Um processo para utilizar a tecnologia de impressão 3D na construção de instrumentos didáticos para o ensino de Ciências

Pós-graduação em Educação para a Ciência - FC

Disposable polyester-toner electrophoresis microchips for DNA analysis

Microchip electrophoresis has become a powerful tool for DNA separation, offering all of the advantages typically associated with miniaturized techniques: high speed, high resolution, ease of automation, and great versatility for both routine and research applications. Various substrate materials have been used to produce microchips for DNA separations, including conventional (glass, silicon, and quartz) and alternative (polymers) platforms. In this study, we perform DNA separation in a simple and low-cost polyester-toner (PeT)-based electrophoresis microchip. PeT devices were fabricated by a direct-printing process using a 600 dpi-resolution laser printer. DNA separations were performed on PeT chip with channels filled with polymer solutions (0.5% m/v hydroxyethylcellulose or hydroxypropylcellulose) at electric fields ranging from 100 to 300Vcm(-1). Separation of DNA fragments between 100 and 1000 bp, with good correlation of the size of DNA fragments and mobility, was achieved in this system. Although the mobility increased with increasing electric field, separations showed the same profile regardless of the electric field. The system provided good separation efficiency (215 000 plates per m for the 500 bp fragment) and the separation was completed in 4 min for 1000 bp fragment ladder. The cost of a given chip is approximately $0.15 and it takes less than 10 minutes to prepare a single device.

Das moderne Buch: Harry Graf Kesslers Ästhetik der Lebenskunst im Spiegel der Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker

Die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker wurde seit 1904 bis in die Zwanziger Jahre hinein im Insel Verlag in Leipzig publiziert. Die Buchreihe hat nicht nur für den Verlag und die Druckerei Poeschel in der sie gedruckt wurde eine ganze Reihe von Neuerungen nach sich gezogen, auch für den deutschen Buchmarkt hat die Klassikerausgabe einen Meilenstein bedeutet. Sie hat einige Eigenschaften des Taschenbuches vorweggenommen. Sie orientierte sich an der Qualität bibliophiler Buchpublikationen, aber war dennoch preislich erschwinglich. Zeitgenössische Klassikerausgaben erschienen zumeist mit einem Kommentar. Nicht so die Großherzog Wilhelm Ernst Ausgabe. Der Text wurde zwar von führenden Wissenschaftlern editiert, aber sie war dennoch unkommentiert. Der Text war in einer Jenson-Antiqua gesetzt obwohl die Debatte um individuell gestaltete Künstlerschriften und die Diskussion um die als deutsche Schrift begriffene Fraktur unter den wichtigsten Protagonisten des deutschen Buchgewerbes ihren Höhepunkt noch nicht erreicht hatte. Ziel für die Klassikerausgabe war darüber hinaus, das zur Jahrhundertwende leicht angestaubte Image der Stadt Weimar aufzupolieren. Über das Patronat des Großherzogs hinaus hätte man die Gewinne aus dem Verkauf der Bücher der Permanenten Ausstellung für die Anschaffung von modernen Kunstobjekten zur Verfügung stellen wollen, die unter der Leitung von Harry Graf Kessler stand. Sieht man den Inhalt der Werke der in der Klassikerreihe erschienen Dichter Goethe, Schiller und Körner in einem ästhetischen Kontext mit dem der Philosophen Schopenhauer und Kant, wird im Spiegel der Formalästhetik der Klassikerausgabe Graf Kesslers Bildungs- und Kulturbegriff erkennbar, der sich in den Jahren nach der Jahrhundertwende zu seinem Lebenskunstideal verdichtete. Der zerrütteten Existenz der Zeitgenossen, wie Friedrich Nietzsche sie beschrieben hatte, sollte der Inhalt der Ausgabe in seiner modernen Form eine moderne Wertehaltung entgegensetzen. Die Lektüre der Klassiker sollte den deutschen Philister „entkrampfen“ und ihm ein Stück der verloren geglaubten Lebensfreude wieder zurück bringen, in dem dieser auch die Facetten des Lebensleids als normal hinnehmen und akzeptieren lernte. Die Klassikerausgabe repräsentierte aus diesem Grund auch den kulturellen und politischen Reformwillen und die gesellschaftlichen Vorstellungen die der Graf für ein modernes Deutschland als überfällig erachtete. Die Buchreihe war aus diesem Grund auch ein politisches Statement gegen die Beharrungskräfte im deutschen Kaiserreich. Die Klassikerreihe wurde in der buchhistorischen Forschung zwar als bedeutender Meilenstein charakterisiert und als „wichtiges“ oder gar „revolutionäres“ Werk der Zeit hervorgehoben, die Ergebnisse der Forschung kann man überspitzt aber in der Aussage zusammenfassen, dass es sich bei der Großherzog Wilhelm Ernst Ausgabe um einen „zufälligen Glückstreffer“ deutscher Buchgestaltung zu handeln scheint. Zumindest lassen die Aussagen, die bisher in dieser Hinsicht gemacht wurden, keine eindeutige Einordnung zu, außer vielleicht der, dass die Klassiker von der englischen Lebensreform inspiriert wurden und Henry van de Velde und William Morris einen Einfluss auf ihre äußere Form hatten. Gerade die Gedankenansätze dieser Beiden nutzte Graf Kessler aber für eigene Überlegungen, die ihn schließlich auch zu eigenen Vorstellungen von idealer Buchgestaltung brachten. Da für Kessler auch Gebrauchsgegenstände Kunst sein konnten, wird das Konzept der Klassikerausgabe bis zur Umsetzung in ihrer `bahnbrechenden´ Form in das ideengeschichtliche und ästhetische Denken des Grafen eingeordnet. Die Klassiker werden zwar in buchhistorischen Einzeluntersuchungen bezüglich ihrer Komponenten, dem Dünndruckpapier, ihrem Einband oder der Schrifttype exponiert. In buchwissenschaftlichen Überblicksdarstellungen wird ihr Einfluss hingegen weniger beachtet, denn verschiedene Kritiker bezogen sie seit ihrem ersten Erscheinen nicht als deutsches Kulturgut mit ein, denn sie lehnten sowohl die englischen Mitarbeiter Emery Walker, Edward Johnston, Eric Gill und Douglas Cockerell wie auch ihre Gestaltung als „welsche“ Buchausgabe ab. Richtig ist, die Großherzog Wilhelm Ernst Ausgabe hatte dieselbe Funktion wie die von Graf Kessler in Weimar konzipierten Kunstausstellungen und die dortige Kunstschule unter der Leitung seines Freundes Henry van de Velde. Auch das für Weimar geplante Theater, das unter der Leitung von Hugo von Hofmannsthal hätte stehen sollen und die Großherzog Wilhelm Ernst Schule, hätten dieselben Ideen der Moderne mit anderen Mitteln transportieren sollen, wie die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker.

