Preparation and Properties of Autocatalytic Biobased Waterborne Polyol from Rosin Based Epoxy Resin

Due to the complex heterogeneous film forming process of two-component waterborne polyurethane (2K-WPU), the crosslinking reaction rate of 2K-WPU cannot meet the demand of efficient application in coatings. In order to improve the crosslinking reaction rate of 2K-WPU, a waterborne polyol containing tertiary amine groups was synthesized from rosin based epoxy resin and secondary amine compound, and then autocatalytic 2K-WPU was prepared by crosslinking the rosin based waterborne amino polyol with polyisocyanate. The structure of the polyol from rosin based epoxy resin was characterized with Fourier infrared (FT-IR) and nuclear magnetic resonance (NMR). The crosslinking kinetics and the crosslinked product of the rosin based waterborne amino polyol were also compared with a commercial acrylic polyol. It was shown from the results that the crosslinking reaction rate of the rosin based waterborne amino polyol was faster than that of the commercial acrylic polyol, which indicated the tertiary amine groups chemically bonded in the rosin based polyols could autocatalyze the crosslinking reaction of 2K-WPUs with catalysts free. The film of the rosin based waterborne amino polyol had excellent impact strength, adhesion, flexibility, hardness, gloss, fullness and solvent resistance, showing a good application prospect in the field of waterborne coatings.

How Fast is Furious The Discourse of Fast Cinema in Question

Considered in its articulation with an idea of “slow” cinema, the label “fast cinema” suggests three characteristics: fast-paced action, hyperkinetic cinematic style, and irreflexive consumption. Not only does fast cinema suggest these three characteristics, however, it also suggests that they directly correspond to each other so that, in a “fast” film, fast-paced action would be seamlessly rendered through “fast” cinematic enunciation and this rendering would necessarily result in an escapist, ready-to-consume film product. It is more by this correspondence, I think, than by any of these elements on its own that a certain understanding of “fast” cinema is established. Against this understanding, through a variety of contrasting examples, the article argues that the impression of fastness and that of slowness are both the matter of a tension between different temporalities and a complex combination of heterogeneous film elements, and that the articulation of “fast” and “slow” cinema itself depends less on the formal characteristics of different kinds of film than on a disciplinary understanding of spectatorship, which pretends to derive from these formal characteristics different and unequal forms of film experience.

Badlands and the Music of Temporal Immanence

As an eccentric outlaw crime film, Terrence Malick’s Badlands employs expressive sensory immersion, eccentric humor, and a concern for the relationship between history and human experience. The past, in Badlands, is a complex ontological ground for the characters’ (and audiences’) senses of being in the world, a temporalized film world akin to a field of pure immanence within the uncanny strangeness of material reality. A film set in the fifties, but far more concerned with transhistorical philosophical questions, Badlands uses the musical soundtrack to explore these existential concerns. Within this musically heterogeneous film, the two most important sources of compiled non-diegetic classical music (the pedagogical music of Carl Orff and Gunild Keetman and the early compositions of Erik Satie) function as active philosophical agents, cultivating embodied states of play and melancholy that strive, albeit ambiguously and inconclusively, to create meaning from the raw immediacy of experience.

Spatially resolved coherent 2D fluorescence spectroscopy within a high-NA microscope

We have developed coherent two-dimensional (2D) fluorescence micro-spectroscopy which probes the nonlinear optical response at surfaces via fluorescence detection with sub-micron spatial resolution. This enables the investigation of microscopic variations in laterally heterogeneous film samples which are of interests for sub-wavelength opto-electronic devices.

The Effect of Titanium Oxide Substrate on the Film Morphology and Photoluminescence Properties of Organometal Halide Perovskites

ABSTRACTWe have investigated the film morphology and photoluminescence properties of spin-coated CH3NH3PbI3-xClx films on mesoporous and compact TiO2 substrates. We observe that the perovskite film deposited on the mesoporous substrate composed of 20 nm TiO2 nanopaticles exhibits relatively uniform grain size, while the films deposited on the compact TiO2 substrate and the mesoporous substrate with large TiO2 nanoparticles (200 nm) show highly heterogeneous film morphology. The heterogeneity of film morphology has significant effect on the photoluminescence spectra and lifetime of the perovskite films. The result of time-resolved confocal microscopy unveils the relation between film structure and photoluminescence properties.