Preparação e caracterização de híbridos orgânico-inorgânicos à base de epoxí-silica

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Ultrasound Transient Shear Wave Elasticity Imaging for Tendon Tissue

Degeneration of tendon tissue is a common cause of tendon dysfunction with the symptoms of repeated episodes of pain and palpable increase of tendon thickness. Tendon mechanical properties are directly related to its physiological composition and the structural organization of the interior collagen fibers which could be altered by tendon degeneration due to overuse or injury. Thus, measuring mechanical properties of tendon tissue may represent a quantitative measurement of pain, reduced function, and tissue health. Ultrasound elasticity imaging has been developed in the last two decades and has proved to be a promising tool for tissue elasticity imaging. To date, however, well established protocols of tendinopathy elasticity imaging for diagnosing tendon degeneration in early stages or late stages do not exist. This thesis describes the re-creation of one dynamic ultrasound elasticity imaging method and the development of an ultrasound transient shear wave elasticity imaging platform for tendon and other musculoskeletal tissue imaging. An experimental mechanical stage with proper supporting systems and accurate translating stages was designed and made. A variety of high-quality tissue-mimicking phantoms were made to simulate homogeneous and heterogeneous soft tissues as well as tendon tissues. A series of data acquisition and data processing programs were developed to collect the displacement data from the phantom and calculate the shear modulus and Young’s modulus of the target. The imaging platform was found to be capable of conducting comparative measurements of the elastic parameters of the phantoms and quantitatively mapping elasticity onto ultrasound B-Mode images. This suggests the system has great potential for not only benefiting individuals with tendinopathy with an earlier detection, intervention and better rehabilitation, but also for providing a medical tool for quantification of musculoskeletal tissue dysfunction in other regions of the body such as the shoulder, elbow and knee.

Análises físico-químicas e biológicas de diferentes scaffolds à base de polihidroxibutirato e polihidroxibutirato-co-valerato

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Membranas de biocelulose como substrato para o crescimento de nanofios de ZnO: síntese e aplicação

Pós-graduação em Química - IQ

Preparação e caracterização de híbridos orgânico-inorgânicos à base de epoxí-silica

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Particulate composite based on coconut fiber and castor oil polyurethane adhesive: An eco-efficient product

This paper presents a study on the potential use of coconut fiber as material to produce particleboards, with two different densities (0.8 g/cm(3) and 1.0 g/cm3), using castor oil-based polyurethane adhesive and urea-formaldehyde. The quality of the product that can be produced by industry was evaluated according to the normative NBR 14.810:2006, where density, thickness swell (TS), absorption, modulus of elasticity (MOE), modulus of rupture (MOR) in static bending and internal bond (IB) were determined. From the results, there was a decrease in TS and increase in MOR of coconut fiber panels with polyurethane resin panels compared with coconut fiber and resin urea-formaldehyde. Scanning microscopy electronic images (SEM) indicated that castor oil-based polyurethane adhesive occupies the gaps between the particles, a factor that contributes to improved physical and mechanical properties of the panels. The assessment of durability through accelerated aging tests shows that panels protected with waterproofing material can be used in environments that have contact with moisture. (C) 2012 Elsevier B.V. All rights reserved.

Alessi 95 and the short-period Cepheid SU Cassiopeiae

The parameters for the newly discovered open cluster Alessi 95 are established on the basis of available photometric and spectroscopic data, in conjunction with new observations. Colour excesses for spectroscopically observed B- and A-type stars near SU Cas follow a reddening relation described by E(U-B)/E(B-V) = 0.83 + 0.02E(B-V), implying a value of R=AV/E(B-V) ? 2.8 for the associated dust. Alessi 95 has a mean reddening of E(B-V)(B0) = 0.35 +/- 0.02 s.e., an intrinsic distance modulus of V0-MV= 8.16 +/- 0.04 s.e. (+/- 0.21 s.d.), d= 429 +/- 8 pc, and an estimated age of 108.2 yr from zero-age main sequence (ZAMS) fitting of available UBV, CCD BV, NOMAD, and Two Micron All Sky Survey JHKs observations of cluster stars. SU Cas is a likely cluster member, with an inferred space reddening of E(B-V) = 0.33 +/- 0.02 and a luminosity of < MV >=-3.15 +/- 0.07 s.e., consistent with overtone pulsation (PFM= 2.75 d), as also implied by the Cepheids light-curve parameters, rate of period increase and Hipparcos parallaxes for cluster stars. There is excellent agreement of the distance estimates for SU Cas inferred from cluster ZAMS fitting, its pulsation parallax derived from the infrared surface brightness technique and Hipparcos parallaxes, which all agree to within a few per cent.