Polymer brushes - Wetting properties and my-patterning

In this work polymer brushes on both flat and curved substrates were prepared by grafting from and grafting to techniques. The brushes on flat substrates were patterned on the µm-scale with the use of an inkjet printer. Thus it was demonstrated that chemistry with an inkjet printer is feasible. The inkjet printer was used to deposit microdroplets of acid. The saponification of surface-immobilized ATRP initiators containing an ester bond occurred in these microdroplets. The changes in the monolayer of ester molecules due to saponification were amplified by SI-ATRP. It was possible to correlate the polymer brush thickness to effectiveness of saponification. The use of an inkjet printer allowed for simultaneously screening of parameters such as type of acid, concentration of acid, and contact time between acid and surface. A dip-coater was utilized in order to test the saponification independent of droplet evaporation. The advantage of this developed process is its versatility. It can be applied to all surface-immobilized initiators containing ester bonds. The technique has additionally been used to selectively defunctionalize the initiator molecules covering a microcantilever on one side of a cantilever. An asymmetric coating of the cantilever with polymer brushes was thus generated. An asymmetric coating allows the use of a microcantilever for sensing applications. The preparation of nanocomposites comprised of polyorganosiloxane microgel particles functionalized with poly(ethyl methacrylate) (PEMA) brushes and linear, but entangled, PEMA chains is described in the second major part of this thesis. Measurement of the interparticle distance was performed using scanning probe microscopy and grazing incidence small angle X-ray scattering. The matrix molecular weight at which the nanocomposite showed microphase separation was related to abrupt changes in inter-particle distance. Microphase separation occurred once the matrix molecular exceeded the molecular weight of the brushes. The trigger for the microphase separation was a contraction of the polymer brushes, as the measurements of inter-particle distance have revealed. The brushes became impenetrable for the matrix chains upon contraction and thus behaved as hard spheres. The contraction led to a loss of anchoring between particles and matrix, as shown by nanowear tests using an atomic force microscope. Polyorganosiloxane microgel particles were functionalized with 13C enriched poly(ethyl methacrylate) brushes. New synthetic pathways were developed in order to enrich not the entire brush with 13C, but only exclusively selected regions. 13C chemical shift anisotropy, an advanced NMR technique, can thus be used in order to gather information about the extended conformations in the 13C enriched regions of the PEMA chains immobilized on the µ-gel-g-PEMA particles. The third part of this thesis deals with the grafting to of polymeric fullerene materials on silicon substrates. Active ester chemistry was employed in order to prepare the polymeric fullerene materials and graft these materials covalently on amino-functionalized silicon substrates.rn

