Estudo de titanatos nanoestruturados obtidos por tratamento hidrotérmico de óxido de titânio em meio alcalino

TiTanate NanoTubes (TTNT) were synthesized by hydrothermal alkali treatment of TiO2 anatase followed by repeated washings with distinct degrees of proton exchange. TTNT samples with different sodium contents were characterized, as synthesized and after heattreatment (200-800ºC), by X-ray diffraction, scanning and transmission electron microscopy, electron diffraction, thermal analysis, nitrogen adsorption and spectroscopic techniques like FTIR and UV-Vis diffuse reflectance. It was demonstrated that TTNTs consist of trititanate structure with general formula NaxH2−xTi3O7·nH2O, retaining interlayer water in its multiwalled structure. The removal of sodium reduces the amount of water and contracts the interlayer space leading, combined with other factors, to increased specific surface area and mesopore volume. TTNTs are mesoporous materials with two main contributions: pores smaller than 10 nm due to the inner volume of nanotubes and larger pores within 5-60 nm attributed to the interparticles space. Chemical composition and crystal structure of TTNTs do not depend on the average crystal size of the precursor TiO2-anatase, but this parameter affects significantly the morphology and textural properties of the nanostructured product. Such dependence has been rationalized using a dissolution-recrystallization mechanism, which takes into account the dissolution rate of the starting anatase and its influence on the relative rates of growth and curving of intermediate nanosheets. The thermal stability of TTNT is defined by the sodium content and in a lower extent by the crystallinity of the starting anatase. It has been demonstrated that after losing interlayer water within the range 100-200ºC, TTNT transforms, at least partially, into an intermediate hexatitanate NaxH2−xTi6O13 still retaining the nanotubular morphology. Further thermal transformation of the nanostructured tri- and hexatitanates occurs at higher or lower temperature and follows different routes depending on the sodium content in the structure. At high sodium load (water washed samples) they sinter and grow towards bigger crystals of Na2Ti3O7 and Na2Ti6O13 in the form of rods and ribbons. In contrast, protonated TTNTs evolve to nanotubes of TiO2(B), which easily convert to anatase nanorods above 400ºC. Besides hydroxyls and Lewis acidity typical of titanium oxides, TTNTs show a small contribution of protonic acidity capable of coordinating with pyridine at 150ºC, which is lost after calcination and conversion into anatase. The isoeletric point of TTNTs was measured within the range 2.5-4.0, indicating behavior of a weak acid. Despite displaying semiconductor characteristics exhibiting typical absorption in the UV-Vis spectrum with estimated bandgap energy slightly higher than that of its TiO2 precursor, TTNTs showed very low performance in the photocatalytic degradation of cationic and anionic dyes. It was concluded that the basic reason resides in its layered titanate structure, which in comparison with the TiO2 form would be more prone to the so undesired electron-hole pair recombination, thus inhibiting the photooxidation reactions. After calcination of the protonated TTNT into anatase nanorods, the photocatalytic activity improved but not to the same level as that exhibited by its precursor anatase

Ultrastructure of Giardia duodenalis trophozoites group from hamster: some relevant aspects

Throphozoites of Giardia duodenalis group obtained from fragments or scratched of hamster's mucosa were examined by transission electron microscopy. The fine structure of the trophozoites are presented and comapred with those described for other animals. Some of the trophozoites present the cytoplasm full of glycogen, rough endoplasmic reticulum-like structures and homogeneous inclusions not enclosed by membranes, recognized as lipid drops, which had not been observed in Giardia from other animals. The adhesive disk is composed of a layer of microtubules, from which fibrous ribbons extend into the cytoplasm; these ribbons are linked by layer of crossbridge filaments that shows an intermediary dense band, described for the first time in this paper. The authors regard this band as the result of the cross-bridge filaments slinding in the medium region between adjacent fibrous ribbons, and suggest a contractile activity for them. The role of the adhesive disk on the trophozoite mechanism of attachment to host mucosa is also discussed.

