Improvement of coating durability, interfacial adhesion and compressive strength of UHMWPE fiber/epoxy composites through plasma pre-treatment and polypyrrole coating

Ultra-high-molecular-weight polyethylene (UHMWPE) fibers have exceptionally higher specific strength and stiffness compared with other high-performance fibers. However, the interfacial adhesion and compressive performance of UHMWPE fiber-reinforced polymer composites (FPCs) are extremely low. The challenges are to achieve load transfer at the interface between the fiber and matrix at a molecular level. Here, we show that plasma pre-treatment of UHMWPE fibers followed by coating with polypyrrole (PPy) results in an 848% improvement in the interfacial adhesion and 54% enhancement in compressive performance. This method takes advantage of a toughening mechanism observed in spider silk and collagen, which the hydrogen bond power the load transfer. The results showed that these improvements of interfacial adhesion and compressive strength were attributed to hydrogen-bonding interactions between the plasma pre-treated UHMWPE and PPy, which improves the fiber-matrix-fiber load transfer process. In addition, the hydrogen-bonded PPy coatings also endowed durability electrical conductivity properties of the UHMWPE fiber.

Sketch notes, 1, 2, 3

Sketch-Notes is a collaborative limited edition book (5 copies) by Cassandra Atherton & Phil Day (published by Mountains Brown Press). Sketch-Notes includes original monotypes, woodcuts, lithographs, a silkscreen print and a hand-coloured etching. It also includes poems by Cassandra Atherton which have either been hand written, letterpress printed, silkscreen printed, or lithography printed. Each copy bound in silk and is hand signed by the poet and myself. OF the five copies, Cassandra intends to keep one. The following libraries have purchased a copy: State Library of Victoria, National Library of Australia, and the Baillieu Library (and now Deakin Library).

Surface enhanced Raman scattering (SERS) fabrics for trace analysis

Flexible SERS active substrates were prepared by modification of silk fabrics with gold nanoparticles. Gold nanoparticles were in-situ synthesized after heating the silk fabrics immersed in gold ion solution. Localized surface plasmon resonance (LSPR) properties of the treated silk fabrics varied as the concentration of gold ions changed, in relation to the morphologies of gold nanoparticles on silk. In addition, X-ray diffraction (XRD) was used to observe the structure of the gold nanoparticle treated silk fabrics. The SERS enhancement effect of the silk fabrics treated with gold nanoparticles was evaluated by collecting Raman signals of different concentrations of p-aminothiophenol (PATP), 4-mercaptopyridine (4-MPy) and crystal violet (CV) solutions. The results demonstrate that the silk fabrics corresponding to 0.3 and 0.4 mM of gold ions possess high SERS activity compared to the other treated fabrics. It is suggested that both the gold content and morphologies of gold nanoparticles dominate the SERS effect of the treated silk fabrics.

Developmental brain trajectories in children with ADHD and controls: a longitudinal neuroimaging study

BACKGROUND: The symptom profile and neuropsychological functioning of individuals with Attention Deficit/Hyperactivity Disorder (ADHD), change as they enter adolescence. It is unclear whether variation in brain structure and function parallels these changes, and also whether deviations from typical brain development trajectories are associated with differential outcomes. This paper describes the Neuroimaging of the Children's Attention Project (NICAP), a comprehensive longitudinal multimodal neuroimaging study. Primary aims are to determine how brain structure and function change with age in ADHD, and whether different trajectories of brain development are associated with variations in outcomes including diagnostic persistence, and academic, cognitive, social and mental health outcomes.

METHODS/DESIGN: NICAP is a multimodal neuroimaging study in a community-based cohort of children with and without ADHD. Approximately 100 children with ADHD and 100 typically developing controls will be scanned at a mean age of 10 years (range; 9-11years) and will be re-scanned at two 18-month intervals (ages 11.5 and 13 years respectively). Assessments include a structured diagnostic interview, parent and teacher questionnaires, direct child cognitive/executive functioning assessment and magnetic resonance imaging (MRI). MRI acquisition techniques, collected at a single site, have been selected to provide optimized information concerning structural and functional brain development.