A new 3D modelling paradigm for discrete model

Until few years ago, 3D modelling was a topic confined into a professional environment. Nowadays technological innovations, the 3D printer among all, have attracted novice users to this application field. This sudden breakthrough was not supported by adequate software solutions. The 3D editing tools currently available do not assist the non-expert user during the various stages of generation, interaction and manipulation of 3D virtual models. This is mainly due to the current paradigm that is largely supported by two-dimensional input/output devices and strongly affected by obvious geometrical constraints. We have identified three main phases that characterize the creation and management of 3D virtual models. We investigated these directions evaluating and simplifying the classic editing techniques in order to propose more natural and intuitive tools in a pure 3D modelling environment. In particular, we focused on freehand sketch-based modelling to create 3D virtual models, interaction and navigation in a 3D modelling environment and advanced editing tools for free-form deformation and objects composition. To pursuing these goals we wondered how new gesture-based interaction technologies can be successfully employed in a 3D modelling environments, how we could improve the depth perception and the interaction in 3D environments and which operations could be developed to simplify the classical virtual models editing paradigm. Our main aims were to propose a set of solutions with which a common user can realize an idea in a 3D virtual model, drawing in the air just as he would on paper. Moreover, we tried to use gestures and mid-air movements to explore and interact in 3D virtual environment, and we studied simple and effective 3D form transformations. The work was carried out adopting the discrete representation of the models, thanks to its intuitiveness, but especially because it is full of open challenges.

Energy harvesting from piezoelectric devices embedded in a 3D printed wing

This thesis work has been carried out at Clarkson University in Potsdam NY, USA and involved the design of a low elongation wing, consisting of parts made by polylactide (PLA) using the fused deposition model (FDM) technology of Rapid Prototyping, then assembled together in a thin aluminum spar. The aim of the research is to evaluate the feasibility of collecting electrical energy by converting mechanical energy from the vibration of the wing flutter. With this aim piezoelectric stripes were glued in the inner part of the wing, as well as on the aluminum spar, as monomorphic configuration. During the phases of the project, particular attention was given to the geometry and the materials used, in order to trigger the flutter for low flow velocity. The CAD software SolidWorks® was used for the design of the wing and then the drawings were sent to the Clarkson machine shop in order to to produce the parts required by the wing assembly. FEM simulations were performed, using software MSC NASTRAN/PATRAN®, to evaluate the stiffness of the whole wing as well as the natural vibration modes of the structure. These data, in a first approximation, were used to predict the flutter speed. Finally, experimental tests in the Clarkson wind tunnel facility were carried out in order to validate the results obtained from FEM analysis. The power collected by the piezoelectrics under flutter condition was addressed by tuning the resistors downstream the electronic circuit of the piezoelectrics.

Getting in touch-3D printing in Forensic Imaging

With the increasing use of medical imaging in forensics, as well as the technological advances in rapid prototyping, we suggest combining these techniques to generate displays of forensic findings. We used computed tomography (CT), CT angiography, magnetic resonance imaging (MRI) and surface scanning with photogrammetry in conjunction with segmentation techniques to generate 3D polygon meshes. Based on these data sets, a 3D printer created colored models of the anatomical structures. Using this technique, we could create models of bone fractures, vessels, cardiac infarctions, ruptured organs as well as bitemark wounds. The final models are anatomically accurate, fully colored representations of bones, vessels and soft tissue, and they demonstrate radiologically visible pathologies. The models are more easily understood by laypersons than volume rendering or 2D reconstructions. Therefore, they are suitable for presentations in courtrooms and for educational purposes.