Supramolecular assemblies of cis-palladium complexes dominated by C-H center dot center dot center dot Cl interactions

Two cis-related palladium(II) complexes [PdCl(2)(PPh(3))(tu)] (1) and [PdCl(2)(tmen)] (2) {PPh(3) = triphenylphosphine, tu = thiourea, tmen = N,N,N,N-tetramethylethylenediamine} have been synthesized and characterized by elemental analysis, IR and NMR spectroscopies, and single crystal X-ray diffraction. In 1, N-H center dot center dot center dot Cl hydrogen bonds are responsible for the formation of a dimer which connects to an adjacent one through weak C-H center dot center dot center dot Cl interactions, yielding 1D tapes. The crystal packing of compound 2 consists of zigzag ribbons of [PdCl(2)(tmen)] self-assembled by C-H center dot center dot center dot Cl hydrogen bonds which also holds the chains together, giving rise to a 2D layered structure. (C) 2006 Elsevier B.V. All rights reserved.

Synthesis of SnO2 nanoribbons by a carbothermal reduction process

This communication describes, for the first time, the growth of SnO2 nanoribbons by a controlled carbothermal reduction process. An analysis of the transmission electron microscopy image revealed that these nanoribbons have a well-defined shape, with a typical width in the range of 70-300 nm. In general, the nanostructured ribbons were more than 100 mum in length. The results reported here support the hypothesis that this ribbon-like nanostructured material grows by a vapor-solid process. This study introduces two hypotheses to explain the SnO2 nanoribbon growth process.

Hydrodynamic aspects of the amorphous alloy ribbon fabrication

Conditions for as-quenched amorphous ribbon fabrication by a single roll-casting method are analyzed from a hydrodynamic standpoint. The analysis is based on the investigation of the processing conditions for Fe 4 0Ni 40P 14B 6 amorphous ribbons. It is shown that the dependence of ribbon thickness on the ejection pressure for different roll angular velocities and different dimensions of crucible and orifice can be obtained from general considerations on the melt flow regime.

Extração de vias combinando métodos de detecção de regiões e linhas em imagens de intensidade de pulso laser

This paper aims at extracting street centerlines from previously isolated street regions by using the image of laser scanning intensity. In this image, streets are easily identified, since they manifest as dark, elongate ribbons contrasting with background objects. The intensity image is segmented by using the region growing technique, which generates regions representing the streets. From these regions, the street centerlines are extracted in two manners. The first one is through the Steger lines detection method combined with a line length thresholding by which lines being shorter than a minimum length are removed. The other manner is by combining the skeletonization method of regions based on the Medial Axis Transform and with a pruning process to eliminate as much as possible the ramifications. Experiments showed that the Steger-based method provided results better than the method based on skeletonization.

Variabilidade genética de Fusarium spp. isolados de solos e de bananeiras com sintomas do Mal-do-Panamá

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

Modelo vibro-rotacional para a molécula de DNA

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Inversão gravimétrica rápida do relevo do embasamento aplicando o funcional da variação total

Apresentamos um novo método de inversão linear bidimensional de dados gravimétricos produzidos por bacias sedimentares com relevo do embasamento descontínuo. O método desenvolvido utiliza um modelo interpretativo formado por um conjunto de fitas horizontais bidimensionais justapostas cujas espessuras são os parâmetros a serem estimados. O contraste de densidade entre o embasamento e os sedimentos é presumido constante e conhecido. As estimativas das espessuras foram estabilizadas com o funcional da Variação Total (VT) que permite soluções apresentando descontinuidades locais no relevo do embasamento. As estimativas do relevo são obtidas através da resolução de um sistema de equações lineares, resolvido na norma L₁. Como métodos lineares subestimam as estimativas de profundidade do embasamento de bacias maiores que cerca de 500 m, amplificamos as estimativas de profundidade através da modificação da matriz associada ao modelo interpretativo de fitas. As estimativas obtidas através deste procedimento são em geral ligeiramente superestimadas. Desse modo, elas são corrigidas através de uma correção definida pela expressão da placa Bouguer. Testes em dados sintéticos e reais produziram resultados comparáveis aos produzidos pelo método não linear, mas exigiram menor tempo computacional. A razão R entre os tempos exigidos pelo método não linear e o método proposto cresce com o número de observações e parâmetros. Por exemplo, para 60 observações e 60 parâmetros, R é igual a 4, enquanto para 2500 observações e 2500 parâmetros R cresce para 16,8. O método proposto e o método de inversão não linear foram aplicados também em dados reais do Steptoe Valley, Nevada, Estados Unidos, e da ponte do POEMA, no Campus do Guamá em Belém, produzindo soluções similares às obtidas com o método não linear exigindo menor tempo computacional.