DISCUSSION: This study will allow us to address the primary aims by describing the neurobiological development of ADHD and elucidating brain features associated with differential clinical/behavioral outcomes. NICAP data will also be explored to assess the impact of sex, ADHD presentation, ADHD severity, comorbidities and medication use on brain development trajectories. Establishing which brain regions are associated with differential clinical outcomes, may allow us to improve predictions about the course of ADHD.

Heat and moisture transfer through silkworm cocoon walls.

A silkworm cocoon is a biological porous structure which provides multiple protective functions. The knowledge from this natural protective system could contribute to develop advanced materials and structures with superior performances and meet the human demanding of novel breathable materials for enhanced thermal protection and comfort.

Influencia del interés geopolítico de China en sus relaciones bilaterales con Camboya

La presente investigación tiene como objetivo analizar cómo las relaciones bilaterales entre China y Camboya son afectadas por el interés geopolítico chino, con el fin de demostrar que éste genera un fortalecimiento de sus relaciones puesto que además de suplir necesidades alimenticias, hídricas y en mano de obra barata, es el único país de la región del Sudeste Asiático que le permite a China tener acceso militar al Golfo de Tailandia y al Mar de China Meridional, donde se encuentra en desventaja con Estados Unidos. Así, se indica que la potencia asiática formula sus acuerdos bilaterales creando relaciones de dependencia por parte de países como Camboya para que este le entregue “obligatoriamente” lo que necesita. Esta investigación se llevará a cabo por medio de una monografía con un enfoque realista. Se utilizará el método de investigación cualitativo, que se servirá de fuentes primarias como los acuerdos bilaterales entre ambos Estados.

Mercadeo farmacéutico de productos bajo prescripción: efectos de las estrategias Direct-to-Consumer-Advertising en el comportamiento de los consumidores y de prescripción de los médicos

Este proyecto se origina en el interés de analizar las estrategias actuales de promoción de productos farmacéuticos, en el marco del debate sobre el efecto persuasivo o informativo que la publicidad directa tiene sobre los consumidores. El objetivo es determinar el efecto de las estrategias de promoción directa para consumidores (Direct to Consumer Advertising [DTCA]) sobre el comportamiento de compra de pacientes y las prescripciones que formulan los médicos en el mercado de productos bajo receta en Estados Unidos. Para tal fin se propuso realizar una monografía que incluyera una revisión de literatura de carácter argumentativo, consultando información de nivel secundario en bases de datos científicas cuyos contenidos obedecieran a criterios metodológicos determinados por la naturaleza argumentativa del estudio. Adicionalmente, se analizó el debate sobre estos anuncios a la luz de dos estudios realizados a pacientes con cáncer de seno, próstata y colon, liderados por el Pennsylvania Cancer Registry con los productos biofarmacéuticos Avodart® y Flomax®. Finalmente, la investigación se fundamentó en la relación del mercado farmacéutico en Estados Unidos con cada uno de los agentes que interactúan en él; consumidores, médicos prescriptores y empresas farmacéuticas, así como el valor que estos comparten través de dichas interacciones. Se concluye que el comportamiento de compra de los consumidores está determinado por la naturaleza de la patología que padecen y el comportamiento de los profesionales que prescriben a sus pacientes se ve influenciado por los anuncios DTCA.

Testing the cleaning effectiveness of new ecological aqueousdispersions applied on old icons

Adherent deposits are very aggressive towards ancient heritage paintings since they affect the varnish and the painting’s layers, sometimes reaching the preparative layers. The biggest problem to the restorer is their removal without affecting the patina, the transparent varnish (well preserved) and fine colour glazes made during painting. Therefore, their removal requires preliminary cleaning tests that allow the optimization of the cleaning system composition that is going to be used. The study was focused on organic natural systems, as colourless supernatants, some of them used during ages, but insufficiently studied. The paper presents an evaluation of the effectiveness of cleaning varnished icons of the nineteenth century, with complex conservation cases using supernatants derived from aqueous dispersions extracted from vegetables and dry indigenous herbal infusions. Best results, after six consecutive cleaning steps, on tempera old icon was obtained for a mixture made of mature white onion juice + extract of Soapwort flowers + corn silk tea + acacia tea. As a best result after just one cleaning step was obtained for a quaternary mixture composed from mature white onion juice + mature carrot juice + corn silk tea + aqueous extract of Soapwort flowers.