Unions to Die For

The Copper County Strike of 1913 was heroic, tragic, and large in meaning, both for those who lived in it and for those haunted by it in the years that followed. Carl Ross was born in Hancock only hours before the strike erupted. His father was a printer for Työmies. I had the good fortune to meet Carl and work with him for some twenty years. Carl spoke often of the strike—of what it meant for him, his family, and the radical Finnish community in Superior, Wisconsin, where he grew up. I had never heard of the Copper Country strike before I met Carl, but what I heard about that strike resonated with some of my own experiences. I grew up in New Castle, Indiana, a town that left-wing journalist I.F. Stone called a “labor citadel” in the midst of hostile territory. I want to use these two recollections, Carl’s 1913 Strike reminiscences and my memories of New Castle, to talk about how some strikes carry a moral vision of enormous importance. The presentation will have three parts. In the first part I will relate a little of what Carl had to say about the Copper Country Strike. In the second part I will talk about strikes of my own experience. In the final part, I will talk about the differences in the structures of labor movements and the ethical implications of those differences.

Mathematical analysis for perceived annoyance of impulsive sounds in terms of physical factors

From the customer satisfaction point of view, sound quality of any product has become one of the important factors these days. The primary objective of this research is to determine factors which affect the acceptability of impulse noise. Though the analysis is based on a sample impulse sound file of a Commercial printer, the results can be applied to other similar impulsive noise. It is assumed that impulsive noise can be tuned to meet the accepTable criteria. Thus it is necessary to find the most significant factors which can be controlled physically. This analysis is based on a single impulse. A sample impulsive sound file is tweaked for different amplitudes, background noise, attack time, release time and the spectral content. A two level factorial design of experiments (DOE) is applied to study the significant effects and interactions. For each impulse file modified as per the DOE, the magnitude of perceived annoyance is calculated from the objective metric developed recently at Michigan Technological University. This metric is based on psychoacoustic criteria such as loudness, sharpness, roughness and loudness based impulsiveness. Software called ‘Artemis V11.2’ developed by HEAD Acoustics is used to calculate these psychoacoustic terms. As a result of two level factorial analyses, a new objective model of perceived annoyance is developed in terms of above mentioned physical parameters such as amplitudes, background noise, impulse attack time, impulse release time and the spectral content. Also the effects of the significant individual factors as well as two level interactions are also studied. The results show that all the mentioned five factors affect annoyance level of an impulsive sound significantly. Thus annoyance level can be reduced under the criteria by optimizing the levels. Also, an additional analysis is done to study the effect of these five significant parameters on the individual psychoacoustic metrics.

THE USE OF LIFE-CYCLE ANALYSIS TO REDUCE THE ENVIRONMENTAL IMPACT OF MATERIALS IN MANUFACTURING

This thesis is composed of three life-cycle analysis (LCA) studies of manufacturing to determine cumulative energy demand (CED) and greenhouse gas emissions (GHG). The methods proposed could reduce the environmental impact by reducing the CED in three manufacturing processes. First, industrial symbiosis is proposed and a LCA is performed on both conventional 1 GW-scaled hydrogenated amorphous silicon (a-Si:H)-based single junction and a-Si:H/microcrystalline-Si:H tandem cell solar PV manufacturing plants and such plants coupled to silane recycling plants. Using a recycling process that results in a silane loss of only 17 versus 85 percent, this results in a CED savings of 81,700 GJ and 290,000 GJ per year for single and tandem junction plants, respectively. This recycling process reduces the cost of raw silane by 68 percent, or approximately $22.6 and $79 million per year for a single and tandem 1 GW PV production facility, respectively. The results show environmental benefits of silane recycling centered around a-Si:H-based PV manufacturing plants. Second, an open-source self-replicating rapid prototype or 3-D printer, the RepRap, has the potential to reduce the environmental impact of manufacturing of polymer-based products, using distributed manufacturing paradigm, which is further minimized by the use of PV and improvements in PV manufacturing. Using 3-D printers for manufacturing provides the ability to ultra-customize products and to change fill composition, which increases material efficiency. An LCA was performed on three polymer-based products to determine the CED and GHG from conventional large-scale production and are compared to experimental measurements on a RepRap producing identical products with ABS and PLA. The results of this LCA study indicate that the CED of manufacturing polymer products can possibly be reduced using distributed manufacturing with existing 3-D printers under 89% fill and reduced even further with a solar photovoltaic system. The results indicate that the ability of RepRaps to vary fill has the potential to diminish environmental impact on many products. Third, one additional way to improve the environmental performance of this distributed manufacturing system is to create the polymer filament feedstock for 3-D printers using post-consumer plastic bottles. An LCA was performed on the recycling of high density polyethylene (HDPE) using the RecycleBot. The results of the LCA showed that distributed recycling has a lower CED than the best-case scenario used for centralized recycling. If this process is applied to the HDPE currently recycled in the U.S., more than 100 million MJ of energy could be conserved per annum along with significant reductions in GHG. This presents a novel path to a future of distributed manufacturing suited for both the developed and developing world with reduced environmental impact. From improving manufacturing in the photovoltaic industry with the use of recycling to recycling and manufacturing plastic products within our own homes, each step reduces the impact on the environment. The three coupled projects presented here show a clear potential to reduce the environmental impact of manufacturing and other processes by implementing complimenting systems, which have environmental benefits of their own in order to achieve a compounding effect of reduced CED and GHG.

