scholarly journals GENERATION OF THREE-DIMENSIONAL FREE-STANDING MICRO-OBJECTS BY LASER CHEMICAL PROCESSING

1991 ◽  
Vol 02 (C2) ◽  
pp. C2-337-C2-342
Author(s):  
O. LEHMANN ◽  
M. STUKE
Keyword(s):  
Three Dimensional ◽  
Chemical Processing ◽  
Free Standing

Free-standing microscale structures of nanocrystalline zirconia with biologically replicable three-dimensional shapes

2005 ◽  
Vol 20 (2) ◽  
pp. 282-287 ◽  
Author(s):  
Junping Zhao ◽  
Christopher S. Gaddis ◽  
Ye Cai ◽  
Kenneth H. Sandhage
Keyword(s):  
Three Dimensional ◽  
Heat Treatments ◽  
Chemical Processing ◽  
Monoclinic Zirconia ◽  
Free Standing ◽  
Silica Dissolution ◽  
Zirconium Alkoxide ◽  
Nanocrystalline Zirconia ◽  
Nanoscale Features ◽  
3D Shapes

Microscale zirconia structures with intricate three-dimensional (3D) shapes and nanoscale features were synthesized using diatom (single-celled algae) microshells as transient scaffolds. After exposure to a zirconium alkoxide-bearing solution and firing at 550–850 °C, silica-based diatom microshells were coated with a thin, continuous nanocrystalline zirconia layer. Predominantly tetragonal or monoclinic zirconia could be produced with appropriate heat treatments. Selective silica dissolution then yielded freestanding zirconia micro-assemblies that retained the microshell shape and fine features. Such hybrid (biological/synthetic chemical) processing may be used to mass-produce nanostructured micro-assemblies with a variety of 3D, biologically replicable shapes and tailored compositions for use in numerous applications.

N-Doped Carbon-Wrapped Cobalt–Manganese Oxide Nanosheets Loaded into a Three-Dimensional Graphene Nanonetwork as a Free-Standing Anode for Lithium-Ion Storage

2021 ◽  
Vol 4 (4) ◽  
pp. 3619-3630
Author(s):  
Peilin Zhang ◽  
Weiwei Wang ◽  
Jinzhe Liu ◽  
Chencheng Zhou ◽  
Jiao-Jiao Zhou ◽  
...  
Keyword(s):  
Manganese Oxide ◽  
Three Dimensional ◽  
Lithium Ion ◽  
Free Standing ◽  
Ion Storage

Free-standing graphene-based porous carbon films with three-dimensional hierarchical architecture for advanced flexible Li–sulfur batteries

2015 ◽  
Vol 3 (18) ◽  
pp. 9438-9445 ◽  
Author(s):  
Chao Wu ◽  
Lijun Fu ◽  
Joachim Maier ◽  
Yan Yu
Keyword(s):  
Porous Carbon ◽  
Three Dimensional ◽  
Carbon Films ◽  
Hierarchical Architecture ◽  
Free Standing ◽  
Hierarchically Porous

A novel free-standing cathode film consisting of hierarchically porous carbon-encapsulated sulfur has been designed and fabricated for Li–sulfur batteries.

Development and Application of Graphics Displays for a Mini-Computer Based Vibration Analysis System

1992 ◽  
Author(s):  
Bill Trevillion
Keyword(s):  
Three Dimensional ◽  
Large Data ◽  
Electric Utility ◽  
Chemical Processing ◽  
Acoustic Data ◽  
Interactive Display ◽  
Computer Based ◽  
Data Files ◽  
Vibration Problems ◽  
Analysis System