Memoires de Soie en Inde: La Ville de Kanchipuram et son art de Tissage

A cidade de Kanchipuram, no Estado de Tamilnadu, sul da Índia, é sinónimo de templos hindus, mas também do sari em seda. A migração de comunidades de tecelão para esta cidade começou durante o reinado da Dinastia Chola nos Séculos 8-13 d. C. Anteriormente, o pano de seda foi considerado como tecido dos Deuses e os tecelões satisfizeram as necessidades religiosas do templo da cidade. Paulatinamente, um tecido de seda torna-se, tanto um tecido dos "mortais", como dos Deuses, e houve um aumento da procura dos têxteis em seda, especialmente, do sari em seda. A particularidade dos tecelões de Kanchipuram reside na sua técnica complicada de tecelagem e nos ricos motivos que são uma expressão da paixão do tecelão. Nosso trabalho de investigação centra-se nas técnicas de tecelagem e no seu produto final - o sari - para destacar a sua singularidade. Neste contexto, quero propor um projecto de documentação dos motivos do sari, para ilustrar um dos principais meios de valorização desta tradição de tecelagem que remonta a vários séculos. RÉSUMÉ: La ville de Kanchipuram, située dans l'état du Tamilnadu, dans le sud de l'Inde, fait souvent écho aux temples hindous mais également au sari en soie. Les tisserands ont migré à l'époque Chola (850- 1279 ap.J.C.) pour répondre aux besoins religieux de la ville car au départ, la soie était un tissu destiné à I 'usage des dieux. Au fur et à mesure, la soie est devenue aussi bien un tissu destiné aux 'mortels' qu'aux dieux. Ces tisserands ont connu par la suite, une forte demande, plus particulierement, pour les saris en soie. La particularité des tisserands de la ville de Kanchipuram réside dans sa technique laborieuse de tissage et dans les motifs élaborés parle billet desquels s'exprime la passion du tisserand dans sa tâche. Le présent mémoire s'attache à la technique de tissage et à son produit final - le sari - pour mettre en valeur son unicité. Dans ce cadre, je propose un projet de documentation des motifs des saris pour illustrer un des vecteurs clés de valorisation de cette tradition de tissage qui remonte à plusieurs siecles. ABSTRACT: The city of Kanchipuram, located in the State of Tamilnadu in southern India, is synonymous with Hindu temples and silk saris. The migration of weaver communities to the city started during the Chola reign (81 131 centuries A.D). Early on, silk was considered the cloth of the gods and these weavers met the needs of the temple city by producing silk textiles for religious use. Gradually, silk became a cloth as much for the 'mortais' as for the gods and demand increased for silk textiles, especially saris. The importance of Kanchipuram weaving lies in its complex techniques and rich motifs as expressions of the. weaver’s passion. This text examines the weaving techniques popularly known as the korvai technique, as well as the saris produced using this technique. ln addition, it attempts to catalogue certain motifs woven into the saris as a first step in promoting and valorizing the cultural richness of an art dating back several centuries.

Histoire et projet dans la valorisation du patrimoine de la soie : Le Filatoio di Caraglio (Coni. Italie) et le Real Filatório de Chacim (Trás-os-Montes, Portugal)