Aplicação do método de ensaio das frequências naturais de vibração para obtenção do módulo de elasticidade de peças estruturais de madeira

Existem diversas técnicas para caracterização do módulo de elasticidade de madeiras e, dentre as atualmente empregadas, destacam-se aquelas que utilizam as frequências naturais de vibração, por serem técnicas não destrutivas e, portanto, apresentarem resultados que podem ser repetidos e comparados ao longo do tempo. Este trabalho teve como objetivo avaliar a eficácia, dos métodos de ensaios baseados nas frequências naturais de vibração comparando-os aos resultados obtidos na flexão estática na obtenção das propriedades elásticas em peças estruturais de madeira de reflorestamento que são usualmente empregadas na construção civil. Foram avaliadas 24 vigas de Eucalyptus sp. com dimensões nominais (40 x 60 x 2.000 mm) e 14 vigas de Pinus oocarpa com dimensões nominais (45 x 90 x 2.300 mm), ambas sem tratamento; 30 pranchas com dimensões nominais (40 x 240 x 2.010 mm) e 30 pranchas com dimensões nominais (40 x 240 x 3.050 mm), ambas de Pinnus oocarpa e com tratamento preservativo à base de Arseniato de Cobre Cromatado - CCA. Os resultados obtidos apresentaram boa correlação quando comparados aos resultados obtidos pelo método mecânico de flexão estática, especialmente quando empregada a frequência natural de vibração longitudinal. O emprego da frequência longitudinal mostrou-se confiável e prático, portanto recomendada para a determinação do módulo de elasticidade de peças estruturais de madeira. Verificou-se ainda que, empregando a frequência longitudinal, não há necessidade de um suporte específico para os corpos de prova ou calibrações prévias, reduzindo assim o tempo de execução e favorecendo o ensaio de grande quantidade de amostras.

Emprego de ferramentas numéricas na avaliação do módulo de elasticidade em vigas roliças de madeira

Vigas são elementos estruturais encontrados na maioria das construções civis. Dentre os materiais de engenharia, destaca-se a madeira, por ter resistência mecânica satisfatória aliada a baixa densidade. A madeira roliça apresenta-se como boa solução na confecção de vigas, uma vez que não precisa ser processada, como é o caso da madeira serrada. O projeto de elementos estruturais de madeira requer o conhecimento de suas propriedades físicas e mecânicas, obtidas segundo as premissas de documentos normativos. Em se tratando da madeira roliça, os documentos normativos nacionais que tratam da determinação das propriedades de resistência e rigidez estão vigentes há mais de vinte anos sem revisão técnica. De forma geral, tanto as normas nacionais como as internacionais idealizam geometria troncocônica para as peças roliças de madeira, implicando equações simplificadas incapazes de prever a influência das irregularidades da forma na determinação do módulo de elasticidade longitudinal. Este trabalho objetiva avaliar a influência das irregularidades da geometria em peças roliças de madeira Corymbia citriodora e Pinus caribaea no cálculo do módulo de elasticidade longitudinal. Para tanto, utilizou-se do ensaio de flexão estática a três pontos, considerando também um modelo matemático simplificado, assumindo seção circular constante para a forma do elemento. As irregularidades das peças são consideradas nos modelos numéricos, constituídos de elementos finitos de barra e tridimensionais. Os resultados encontrados revelam equivalência estatística entre os módulos de elasticidade para ambas as formas de cálculo, indicando ser plausível a consideração de seção circular constante para as peças de madeira aqui avaliadas.

