1000 resultados para Polysiloxane films


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This work describes an XPS investigation of plasma-deposited polysiloxane films irradiated with 170 keV He+ ions at fluences, Phi, ranging from 1 x 10(14) to 1 x 10(16) cm(-2). Modifications in the atomic concentrations of the surface atoms with (D were revealed by changes in the [O]/[Si], [O]/[C] and [C]/[Si] atomic ratios. Surface chemical structure modifications were evidenced by the increasing C1s peak width and asymmetry as Phi was increased, due to the formation of ether and carboxyl functionalities. Moreover, structural transformations were indicated by the positive binding energy shift of the Si2p peaks, due to the increasing Si oxidation. Correlations of the XPS data with other results from previous work on polysiloxanes illustrate the role of ion beam-induced bond breaking on the structural modifications.

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The infrared absorption of polysiloxanes involves a strong band at around 1050 cm(-1), attributed to the antisymmetric vibration of siloxane bridges. The splitting of this band into two components is generally attributed to coupling between next-neighbor siloxane groups along the polysiloxane chain. From a quantitative analysis of the spectra of these materials, we find that this splitting is larger when the material is in thin-film form, and that the relative intensity of the two components is polarization dependent. We show that these effects are fully understandable in the theoretical framework of infrared absorption by thin films, and are related to long-range dipolar interactions responsible for the longitudinal-transverse splitting effect in crystalline materials. As a consequence, the polarization dependence of the infrared absorption observed for thin films does not appear to be associated with an orientational ordering in the film. (c) 2012 Elsevier B.V. All rights reserved.

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The influence of benzoyl peroxide (BPO) on the synthesis of polysiloxane thin films doped with Ce(III) deposited onto Sn coated steel as well as their anticorrosion properties are reported. The addition of BPO, whose role is polymerize the film, showed an increase in |Z| values due to the fact that augments the crossed link bonds and therefore improves the protective feature of the film. Ce(III) does not act in the polymerization process and thus is essential the addition of BPO to obtain more resistant polysiloxane films. ©The Electrochemical Society.

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Polysiloxane hybrid films were deposited on stainless steel by dip-coating using a sol prepared by hydrolytic co-polycondensation of tetraethoxysilane (TEOS) and 3-methacryloxy propyltrimethoxysilane (MPTS), followed by radical polymerization of methacrylic moieties. The TEOS/MPTS ratio was chosen equal to 2 and the Ce/Si ratio varied between 0.01 and 0.1. The effects of cerium concentration and valence (Ce(III) and Ce (IV)) on the structural features of polysiloxane films were studied by X-ray photoelectron spectroscopy (XPS) and (29)Si nuclear magnetic resonance (NMR). The corrosion protection of stainless steel by the hybrid coatings was investigated by XPS, electrochemical impedance spectroscopy (EIS) and potentiodynamic polarization curves, after immersion in saline and acid solutions. The NMR results have shown for Ce(IV) doped films a high degree of polycondensation of up to 89%. Electrochemical analysis has evidenced that hybrid films with the lowest Ce concentration act as an efficient diffusion barrier by increasing the corrosion resistance and reducing the current densities up to 3 orders of magnitude compared to bare stainless steel. The analysis of structural effects induced by Ce(III) and Ce(IV) species, performed by XPS, indicates that the improved corrosion protection of Ce(IV) doped films might be mainly related to the enhanced polymerization of siloxane groups. (C) 2010 Elsevier B.V. All rights reserved.

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A series of novel polyimide/polydiphenylsiloxane) (PI/PDDS) composite films with different contents of DDS were prepared using sol-gel method. The noncrosslinked PI-DDS and crosslinked PIS-DDS were synthesized through cohydrolysis and condensation between DDS and polyamic acid (PAA) or aminopropyltriethoxysilane(APTES)-terminated polyamic acid (PAAS). All the composite films have high thermal stability near pure PI. Field emission scanning electron microscopy (FE-SEM) study shows that the polysiloxane from hydrolyzed DDS well dispersed in polyimide matrix, without macroscopic separation for the composite films with low content of DDS, while large domain of polysiloxane was formed in films with high DDS content. The microstructure of composite films is in accordance with the transparency of corresponding films. X-ray study shows the PDDS is amorphous in PI matrix. The introduction of DDS into PI can improve the elongation at break and at the same time, the composite films still remained with higher modulus and tensile strength. The density and water absorption of the composite films decreased with the increasing DDS content. The composite films with DDS content below 10 wt % exhibit good solvent resistance.

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This work illustrates the advantages of using p-polarized radiation at an incidence angle of 70 degrees in contrast to the conventional unpolarized beam at normal (or near-normal) incidence for the infrared spectroscopic study of polycarbosilane, polysilazane and polysiloxane thin films synthesized by plasma enhanced chemical vapor deposition (PECVD) and subsequently irradiated with 170 keV He+ ions at fluences from 1 x 10(14) to 1 x 10(16) cm(-2). Several bands not seen using the conventional mode could be observed in the polarized mode. (c) 2006 Elsevier B.V. All rights reserved.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Cultural policy settings attempting to foster the growth and development of the Australian feature film industry in era of globalisation are coming under increasing pressure. Global forces and emerging production and distribution models are challenging the “narrowness” of cultural policy – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced through cultural policy driven subvention models. Australian horror film production is an important case study. Horror films are a production strategy well suited to the financial limitations of the Australian film industry with competitive advantages for producers against international competitors. However, emerging within a “national” cinema driven by public subsidy and social/cultural objectives, horror films – internationally oriented with a low-culture status – have been severely marginalised within public funding environments. This paper introduces Australian horror film production, and examines the limitations of cultural policy, and the impacts of these questions for the Producer Offset.

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This article explores how adult paid work is portrayed in 'family' feature length films. The study extends previous critical media literature which has overwhelmingly focused on depictions of gender and violence, exploring the visual content of films that is relevant to adult employment. Forty-two G/PG films were analyzed for relevant themes. Consistent with the exploratory nature of the research, themes emerged inductively from the films' content. Results reveal six major themes: males are more visible in adult work roles than women; the division of labour remains gendered; work and home are not mutually exclusive domains; organizational authority and power is wielded in punitive ways; there are avenues to better employment prospects; and status/money is paramount. The findings of the study reflect a range of subject matters related to occupational characteristics and work-related communication and interactions which are typically viewed by children in contemporary society.

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Cultural policy that attempts to foster the Australian film industry’s growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005), and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry’s financial limitations, they are a growth strategy for producers, and a training ground for emerging filmmakers.