Abstract Radian Corporation has developed extensive data display capabilities to analyze vibration and acoustic data from structures and rotating equipment. The Machinery Interactive Display and Analysis System (MIDAS) displays data collected through the acquisition functions of MIDAS. The graphics capabilities include displaying spectra in three-dimensional waterfall and in X-Y formats. Both types of plots can relate vibrations to time, equipment speed, or process parameters. Using menu-driven parameter selection, data can be displayed in formats that are the most useful for analysis. The system runs on a popular mini-computer, and it can be used with a great variety of graphics terminals, workstations, and printer/plotters. The software was designed and written for interactive display and plotting. Automatic plotting of large data files is facilitated by a batch plotting mode. The user can define display formats for the analysis of noise and vibration problems in the electric utility, chemical processing, paper, and automotive industries. This paper describes the history and development of graphics capabilities of the MIDAS system. The system, as illustrated in the examples, has proven efficient and economical for displaying large quantities of data.

Lengths and topology of alveolar septal borders

1989 ◽  
Vol 67 (5) ◽  
pp. 1930-1940 ◽  
Author(s):  
E. H. Oldmixon ◽  
J. P. Butler ◽  
F. G. Hoppin
Keyword(s):  
Connective Tissue ◽  
Three Dimensional ◽  
Free Standing ◽  
And Topology ◽  
Section Area ◽  
Dimensional Reconstruction ◽  
Alveolar Duct ◽  
Mechanical Linkage ◽  
Alveolar Septa ◽  
Alveolar Parenchyma

To clarify the mechanics of alveolar parenchyma, we undertook a stereological and topological study in perfusion-fixed canine lungs of the borders of alveolar septa. We defined the principal borders as those along which one septum 1) joins two others (J), 2) joins one other at a distinct angle (B), or 3) joins no other structure (E). E and B borders are invariably reinforced with heavy connective tissue cables; J borders are not. Relative net lengths, determined from the number of traces per section area, were J, 45%; E, 19%; and B, 25%. These were remarkably constant over 10 canine lobes (5 animals, 4 volumes). Parenchyma, then, departs from the simple models that comprise only Js and Es. Bs are important; their net length exceeds that of Es. With lobe deflation, E shortened somewhat more than required to maintain geometric similarity, suggesting that the alveolar duct contracted disproportionately. A three-dimensional reconstruction was made from serial sections, and individual border segments were followed through the reconstruction. Typical lengths of individual J, B, and E borders were nearly equal. To characterize how the network of borders were interconnected, we counted the nodes at which they meet by class, e.g., EBE for the meeting of one B, two Es. The most common are JJJJ, 26%; EEEJ, 10%; EBJ, 24%; EBE, 8%; BBJJ, 12%. If parenchyma were constructed only from free-standing entrance rings and septal junctions, only JJJJ and EEEJ would be anticipated. The presence of EBJ, EBE, and BBJJ underscores parenchymal complexity. Only 7% of septa examined were bordered entirely by Js. Connective tissue cables were not confined to the alveolar duct's lumen but often extended to the primary septa at the periphery of the ductal unit. They rarely linked adjacent alveolar ducts; only 1 in 200 cable segments crossed from one duct to another. These observations support the concept that the parenchyma is an elastic network, characterized in part by a serial mechanical linkage from connective tissue cable to septal membrane to cable again.

Flexible Three-Dimensional Heterostructured ZnO-Co3O4 on Carbon Cloth as Free-Standing Anode with Outstanding Li/Na Storage Performance

2018 ◽  
Vol 165 (16) ◽  
pp. A3932-A3942 ◽  
Author(s):  
Huanhui Chen ◽  
Libo Deng ◽  
Shan Luo ◽  
Xiangzhong Ren ◽  
Yongliang Li ◽  
...  
Keyword(s):  
Three Dimensional ◽  
Carbon Cloth ◽  
Free Standing ◽  
Storage Performance

scholarly journals Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Arts ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 80
Author(s):  
Steven Jacobs
Keyword(s):  
Three Dimensional ◽  
Pop Art ◽  
Free Standing ◽  
American Modernism ◽  
Hard Edge ◽  
Three Dimensional Objects ◽  
Color Field Painting ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

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