986 resultados para Miniature painting


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Experimental study of a liquid fed direct methanol fuel cell has been conducted in different gravity environments. A small single cell with 5 cm x 5 cm active area has single serpentine channel on the graphite cathode polar plate and 11 parallel straight channels on the graphite anode flow bed. Cell voltage and current have been measured and two-phase flow in anode channels has been in situ visually observed. The experimental results indicate that the effect of gravity on power performance of the direct methanol fuel cell is large when the concentration polarization governs fuel cells operation. Gravitational effect becomes larger at higher current density. Increasing methanol feeding molarity is conducive to weaken the influence of gravity on performance of liquid fed direct methanol fuel cells. Increasing feeding flow rate of methanol solution from 6 to 15 ml/min could reduce the size of carbon dioxide bubbles, while the influence of gravity still exist. Transport phenomena inside direct methanol fuel cells in microgravity is also analyzed and discussed.

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The fabrication and performance evaluation of a miniature twin-fuel-cell on silicon wafers are presented in this paper. The miniature twin-fuel-cell was fabricated in series using two membrane-electrode-assemblies sandwiched between two silicon substrates in which electric current, reactant, and product flow. The novel structure of the miniature twin-fuel-cell is that the electricity interconnect from the cathode of one cell to the anode of another cell is made on the same plane. The interconnect was fabricated by sputtering a layer of copper over a layer of gold on the top of the silicon wafer. Silicon dioxide was deposited on the silicon wafer adjacent to the copper layer to prevent short-circuiting between the twin cells. The feed holes and channels in the silicon wafers were prepared by anisotropic silicon etching from the back and front of the wafer with silicon dioxide acting as intrinsic etch-stop layer. Operating on dry H-2/O-2 at 25 degreesC and atmospheric pressure, the measured peak power density was 190.4 mW/cm(2) at 270 mA/cm(2) for the miniature twin-fuel-cell using a Nafion 112 membrane. Based on the polarization curves of the twin-fuel-cell and the two single cells, the interconnect resistance between the twin cells was calculated to be in the range from 0.0113 Omega (at 10 mA/cm(2)) to 0.0150 Omega (at 300 mA/cm(2)), which is relatively low. (C) 2003 Elsevier Science Ltd. All rights reserved.

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Our eyes are constantly in motion. Even during visual fixation, small eye movements continually jitter the location of gaze. It is known that visual percepts tend to fade when retinal image motion is eliminated in the laboratory. However, it has long been debated whether, during natural viewing, fixational eye movements have functions in addition to preventing the visual scene from fading. In this study, we analysed the influence in humans of fixational eye movements on the discrimination of gratings masked by noise that has a power spectrum similar to that of natural images. Using a new method of retinal image stabilization18, we selectively eliminated the motion of the retinal image that normally occurs during the intersaccadic intervals of visual fixation. Here we show that fixational eye movements improve discrimination of high spatial frequency stimuli, but not of low spatial frequency stimuli. This improvement originates from the temporal modulations introduced by fixational eye movements in the visual input to the retina, which emphasize the high spatial frequency harmonics of the stimulus. In a natural visual world dominated by low spatial frequencies, fixational eye movements appear to constitute an effective sampling strategy by which the visual system enhances the processing of spatial detail.

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The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of three-dimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art.

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Does art connect the individual psyche to history and culture? Psyche and the Arts challenges existing ideas about the relationship between Jung and art, and offers exciting new dimensions to key issues such as the role of image in popular culture, and the division of psyche and matter in art form. Divided into three sections - Getting into Art, Challenging the Critical Space and Interpreting Art in the World - the text shows how Jungian ideas can work with the arts to illuminate both psychological theory and aesthetic response. Psyche and the Arts offers new critical visions of literature, film, music, architecture and painting, as something alive in the experience of creators and audiences challenging previous Jungian criticism. This approach demonstrates Jung’s own belief that art is a healing response to collective cultural norms. This diverse yet focused collection from international contributors invites the reader to seek personal and cultural value in the arts, and will be essential reading for Jungian analysts, trainees and those more generally interested in the arts. [From the Publisher]

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Pío Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.

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A method was devised to grow haemopoietic cells in long-term bone marrow culture (LTBMC) which requires only 1 x 10(6) cells/culture. Such miniature cultures were used to study growth patterns of marrow from patients with myelodysplastic syndromes (MDS). Consistent differences in LTBMC cellularity and cellular composition were noted between MDS and normal marrow. These differences were accentuated by rGM-CSF. The criteria which distinguished between and MDS marrows were: cell count at weeks 1 and 4, % neutrophils and % blasts. In 10 patients with unexplained macrocytosis or pancytopenia miniature LTBMC results clearly segregated into either 'normal' or 'MDS' growth patterns. Miniature LTBMC with rGM-CSF may therefore be a useful diagnostic test for early MDS.

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Examination of a selection of shell and bone from archaeological assemblages excavated at Niah Cave and Gua Sireh, both of which are located in Sarawak, Borneo, has revealed the deliberate application of coloured material to one or more surfaces. Small fragments of the surface colourant were analysed using a variety of techniques, including microscopy, energy dispersive microwave analysis and infra-red spectrophotometry. These procedures established that, although red in colour, the applied coating in each instance was not red iron oxide. It is suggested that, based on the chemical components present, this coating was a tree resin or a similar organic substance. The paper further reports the presence of enhanced chloride values in the colourant recovered from the ancient human cranial fragment tested. It is suggested that elevated concentrations of this trace element may indicate that the site, the human remains or ingredients within the colourant were once in close proximity to the sea. (C) 2010 Elsevier Ltd. All rights reserved.