Concept Fire Truck

A prototype Concept Fire Truck was designed using Autodesk Inventor 3D Design Software. Various pictures of old-time and toy fire trucks were utilized for this project. The prototype was printed using a 3D printer to verify that all parts of the truck would fit and work as intended.

A dispute in the world of the dead : René Descartes and Andreas Rüdiger

En 1731 un autor alemán anónimo publicó un diálogo del muerto continuando la tradición comenzada en la Grecia antigua por Luciano de Samosata. Hoy sobrevive una única copia del texto, publicada sin referencia del lugar de publicación o impresor y se encuentra ahora en el Evangelisches Predigerseminar Bibliothek en Wittenberg. Los protagonistas son el filósofo y físico Andreas Rüdiger (1673-1731) y René Descartes, quien representa en el diálogo a un tipo muy diverso de filósofo de la figura “histórica" que trascendió hasta nosotros en sus obras. Este artículo se propone reconstruir la composición de este texto raro y enigmático y contextualizar la perspectiva ideológica del autor en las controversias que animaban el trasfondo filosófico de las universidades alemanas de los comienzos del siglo XVIII.

Ecdótica e iconografía : Reflexiones sobre el arte de editar textos con imágenes

A raíz de la incorporación del corpus iconográfico en nuestra edición crítica de los cinco impresos castellanos del siglo XVI del Libro de las maravillas del mundo, de Juan de Mandevilla (2011), advertimos la conveniencia de reproducir y estudiar las imágenes que acompañaban los textos durante la Edad Media y las primeras décadas de la imprenta. Dar cuenta de las variantes xilográficas en el aparato crítico, impulsar la filiación de las miniaturas y grabados, vincular la labor de impresores a través del uso de determinadas imágenes y recoger los simbolismos que guarda el lenguaje icónico se vuelve un objetivo cada vez más necesario. A través de ejemplos tomados de diversas ediciones de textos ilustrados con imágenes pretendemos reflexionar sobre esta cuestión, aún muy poco debatida

Ecdótica e iconografía : Reflexiones sobre el arte de editar textos con imágenes

A raíz de la incorporación del corpus iconográfico en nuestra edición crítica de los cinco impresos castellanos del siglo XVI del Libro de las maravillas del mundo, de Juan de Mandevilla (2011), advertimos la conveniencia de reproducir y estudiar las imágenes que acompañaban los textos durante la Edad Media y las primeras décadas de la imprenta. Dar cuenta de las variantes xilográficas en el aparato crítico, impulsar la filiación de las miniaturas y grabados, vincular la labor de impresores a través del uso de determinadas imágenes y recoger los simbolismos que guarda el lenguaje icónico se vuelve un objetivo cada vez más necesario. A través de ejemplos tomados de diversas ediciones de textos ilustrados con imágenes pretendemos reflexionar sobre esta cuestión, aún muy poco debatida

Ecdótica e iconografía : Reflexiones sobre el arte de editar textos con imágenes

A raíz de la incorporación del corpus iconográfico en nuestra edición crítica de los cinco impresos castellanos del siglo XVI del Libro de las maravillas del mundo, de Juan de Mandevilla (2011), advertimos la conveniencia de reproducir y estudiar las imágenes que acompañaban los textos durante la Edad Media y las primeras décadas de la imprenta. Dar cuenta de las variantes xilográficas en el aparato crítico, impulsar la filiación de las miniaturas y grabados, vincular la labor de impresores a través del uso de determinadas imágenes y recoger los simbolismos que guarda el lenguaje icónico se vuelve un objetivo cada vez más necesario. A través de ejemplos tomados de diversas ediciones de textos ilustrados con imágenes pretendemos reflexionar sobre esta cuestión, aún muy poco debatida