Conversion of Soybean oil to Biodiesel Fuel with Immobilized Candida Lipase on Textile Cloth

The characteristic of biodiesel fuel production from transesterification of soybean oil is studied. The reactant solution is the mixture of soybean oil, methanol, and solvent. A new lipase immobilization method, textile cloth immobilization, was developed in this study. Immobilized Candida lipase sp. 99-125 was applied as the enzyme catalyst. The effect of flow rate of reaction liquid, solvents, reaction time, and water content on the biodiesel yield is investigated. Products analysis shows that the main components in biodiesel are methyl sterate, methyl hexadecanoate, methyl oleate, methyl linoleate, and methyl linolenate. The test results indicate that the maximum yield of biodiesel of 92% was obtained at the conditions of hexane being the solvent, water content being 20 wt%, and reaction time being 24 h.

酸化油固定床酶法合成生物柴油研究

酸化油是油脂工业中以皂脚、油脚经酸化处理得到的产品。它的主要成分是游离脂肪酸及中性油，是生产脂肪酸的重要原料，但生产过程中有水解废水的产生，若将其直接排放，既污染了环境又浪费了资源。生物柴油的主要成分是脂肪酸甲酯（fatty acid methyl ester，FAME）。它具有原料丰富而且可再生、可生物降解、无毒、不含芳香烃、二氧化硫等污染物、燃烧排放低、闪点高、运输储存安全等特点。作为石化柴油的潜在替代能源，生物柴油因其独特的优越性和现实的需求越来越受到关注。利用酸化油生产生物柴油不仅可以缓解生物柴油原料不足问题，还可解决酸化油所带来的环境问题。

The convertion of acid oil to biodiesel by use of immobilized Candida lipase absorbed on textile cloth was studied in a fixed bed reactor, which can not only reduce the environmental pollution of acid oil, but also produce a substitute for petroleum diesel. The acid oil mixed with methanol was pumped into three fixed bed reactors in series, and the methanol was added with the molar flow rate same as the acid oil in each reactor. The effects of enzyme content, solvent content, water content, flow rate of reactant and temperature on the enzymatic reaction were analyzed. The result of orthogonal experiments indicates that the optimal transesterification can be performed under the following conditions： immobilized lipase content in acid oil, 20% ; hexane content in acid oil, 10% ; water content in acid oil, 10%, reaction temperature, 50 ℃ ; and flow rate of reactant, 0.08 g/rain. Under these conditions, the FAME content of 90.18% in the product is obtained. The immobilized lipase can be reused with relatively stable activity after glycerol being removed from the surface. By refining, most of the chemical and physical properties of biodiesel will meet the American and Germany biodiesel standards and exceed the Chinese standard of 0^# petroleum diesel except for carbon residue, density and kinematic viscosity.

Technology of textile design : a practical treatise on the construction and application of weaves for all textile fabrics and the analysis of cloth : containing also an appendix describing all the latest methods and improvements in designing and manufacturing : for the use of students, operatives, overseers, designers, mill managers, commission merchants and manufacturers /

Mode of access: Internet.

Textile calculation : being a guide to calculations relating to the construction of all kinds of yarns and fabrics, the analysis of cloth, etc. /

Mode of access: Internet.

Colour-matching on textiles : a manual intended for the use of dyers, calico printers, and textile colour chemists /

Dyed cloth samples mounted on last 4 plates.

Cloth-strip blankets of the Navajo,

Mode of access: Internet.

The romance of camels hair cloth /

Mode of access: Internet.