Progettare l'ospitalità: turismi e turisti della città contemporanea

La ricerca si pone come obbiettivo principale quello di individuare gli strumenti in grado di controllare la qualità di una progettazione specifica che risponde alle forti richieste della domanda turistica di un territorio. Parte dalle più semplici teorie che inquadrano una costante condizione dell’uomo, “il VIAGGIARE”. La ricerca si pone come primo interrogativo quello definire una “dimensione” in cui le persone viaggiano, dove il concetto fisico di spazio dedicato alla vita si è spostato come e quanto si sposta la gente. Esiste una sorta di macroluogo (destinazione) che comprende tutti gli spazi dove la gente arriva e da cui spesso riparte. Pensare all'architettura dell’ospitalità significa indagare e comprendere come la casa non è più il solo luogo dove la gente abita. La ricerca affonda le proprie tesi sull’importanza dei “luoghi” appartenenti ad un territorio e come essi debbano riappropriarsi, attraverso un percorso progettuale, della loro più stretta vocazione attrattiva. Così come si sviluppa un’architettura dello stare, si manifesta un’architettura dello spostarsi e tali architetture si confondono e si integrano ad un territorio che per sua natura è esso stesso attrattivo. L’origine terminologica di nomadismo è passaggio necessario per la comprensione di una nuova dimensione architettonica legata a concetti quali mobilità e abitare. Si indaga pertanto all’interno della letteratura “diasporica”, in cui compaiono le prime configurazioni legate alla provvisorietà e alle costruzioni “erranti”. In sintesi, dopo aver posizionato e classificato il fenomeno turistico come nuova forma dell’abitare, senza il quale non si potrebbe svolgere una completa programmazione territoriale in quanto fenomeno oramai imprescindibile, la ricerca procede con l’individuazione di un ambito inteso come strumento di indagine sulle relazioni tra le diverse categorie e “tipologie” turistiche. La Riviera Romagnola è sicuramente molto famosa per la sua ospitalità e per le imponenti infrastrutture turistiche ma a livello industriale non è meno famosa per il porto di Ravenna che costituisce un punto di riferimento logistico per lo scambio di merci e materie prime via mare, oltre che essere, in tutta la sua estensione, caso di eccellenza. La provincia di Ravenna mette insieme tutti i fattori che servono a soddisfare le Total Leisure Experience, cioè esperienze di totale appagamento durante la vacanza. Quello che emerge dalle considerazioni svolte sul territorio ravennate è che il turista moderno non va più in cerca di una vacanza monotematica, in cui stare solo in spiaggia o occuparsi esclusivamente di monumenti e cultura. La richiesta è quella di un piacere procurato da una molteplicità di elementi. Pensiamo ad un distretto turistico dove l’offerta, oltre alla spiaggia o gli itinerari culturali, è anche occasione per fare sport o fitness, per rilassarsi in luoghi sereni, per gustare o acquistare cibi tipici e, allo stesso tempo, godere degli stessi servizi che una persona può avere a disposizione nella propria casa. Il percorso, finalizzato a definire un metodo di progettazione dell’ospitalità, parte dalla acquisizione delle esperienze nazionali ed internazionali avvenute negli ultimi dieci anni. La suddetta fase di ricerca “tipologica” si è conclusa in una valutazione critica che mette in evidenza punti di forza e punti di debolezza delle esperienze prese in esame. La conclusione di questa esplorazione ha prodotto una prima stesura degli “obbiettivi concettuali” legati alla elaborazione di un modello architettonico. Il progetto di ricerca in oggetto converge sul percorso tracciato dai Fiumi Uniti in Ravenna. Tale scelta consente di prendere in considerazione un parametro che mostri fattori di continuità tra costa e città, tra turismo balneare e turismo culturale, considerato quindi come potenziale strumento di connessione tra realtà spesso omologhe o complementari, in vista di una implementazione turistica che il progetto di ricerca ha come primo tra i suoi obiettivi. Il tema dell’architettura dell’ospitalità, che in questo caso si concretizza nell’idea di sperimentare l’ALBERGO DIFFUSO, è quello che permette di evidenziare al meglio la forma specifica della cultura locale, salvandone la vocazione universale. La proposta progettuale si articola in uno studio consequenziale ed organico in grado di promuovere una riflessione originale sul tema del modulo “abitativo” nei luoghi di prossimità delle emergenze territoriali di specifico interesse, attorno alle quali la crescente affluenza di un’utenza fortemente differenziata evidenzia la necessità di nodi singolari che si prestino a soddisfare una molteplicità di usi in contesti di grande pregio.

Safety factors in sheet pile wall design: considerations by using traditional methods and FEM analysis

