemical impedance spectroscopy characterization of passive film formed on implant Ti-6Al-7Nb alloy in Hank's solution

The influence of potential on electrochemical behavior of Ti-6Al-7Nb alloy under simulate physiological conditions was investigated by electrochemical impedance spectroscopy (EIS). The experimental results were compared with those obtained by potentiodynamic polarization curves. All measurements were carried out in Hank's aerated solution at 25degreesC, at pH 7.8 and at different potentials (corrosion potential, 0 mV(SCE), 1000 mV(SCE), and 2000 mV(SCE)). The EIS spectra exhibited a two-step or a two-time constant system, suggesting the formation of a two-layer oxide film on the metal surface. The high corrosion resistance, displayed by this alloy in electrochemical polarization tests, is due to the dense inner layer, while its osseointegration ability can be ascribed to the presence of the outer porous layer. (C) 2004 Kluwer Academic Publishers.