Patrimoine textile malgache: cas du lambahoany tissé par la cotona d' antsirabe

Le lambahoany est un pagne tissé par une société textile malgache telle que la Cotona d’ Antsirabe. D’ailleurs, il enveloppe le peuple malgache depuis son existence, les hommes comme les femmes, puis les vivants comme les morts. C’est ainsi que le lambahoany occupe une importante place dans la communauté malgache, non seulement comme un panneau de transmission des messages spécifiques mais également pour son rôle au système éducatif social au même titre que les arts virtuels développés aux écoles des arts. Ensuite, il est aussi nécessaire pour sensibiliser des personnes à travers d’un sujet donné. C’est en ce sens qu’il n’est plus un simple pagne mais il s’agit d’un objet patrimonial qui permet d’identifier les malgaches. Alors, leur préservation et leur valorisation se confirme primordial. D’où, la valorisation du lambahoany et sa pérennisation pour les générations futures constituent les principaux objectifs de cette étude; ABSTRACT: The Lambahoany is woven loin cloth by Malagasy textile companies like Cotona Antsirabe. Moreover, it wraps the Malagasy people since its existence, men and women, and the living and the dead. Thus the Lambahoany occupies an important place in the Malagasy community, not only as a sign of transmission of specific messages but also for its role in social education system as well as virtual arts developed schools of the arts. Then it is also necessary to educate people through a given topic. It is in this sense that it is no longer a simple loincloth, but it is a heritage object that identifies the Malagasy. So, their preservation and enhancement confirms paramount. Hence, the enhancement of Lambahoany and its sustainability for future generations are the main objectives of this study.

The power of a single prototype : sustainable fashion textile design and the prevention of carcinogenic melanoma

Is there a role for prototyping (sketching, pattern making and sampling) in addressing real world problems of sustainability (People, Profit, and Planet), in this case social/healthcare issues, through fashion and textiles research? Skin cancer and related illnesses are a major cause of disfigurement and death in New Zealand and Australia where the rates of Melanoma, a serious form of skin cancer, are four times higher than in the Northern Hemisphere regions of USA, UK and Canada (IARC, 1992). In 2007, AUT University (Auckland University of Technology) Fashion Department and the Health Promotion Department of Cancer Society - Auckland Division (CSA) developed a prototype hat aimed at exploring a barrier type solution to prevent facial and neck skin damage. This is a paradigm shift from the usual medical research model. This paper provides an overview of the project and examines how a fashion prototype has been used to communicate emergent social, environmental, personal, physiological and technological concerns to the trans-disciplinary research team. The authors consider how the design of a product can enhance and support sustainable design practice while contributing a potential solution to an ongoing health issue. Analysis of this case study provides an insight into prototyping in fashion and textiles design, user engagement and the importance of requirements analysis in relation to sustainable development. The analysis and a successful outcome of the final prototype have provided a gateway to future collaborative research and product development.

A solution to fashion textile unsustainability

Today, polarisation of the fashion textile industry has already begun as smart, intelligent and conscientious fashion emerges as a backlash to the experience of choice fatigue, poor quality, dumb design and greenwash. But the process, development and manufacture of fashion textiles is complex. And the demand, both customer and industry driven, for new integrated product policies,2 designed to minimise environmental impacts by looking at all phases of a product's life cycle, is problematic due to complexity and a lack of networking tools. This article explores these issues through the construct of the department store of the future.

The grow-shrink-and-turncoat

This reversible garment, the grow-shrink-and-turncoat, is constructed in modules which allow it to be extended or tightened depending on the wearer. Later, it can be disassembled and then reassembled to form a new garment. The laser-cut holes allow for layers of cloth to be added or removed. The design was developed in part from a brainstorming activity with first and second year QUT students – their ideas included a garment which can be taken apart, a garment to fit many people, and most intriguingly, a garment that can open and ‘grow’ like a flower, swelling up in cold weather to warm the body. Taking these ideas, I developed a garment which can be disassembled, with layers added or subtracted by the wearer according to aesthetics and / or comfort. The shell is constructed from six squares of laser cut cloth, draped together with six smaller laser-cut rectangles, held in place with removable stitching. Additional squares and rectangles of cloth can be added / subtracted with ties knotted through the laser-cut holes. The laser cutting becomes a patterning device as well as integral to the construction of the garment. Conceptually, the garment is grounded in the notion of fabric as a precious resource – the pieces are designed to be disassembled at end-of-life, and then reconfigured into a fresh design.