The purpose of the work is: define and calculate a factor of collapse related to traditional method to design sheet pile walls. Furthermore, we tried to find the parameters that most influence a finite element model representative of this problem. The text is structured in this way: from chapter 1 to 5, we analyzed a series of arguments which are usefull to understanding the problem, while the considerations mainly related to the purpose of the text are reported in the chapters from 6 to 10. In the first part of the document the following arguments are shown: what is a sheet pile wall, what are the codes to be followed for the design of these structures and what they say, how can be formulated a mathematical model of the soil, some fundamentals of finite element analysis, and finally, what are the traditional methods that support the design of sheet pile walls. In the chapter 6 we performed a parametric analysis, giving an answer to the second part of the purpose of the work. Comparing the results from a laboratory test for a cantilever sheet pile wall in a sandy soil, with those provided by a finite element model of the same problem, we concluded that:in modelling a sandy soil we should pay attention to the value of cohesion that we insert in the model (some programs, like Abaqus, don’t accept a null value for this parameter), friction angle and elastic modulus of the soil, they influence significantly the behavior of the system (structure-soil), others parameters, like the dilatancy angle or the Poisson’s ratio, they don’t seem influence it. The logical path that we followed in the second part of the text is reported here. We analyzed two different structures, the first is able to support an excavation of 4 m, while the second an excavation of 7 m. Both structures are first designed by using the traditional method, then these structures are implemented in a finite element program (Abaqus), and they are pushed to collapse by decreasing the friction angle of the soil. The factor of collapse is the ratio between tangents of the initial friction angle and of the friction angle at collapse. At the end, we performed a more detailed analysis of the first structure, observing that, the value of the factor of collapse is influenced by a wide range of parameters including: the value of the coefficients assumed in the traditional method and by the relative stiffness of the structure-soil system. In the majority of cases, we found that the value of the factor of collapse is between and 1.25 and 2. With some considerations, reported in the text, we can compare the values so far found, with the value of the safety factor proposed by the code (linked to the friction angle of the soil).

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Negoziare confini: dagli stati di cose ai transiti

Negotiating boundaries: from state of affairs to matter of transit. The research deals with the everyday management of spatial uncertainty, starting with the wider historical question of terrains vagues (a French term for wastelands, dismantled areas and peripheral city voids, or interstitial spaces) and focusing later on a particular case study. The choice intended to privilege a small place (a mouth of a lagoon which crosses a beach), with ordinary features, instead of the esthetical “vague terrains”, often witnessed through artistic media or architectural reflections. This place offered the chance to explore a particular dimension of indeterminacy, mostly related with a certain kind of phenomenal instability of its limits, the hybrid character of its cultural status (neither natural, nor artificial) and its crossover position as a transitional space, between different tendencies and activities. The first theoretical part of the research develops a semiotic of vagueness, by taking under exam the structuralist idea of relation, in order to approach an interpretive notion of continuity and indeterminacy. This exploration highlights the key feature of actantial network distribution, which provides a bridge with the second methodological parts, dedicated to a “tuning” of the tools for the analysis. This section establishes a dialogue with current social sciences (like Actor-Network Theory, Situated action and Distributed Cognition), in order to define some observational methods for the documentation of social practices, which could be comprised in a semiotic ethnography framework. The last part, finally, focuses on the mediation and negotiation by which human actors are interacting with the varying conditions of the chosen environment, looking at people’s movements through space, their embodied dealings with the boundaries and the use of spatial artefacts as framing infrastructure of the site.

Formale Struktur, Narrativitaet und Wahrnehmung des Zuschauers

Die vorliegende Arbeit untersucht, wie sich Greenaways Filme selbstreflexiv zur Problematik des filmischen Mediums stellen, d.h. wie der Illusions- und Artefaktcharakter des Films im Film selbst thematisiert wird. Die Untersuchung der Selbstreflexion wird konkret unter drei Untersuchungsaspekten erfolgt, nämlich die systematisch und künstlich organisierte formale Struktur, die Narrativität und die Wahrnehmungsweise des Zuschauers. Greenaways Filme veranschaulichen auf der formalen Ebene:· daß die Filmbilder diskontinuierlich und uneinheitlich sind, · wie einzelnen visuellen, akustischen und technischen Zeichen systematisch und künstlich organisiert sind und schließlich· wie die diskontinuierlichen und uneinheitlichen Filmbilder durch die systematische und künstliche Organisation der Zeichen kontinuierlich und einheitlich wirken. Seine Filme thematisieren auch auf der allegorischen, symbolischen und metaphorischen Ebene das Verhältnis zwischen der formalen Struktur, der Geschichte und der interaktiven Wahrnehmungsweise des Zuschauers, und die Beziehung zwischen dem Zuschauer, dem Film, dem Filmemacher. Die männliche Hauptfigur metaphorisiert den Zuschauer. Die Frauenfiguren allegorisieren die zwei Seiten des Films, die Form und den Inhalt des Films. Die sexuelle Beziehung zwischen der männlichen Hauptfigur und den Frauen umfaßt auf der metaphorischen Ebene die Interaktivität des Zuschauers mit dem Film.