Transporte eletrônico de nanofita de grafeno sob a influência de constrições e oxidação

Neste trabalho, investigamos os efeitos da funcionalização de grupos oxidativos sobre a estrutura de nanofitas de grafeno zigue-zague e também os efeitos de constrições, onde estes efeitos foram analisados por meio de transporte eletrônico via campo externo longitudinal. Nossos cálculos foram parametrizados pelo modelo semi-empírico de Huckel estendido-ETH, adotando-se o método das funções de Green de não equilíbrio- NEGF. As correntes foram calculadas via equação de Landauer que usa a função de transmissão da região espalhadora ao fluxo de elétrons com energia (E) vinda do eletrodo esquerdo. Por meio dessa abordagem, foi possível analisarmos o comportamento dos portadores de carga em cada um os dispositivos propostos, bem como, a natureza de tal comportamento. Verificaram-se nas curvas I(V) dois regimes de transporte: Ôhmico e NDR, verificando máximos de corrente e, também a tensão de limiar (VTh1

Corrosion properties of Fe-Cr-Nb-B amorphous alloys and coatings

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Development of a slow-wave MEMS phase shifter on CMOS technology for millimeter wave frequencies

We propose a slow-wave MEMS phase shifter that can be fabricated using the CMOS back-end and an additional maskless post-process etch. The tunable phase shifter concept is formed by a conventional slow-wave transmission line. The metallic ribbons that form the patterned floating shield of this type of structure are released to allow motion when a control voltage is applied, which changes the characteristic impedance and the phase velocity. For this device a quality factor greater than 40 can be maintained, resulting in a figure of merit on the order of 0.7 dB/360 degrees and a total area smaller than 0.14 mm(2) for a 60-GHz working frequency. (C) 2011 Elsevier B.V. All rights reserved.

Selection of compositions with high glass forming ability in the Ni-Nb-B alloy system

A combination of an extension of the topological instability "λ criterion" and the "average electronegativity" has been recently reported in the literature to predict compositions with high glass-forming ability (GFA). In the present work, both criteria have been applied to select the Ni61.0Nb36.0B3 alloy with a high glass-forming ability. Ingots were prepared by arc-melting and were used to produce ribbons processed by the melt-spinning technique further characterized by differential scanning calorimetry (DSC), X-ray diffraction (XRD) and scanning electron microscopy (SEM). The Ni61.0Nb36.0B3 alloy revealed a complete amorphization and supercooled liquid region ΔTx = 68 K. In addition, wedge-shaped samples were prepared using copper mold casting in order to determine the critical thickness for amorphous formation. Scanning electron microscopy (SEM) revealed that fully amorphous samples could be obtained, reaching up to ~800 µm in thickness.

Spin Orbit Effects in the Electronic Transport Properties of Adsorbed Graphene Nanoribbons

Graphene has received great attention due to its exceptional properties, which include corners with zero effective mass, extremely large mobilities, this could render it the new template for the next generation of electronic devices. Furthermore it has weak spin orbit interaction because of the low atomic number of carbon atom in turn results in long spin coherence lengths. Therefore, graphene is also a promising material for future applications in spintronic devices - the use of electronic spin degrees of freedom instead of the electron charge. Graphene can be engineered to form a number of different structures. In particular, by appropriately cutting it one can obtain 1-D system -with only a few nanometers in width - known as graphene nanoribbon, which strongly owe their properties to the width of the ribbons and to the atomic structure along the edges. Those GNR-based systems have been shown to have great potential applications specially as connectors for integrated circuits. Impurities and defects might play an important role to the coherence of these systems. In particular, the presence of transition metal atoms can lead to significant spin-flip processes of conduction electrons. Understanding this effect is of utmost importance for spintronics applied design. In this work, we focus on electronic transport properties of armchair graphene nanoribbons with adsorbed transition metal atoms as impurities and taking into account the spin-orbit effect. Our calculations were performed using a combination of density functional theory and non-equilibrium Greens functions. Also, employing a recursive method we consider a large number of impurities randomly distributed along the nanoribbon in order to infer, for different concentrations of defects, the spin-coherence length.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.