O objetivo deste trabalho é explorar a temática da valorização do patrimônio arquitetónico, herdado pela indústria da seda, baseando-se na história das técnicas, na gestão e na valorização do patrimônio industrial. É a partir do estudo de duas fábricas de seda na Europa: o Filatoio di Caraglio em Itália (data de construção: 1676-1678) e o Real Filatório de Chacim em Portugal (data de construção: 1788) que serão discutidas as estratégias encontradas para a conservação/restauração dos dois casos em questão, com base em suas histórias e contextos atuais. O Filatoio di Caraglio é uma das fábricas de seda mais antigas da Europa tendo como técnica o moinho alia piemontese publicado na Encyclopédie como uma das melhores invenções. No caso do Real Filatório de Chacim, constata-se que a introdução deste moinho por meio de técnicos italianos constituiu uma transferência tecnológica entre os dois países. RÉSUMÉ: L'objective de ce travail est d'explorer la thématique de la mise en valeur du patrimoine architectural hérité de industrie de la soie en se basent sur l'histoire des techniques, la gestion et la valorisation du patrimoine industriei. C'est à partir de l'étude de deux fabriques à soie en Europe: le Filatoio di Caraglio en Italie (date de construction: 1676-1678) et le Real Filatório de Chacim au Portugal (date de construction: 1788) que sont discutées les stratégies employées pour la conservation/restauration de ces deux cas basées sur leur histoire et sur les contextes actuels. Le Filatoio di Caraglio est une des soieries plus anciennes de l'Europe et était caractérisée par une technique du moulin alla piemontese publié dans l'Encyclopédie come une des meilleures inventions. Dans le cas du Real Filatório de Chacim, on constate que l'introduction de ce type de moulin par des techniciens italiens a constitué un transfert technique entre les deux pays. ABSTRACT: The purpose of this research is to examine the enhancement of architectural heritage inherited from the silk industry, focusing on technical history, and the management and valorization of industrial heritage. Conservation/restoration strategies are discussed by analyzing solutions proposed in two European silk mills: The Filatoio di Caraglio, in Italy (date of construction: 1676-1678) and the Real Filatório de Chacim, in Portugal (date of construction: 1788), taking into consideration their histories and current context. While the former is one of the oldest European silk mills, employing the alla piemontese technique, which was praised by the Encyclopédie, the latter was set up by ltalian technicians, establishing a technology transfer between the two countries.

Francisco Pizarro' s banner of arms: an analytical work contributing to latin America's history