Synthese von flüssigkristallinen Polysiloxanen und Charakterisierung der smektischen Phasen

Gegenstand dieser Arbeit ist die Untersuchung der smektischen Phasen von Polysiloxanen mit flüssigkristallinen Seitengruppen (LC-Polysiloxane). Der erste Teil der vorliegenden Arbeit befasste sich mit der Herstellung verschiedener flüssigkristalliner ferroelektrischer Polysiloxane. Die Polymere wurden in Bezug auf das verwendete Polymerrückgrat (Homo- und Copolysiloxan) sowie durch den zusätzlichen Einbau von vernetzbaren Seitengruppen variiert. Im zweiten Teil der Arbeit wurden die Eigenschaften der smektischen Phasen der hergestellten Substanzen näher untersucht. Ein erster Untersuchungsgegenstand war das Dehnungsverhalten von freistehenden flüssigkristallinen Elastomerfilmen (LCE). Bei der Verwendung eines Polymers, in dem nur ein Teil des Polysiloxanrückgrats mit Seitengruppen substituiert ist, wird die uniaxiale Dehnung des Films parallel zu den smektischen Schichten durch eine gleichmäßige Kontraktion in der Filmebene und parallel zur Schichtnormalen ausgeglichen, was auf einen außergewöhnlich niedrigen smektischen Schichtkompressionsmodul zurückzuführen ist. Im Gegensatz dazu ist dieser Modul bei den Homopolymersystemen so groß, dass praktisch senkrecht zu den smektischen Schichten keine Kontraktion stattfindet. Ein zweiter Untersuchungsgegenstand der Netzwerkbildung bestand in der Bestimmung der dynamisch-mechanischen Eigenschaften der LC-Polysiloxane mittels eines Oszillationsrheometers. Hier erfolgten die Messungen von Speicher- und Verlustmodul in Abhängigkeit vom Polymerrückgrat und von der Vernetzung. Die unvernetzten Systeme zeigten in den smektischen Phasen (oberhalb Tg) noch – im wesentlichen – Festkörpereigenschaften (physikalische Vernetzung) mit einem dominierenden Speichermodul beim LC-Homopolysiloxan. Beim LC-Copolysiloxan haben beide Module eine gleiche Größenordnung. Am Phasenübergang in die isotrope Phase wurden beide Module absolut kleiner, der Verlustmodul aber relativ größer. In der isotropen Phase verhalten sich die LC-Polymere damit überwiegend wie viskose Schmelzen. Außerdem korrelierten die mittels DSC bestimmten Phasenübergangstemperaturen mit einer Änderung der dynamisch-mechanischen Eigenschaften. Nach der Vernetzung dominierte der Speichermodul sowohl beim LC-Homo- als auch beim LC-Copolysiloxan bis in die isotrope Phase, und es war aufgrund der Bildung einer festen Netzwerkstruktur keine Abhängigkeit der Module von Phasenübergängen mehr erkennbar. Als dritter Untersuchungsgegenstand wurde der Phasenübergang zwischen den beiden smektischen Phasen (SmC* nach SmA*) der flüssigkristallinen Polysiloxane näher behandelt. Als wichtigstes Ergebnis ist festzuhalten, dass die verdünnten LC-Polysiloxane an diesem Übergang fast keine Schichtdickenänderung aufweisen. Dazu wurde jeweils die röntgenographisch ermittelte Schichtdicke mit der aus den optischen Tiltwinkeln theoretisch berechneten Schichtdicke verglichen. Dadurch konnte gezeigt werden, dass sich die Phasenübergänge nach dem de Vries-Modell verhalten. Damit konnte zum ersten Mal an Polymersystemen ein de Vries-Verhalten nachgewiesen werden. Im Gegensatz dazu zeigte das Homopolysiloxan mit dem Dreiringmesogen beim Übergang von SmC* nach SmA* einen ausgeprägten Sprung in der Schichtdicke. Wie auch durch DSC-Messungen nachweisbar, lag ein Phasenübergang 1. Ordnung vor. Bei den LC-Copolysiloxanen liegt dagegen ein Phasenübergang 2. Ordnung vor. Schließlich wurde die Schichtdicke unter dem Einfluss der Vernetzung untersucht. Beim LC-Copolysiloxan mit dem Dreiringmesogen und einem Anteil an vernetzbaren Gruppen von 15 % wurde eine Stabilisierung der smektischen Phasen erreicht. Zum einen war die Änderung der Schichtdicke am SmC*-SmA*-Phasenübergang geringer im Vergleich zum unvernetzten System und zum anderen war noch 50 °C über der ursprünglichen Klärtemperatur eine smektische Schichtstruktur röntgenographisch nachzuweisen. Insgesamt ist es mit den verschiedenen Untersuchungsmethoden gelungen, einen systematischen Unterschied zwischen smektischen Homo- und Copolysiloxanen aufzuzeigen, der seinen Ursprung – aller Wahrscheinlichkeit nach – in der Mikrophasenseparation von Mesogenen und Polysiloxanketten findet.