The classic white formal shirt : a powerful emblem of social change

The classic white formal shirt is a widely and readily familiar object with considerable historical cultural significance to diverse social groups, and is therefore deserving of iconic status. For more than two hundred years, this singular item of apparel has been able to define and represent status, wealth, gender shifts and fashion norms. This garment, which has historically been relinquished to undergarment status, deserves an escalation of standing. The classic white formal shirt, for both men and women, can be used as a mirror to map considerable social change and the diversity of influence can be traced through many examples, including: Beau Brummell’s dandy status with his legendry white shirting; the Gibson Girl with her decorated white shirt style blouse defining ideals of female beauty; IBM business employees in the 1920s marketing trustworthiness through the uniformity of white shirts; the fictional advertising creation of the Arrow Collar Man, with his rigid white shirt, promoting American masculine ideals; and the iconic 1980s Hugo Boss style crisp white dress shirt symbolising power. The origins of the influence of the white shirt can be best traced in the Victorian era where it was an important symbol of wealth and class distinction and a powerful emblem of sobriety and uniformity for men. The pure white colour fulfilled masculine ideals of resolute austerity and the shirt, through its constancy, epitomised conformity and dependability. For women, the white cloth of the ‘shirt-waist’ from this period was also linked to ideals of cleanliness and purity and was seen as an iconic symbol of the new independent working class woman. This paper will propose that the classic white formal shirt, for both men and women, has been a powerful marker of social shifts in Western society and this underrated item of apparel, with limited scholarly writing, is worthy of iconic status. The discussion will trace the historical development of both the men’s and women’s white shirt, each with their own unique history, and in doing so highlight the considerable historical cultural significance associated with the white formal shirt. Discussed first will be the men’s white formal shirt.

Tactile abstractions [Exhibition Catalogue Essay]

Among the many meanings of abstraction is the focus on images that are at a distance from their origins. This understanding of abstraction is central to Savanhdary Vongpoothorn’s layered, textured and sensuous canvas Crossing (2003). The references in this painting to Laotian textile design and creation endows it with the sense of a fabric-like nature, gives it the feel of cloth wrapped around bodies and of threads woven into complex symmetrical patterns. Here, the distance from origins is expressed as a separation from the material forms of Lao culture. At the same time the work is a visual reference to the stretching or bending of forms, the breaking up of shapes in the natural or constructed environment, all of which create an expressive effect through the warm rose grid and visual illusions of movement and travel. This visual play suggests the sense that migration or movement is a means through which cultural forms get recoded and translated. The making of Crossing like many of Savanhdary’s works involved manipulation of the canvas through pricking and poking, and then the application of layers and dots of paint. The overall effect is one of a synthesis of different cultural motifs and the addition of new dimensions to familiar forms. This highlights the centrality of the idea of 'reassemblage’ in abstraction, the processes of remaking of self, of the natural world and of cultural artefacts. Savanhdary constructs intricate laced knots of colour and texture in work which expresses the possibilities presented by travel, migration and the subsequent remixture that emerges upon crossing through different cultural worlds.

Electropolymerisation of catalytically active PEDOT from an ionic liquid on a flexible carbon cloth using a sandwich cell configuration

We report the electropolymerization of poly(3,4-ethylenedioxythiopene) (PEDOT) from an ionic liquid, butyl-methylpyrrolidinium bis(trifluoromethanesulfonyl)imide (C4mpyrTFSI) onto flexible carbon cloth electrodes. A continuous, homogeneous and well adhered coating of the individual cloth fibres is achieved by employing a sandwich cell arrangement where the carbon cloth which is soaked with electrolyte is placed between two indium tin oxide electrodes isolated from each other by a battery separator. The resultant PEDOT modified carbon cloth electrode demonstrates excellent activity for the oxygen reduction reaction which is due to the doping level, conductivity and morphology of the PEDOT layer and is also tolerant to the presence of methanol in the electrolyte. This simple approach therefore offers a route to fabricate flexible polymer electrodes that could be used in various electronic applications.