The study of textiles is an open area of scientific research, which for its variety of material components and physical chemical diversity of conditions, makes a field of interest for scientific studies in the cultural heritage field. Archaeological/historical textiles offer the possibility to carry out studies on organic materials such as fibers, adhesion elements, dyes, paper, etc., as well as on inorganic compounds for instance metals, alloys, precious stones and other added ornamentation. That variety of composition, allow to use a combination of analytical techniques to solve the questions coming from the object in an archaeometric research. One kind of textile object that provides a valuable cultural information because of its linguistic representation employed by its carrier societies, are the flags/banners/emblems, objects made with a nonverbal communication purpose. As long as depending on the use and/or purpose of each object, varies both the materials/techniques used in its production and its iconography (style, color, emblem, shape), its study gives the possibility to extract information through their materials and manufacturing techniques about a temporal-spatial frame, a particular event or a specific character. The flags/banners have been used since the eleventh century as representative objects of power, hierarchy, social or military organization, or as communicative media. The use of these objects has been spread throughout the world, possibly due to its easy interpretation and/or appropriation by different societies, making it part of their own culture. The flags as symbols of territorial control, using emblems that represent a family, order or army, were introduced to the New World (America) with the arrival of the European conquerors at the end of the fifteenth century. Flags/banners representing the Royal dominion over conquered territories, the Catholic Church and conquistadors’ armies were the first to arrive. One of those flags that have endured over time, that have an invaluable cultural meaning for both American and Iberian societies, is the so-called Francisco Pizarro’s Banner of Arms. It is a textile object with metal threads decoration over a Royal emblem. According to historical sources, this object was used by Francisco Pizarro in 1532 on the conquest process of Peru, after received the permission by King Charles V to on behalf of him, to conquer the lands of the New World today known as Peru. After Pizarro’s control of the Inca territory, it is believed that Pizarro left his banner on top of the Inca’s Sun’s Temple as symbol of his rule. Centuries later, in the America libertarian campaigns, General Sucre, military at charge of the independence army in Peru, reports have found what he considered the Pizarro’s Banner, sending it to Bogotá as a symbol of victory, being kept since that time until today by the National Museum of Colombia. Due to historical discrepancies in the different movements of the so-called Pizarro’s Banner of Arms, its real meaning has been under discussion and because of the passage of time its physical condition has suffer deterioration. That is because its scientific study is now an interesting case study to respond to both historical and conservation questions of it. Through a collaboration with the National Museum of Colombia, a set of 25 samples of so-called Pizarro’s Banner of Arms were collected, covering the various components and areas from the object of study. These samples were subjected to analytical studies for physical and chemical characterization. Microscopic observation, VSEM-EDS analysis, Raman spectroscopy, chromatographic analysis (HPLC-MS, GCMS) and radiocarbon dating were done. Similarly, was sought through a direct in situ physical inspection to the object and through a research into historical sources, adequate information to solve the object’s problems. Results obtained allowed to identify as silk the textile used in the elaboration of the Banner’s fabric, as well as the use of natural dyes for dyeing the fibers used on the emblem: use of cochineal and brazil wood as a source of red, luteolin plant-based for yellow color, indigotine plant-based for blue, and a mixture of yellow and blue dyes for green were identified. Similarly, the use of animal glue in the manufacturing process and the use of rag paper was evident. The metal threads study from the Banner give a confirmation to a silver core wire gilded with a thin gold sheet, being flattened and entwined with silk threads for their use. Finally, using the radiocarbon results, it was possible to postulate with huge accuracy that the Banner date manufacture was between the XV-XVI century and subject to restoration processes with addition of textiles in modern times. Together with, was evident that the state of degradation of the fabric is due to natural degradation in the silk fibers, having that its color has faded and its mechanical properties decreased, leading to loss of rigidity and disappearance of the physical structure. Similarly, it was clear the original colors of the emblem and highlight problems of detachment of paper due to crystallization of the adhesive. In the same way, was found that the metal threads suffer corrosion by sulfur and detachment of its crystals. Finally, combining the analytical results and the historical sources data found from the so-called Francisco Pizarro’s Banner of Arms, allows to postulate that its manufacture process was done in Europe employing precious materials to obtain a long-life object with a deep message for its viewers. Also, the data obtained helps to support the possible idea that the object was employed by Francisco Pizarro in the Peru conquest process. However, by the symbols present in the object, its elaboration date and materials, this object its clearly unique in its kind, and the most important, by its linguistic message, does not represent to Francisco Pizarro or his army, meanwhile, represents the Spanish crown. Therefore, instead to be labeled as Francisco Pizarro’s Banner of Arms, it should be called the Colonial Royal Banner of Charles V in the New World; RESUMEN: El estudio de textiles es un área abierta de investigación científica, la cual por su variedad de componentes materiales y la diversidad de condiciones físico-químicas presentes en estos objetos, lo hace un campo de interés para estudios científicos en el patrimonio cultural. Los textiles arqueológicos/históricos brindan la posibilidad de realizar estudios en materiales orgánicos como fibras, elementos de adhesión, tinturas, papel, etc., e inorgánicos como metales, aleaciones, piedras preciosas y demás materiales decorativos añadidos. Por su variedad de composición, es posible emplear diversas técnicas analíticas para resolver aquellas preguntas propias del objeto en una investigación arqueométrica. Uno de los objetos textiles que brinda gran información cultural debido a su representación lingüística empleada por las sociedades portadoras, son las banderas/estandartes/emblemas. Donde varía dependiendo de su uso y/o propósito, los materiales empleados en su elaboración, al igual que su iconografía (estilo, color, emblema, forma). El estudio de estos objetos construidos con un propósito de comunicación no verbal, da la posibilidad de extraer información a través de sus materiales y técnicas de elaboración sobre un rango temporal-espacial, un evento determinado en la historia o incluso a un personaje en específico. Las banderas han sido empleadas desde el siglo XI como objetos representativos de poder, jerarquía, organización social o militar, o como medio de comunicación. El uso de estos objetos se ha extendido a lo largo del mundo posiblemente debido a su fácil interpretación y/o apropiación por distintas sociedades, haciéndolo parte de su cultura. Las banderas como símbolos de control territorial, empleando símbolos que representan a una familia, orden o armada fueron introducidas a el Nuevo Mundo (América) con la llegada de los conquistadores europeos al final del siglo XV. Las banderas/estandartes que representaban el dominio Real sobre territorios dominados, la iglesia católica y las banderas de ejércitos y/o conquistadores fueron las primeras en llegar al nuevo mundo. Una de aquellas banderas que ha soportado el paso del tiempo, teniendo un gran valor cultural tanto para las sociedades americanas como para las ibéricas, es el denominado Estandarte de armas de Francisco Pizarro. Siendo un objeto textil con decoración en hilos metálicos sobre un emblema Real. De acuerdo a fuentes históricas, este objeto fue usado por Francisco Pizarro en 1532 en el proceso de conquista del Perú, quien recibe por parte del Rey Carlos V el poder para que, en su nombre, Pizarro pueda conquistar las tierras del nuevo mundo hoy conocidas como Perú. Luego del dominio de Pizarro sobre el territorio Inca, se cree que Pizarro dejó su estandarte en la cima del templo Inca del sol como símbolo de su control. Siglos más tarde, en las campañas libertarias de América, el General Sucre, militar encargado de la armada independentista en Perú, reporta haber encontrado lo que él considera como el estandarte de Pizarro, enviándolo a Bogotá como muestra de victoria, siendo custodiada desde ese momento por el Museo Nacional de Colombia hasta la actualidad. Debido a discrepancias históricas, el verdadero significado del llamado estandarte de Pizarro ha sido objeto de discusión y debido del pasar del tiempo su estado de conservación se ha deteriorado. Dejando de este modo, un caso de estudio interesante para que por medio de estudios científicos al objeto se pueda dar respuesta a preguntas tanto históricas como de conservación del mismo. De este modo, por medio de una colaboración con el Museo Nacional de Colombia, se obtuvo un juego de 25 muestras del llamado Estandarte de armas de Francisco Pizarro, abarcando los diferentes componentes y áreas del objeto de estudio. Dichas muestras fueron sometidas a estudios analíticos para su caracterización físico-química. Análisis de observación al microscopio, análisis VSEM-EDS, espectroscopia Raman, análisis cromatográficos (HPLC-MS, GC-MS) y datación por radiocarbono catorce fueron realizados. Del mismo modo, por medio de una inspección física al objeto in situ y una profunda investigación en fuentes históricas del mismo, se buscó la información adecuada para resolver sus problemáticas. Los resultados obtenidos permitieron identificar como seda el textil empleado en la elaboración del estandarte, así como el uso de colorantes naturales para teñir las fibras en el emblema: uso de cochinilla y palo de Brasil como fuente del color rojo, plantas a base de luteolin para el color amarillo, plantas a base de indigotina para el color azul y mezcla de colorantes amarillos y azules para el color verde fueron identificadas. Del mismo modo se evidencio el uso de adhesivos animales y el uso de papel de trapos en el proceso de manufactura. El estudio de los hilos metálicos, permitió evidenciar el uso de alambres con núcleos de plata con un fino recubrimiento de oro en su exterior, siendo aplanados y entrelazados con hilos de seda para su uso. Finalmente usando la datación por radiocarbono, fue posible conocer con alta precisión que el estandarte fue elaborado entre los siglos XV-XVI y sufrió procesos de restauración con añadidura de textiles en tiempos modernos. Junto a lo anterior, es posible postular que el estado de degradación de la tela es debido a degradación natural en las fibras de seda, teniendo así que su color se ha desvanecido y sus propiedades mecánicas disminuidas, conllevando a perdida de rigidez y desaparición de la estructura. Del mismo modo se pudo conocer los colores originales del emblema y evidenciar problemas de desprendimiento del papel debido a cristalización del adhesivo. Asimismo, se comprobó que los hilos metálicos presentan corrosión por azufre y desprendimiento de sus cristales. Finalmente, combinando los resultados analíticos y la información de fuentes históricas encontradas del llamado Estandarte de armas de Francisco Pizarro, se puede postular que su elaboración fue realizada en Europa, usando materiales preciosos para obtener un objeto de larga vida con un profundo mensaje para sus observadores. También, los datos obtenidos ayudan a dar soporte la posible idea de que este objeto fue usado por Francisco Pizarro en el proceso de conquista del Perú. Sin embargo, debido a los símbolos presentes en el objeto, fecha y materiales de elaboración, este objeto es claramente único en su tipo, y lo más importante, por su mensaje lingüístico, este no representa a Francisco Pizarro o su armada, al contrario, representa a la Corona de España. Por ende, en vez de denominarse como Estandarte de armas de Francisco Pizarro, este objeto debería nombrarse como el Estandarte Real de la Colonia de Carlos V en el Nuevo Mundo.