507 research outputs found
Electrochemical oxidation of oxalic acid and hydrazinium nitrate on platinum in nitric acid media
No full textSeveral studies in the literature have investigated the electrochemical effects of oxalic acid and hydrazine on various materials in neutral (pH buffered to 7), basic or weakly acidic media (pH 6). The present work proposes electrochemical techniques that allow for the study of the electrochemical behavior, on a Pt electrode, of oxalic acid and hydrazinium nitrate to better understand their oxidation mechanisms in a nitric acid medium at a pH below 1; in addition, some experiments were carried out to define an electrochemical method that would allow for the simultaneous detection of these species when present within process effluent in very acidic solutions. Some physical data regarding oxalic acid and hydrazinium nitrate were also determined: anodic oxidation of hydrazinium nitrate and oxalic acid were observed at 0.2 V and 0.7 V (vs. Ag/AgCl), respectively. The diffusion coefficients of hydrazinium nitrate and oxalic acid were found to be 5.2 × 10−6 and 2.9 × 10−7 cm2 s−1, respectively. An experimental design approach demonstrated the influence of nitric acid concentrations on the diffusion coefficients of these species
sj-xlsx-1-tar-10.1177_17534666221077817 – Supplemental material for In-hospital blood collection increases the rate of indeterminate results in interferon-gamma release assays
No full textSupplemental material, sj-xlsx-1-tar-10.1177_17534666221077817 for In-hospital blood collection increases the rate of indeterminate results in interferon-gamma release assays by Yuki Osakabe, Fumihiro Yamaguchi, Ayako Suzuki, Haruka Kitano, Mina Hiraiwa, Yo Shiratori, Shota Onozaki, Mari Nakamoto, Saori Kawamura, Miku Kosuge, Kenji Atarashi, Hidekazu Cho, Shohei Shimizu, Akira Fujishima and Yusuke Shikama in Therapeutic Advances in Respiratory Disease</p
sj-xlsx-2-tar-10.1177_17534666221077817 – Supplemental material for In-hospital blood collection increases the rate of indeterminate results in interferon-gamma release assays
No full textSupplemental material, sj-xlsx-2-tar-10.1177_17534666221077817 for In-hospital blood collection increases the rate of indeterminate results in interferon-gamma release assays by Yuki Osakabe, Fumihiro Yamaguchi, Ayako Suzuki, Haruka Kitano, Mina Hiraiwa, Yo Shiratori, Shota Onozaki, Mari Nakamoto, Saori Kawamura, Miku Kosuge, Kenji Atarashi, Hidekazu Cho, Shohei Shimizu, Akira Fujishima and Yusuke Shikama in Therapeutic Advances in Respiratory Disease</p
Materials for Art Research: Letters by Fujishima Takeji Addressed to Kuroda Seiki and Kume Keiichirô: Facsimiles, Transcriptions and Explanatory Notes (III) – Focusing on Conditions in his Pre and Post Overseas Study Years
No full textContinuing on from Bijutsu Kenkyû No. 416, this issue introduces the 24 letters and postcards written by Fujishima Takeji to Kuroda Seiki and Kume Keiichirô, from the letter to Kuroda Seiki dated July 4, 1898 to the letter addressed to Kuroda dated December 1921.
From letter number 29 (July 4, 1898) to letter number 37 (November 24, 1905), we see how Fujishima strove to create works for entry in exhibitions. Letter number 34 shows his discouragement and anger at not being selected as a Ministry of Education overseas student for the following year. Given the lineup of Western-style painters at the Tokyo Bijutsu Gakko, Fujishima should have followed after Okada Saburô, Wada Eisaku and Asai Chû, in the handing out of overseas scholarships, but that year the Nihonga painter Shimomura Kanzan and decorative arts specialist Sakuraoka Sanshirô were chosen for that honor. The following year Shirahama Akira, a specialist in drawing education, was chosen. In Fujishima’s letter to Kuroda we can read his anger at school president Masaki Naohiko, and his despair.
On May 13, 1910, Fujishima returned from his overseas study and was appointed teacher at the Tokyo Bijutsu Gakko, and thus was made a high rank 7/class 1 civil servant. Upon this occasion Fujishima constructed a large separate painting studio near his home. The letters from this period indicate that he had a hard time raising the funds for building, and sold the works he had painted in Europe to the art school.
The Bunten exhibitions were inaugurated in 1907, while he was still overseas. Upon his return he was not named to the judging panel, and had to have his works judged alongside his pupils. However, the conservative stance of the judges meant that their works were not very well received. From this dissatisfaction, Fujishima, along with Ishii Hakutei, Yamashita Shintarô, Arishima Ikuma and others, petitioned the Ministry of Education to establish a second division in the Western painting section of the Bunten for the display of works in new styles. The Ministry rejected the request and so the requesters left the Bunten and set up their own independent exhibition, which they called the Nikaten, or second division exhibition.
In Fujishima’s letter to Kuroda dated August 2, 1914, he said that he had been recommended as a judge for the 8th Bunten, but had sent his refusal to Fukuhara Ryôjirô, Vice Minister of Education, and conversely that he also was cutting his connection with the Nikakai group. However, his letter to Kuroda the following day stated that that morning both Fukuhara and Masaki had visited him and persuaded him to change his mind, and thus he took up the role of judge. Hence while previously it had been thought that it was Kuroda’s persuasion that led to Fujishima remaining in the Bunten, finally it was not Kuroda who kept Fujishima in the Bunten, but rather these top Ministry officials.
However, in the midst of the setting up of the Nika group and exhibition, Fujishima was ordered away on an official trip to the Korean Peninsula. Fujishima sent a picture postcard of Moranbong (in present-day Pyongyang) from Korea and this is important evidence regarding his itinerary.
Examining the letters overall reveals that Fujishima frequently worried when he was creating paintings and thus we can understand why there were many instances where he could not complete a work. Further, even though after Okakura Tenshin left the school, Kuroda became the most influential person at the Tokyo Bijutsu Gakko, from what we gather from the people involved in Fujishima’s affairs, clearly it was actually the school’s president Masaki who wielded more power than Kuroda.journal articl
Reaction mechanisms for TiO<sub>2</sub> powder photocatalysed systems
No full textAn overview of 10 apparently different, although in some cases closely related, popular photocatalytic reaction mechanisms for TiO2 powder aqueous dispersions is given. The key reaction processes associated with each mechanism are identified and discussed, and the overall rate expression is reported. Five of the mechanisms are tested using datasets comprising initial reaction rate versus organic pollutant concentration, [P] and incident irradiance, ρ , data that have been reported previously for TiO2 , where P was phenol, 4-chlorophenol, and formic acid. The best of those tested in terms of simplicity, usefulness, and versatility is the disrupted adsorption kinetic model, which is described in detail. The need for more datasets with which to test the kinetic models, in which the dependence of rate upon pollutant concentration and irradiance, is discussed.<br/
Photocatalyst activity indicator inks (<i>Paii's</i>)
No full textThe use of photocatalyst activity indicator inks, paiis, to provide readily a measure of the activity of photocatalytic films is described. The photocatalyzed bleaching of dyes in aqueous solution either oxidatively or reductively is outlined briefly, followed by a description of the basic components of a typical, water-based paii, namely, a brightly colored dye that is irreversibly reduced, such as resazurin (Rz), a sacrificial electron donor, glycerol, and a polymer, such as hydroxyethyl cellulose (HEC), all soluble in water. It is shown that the Rz paii, when cast as an ink film, upon ultra-bandgap irradiation, changes color at a rate that is proportional to the ability of the photocatalytic test substrate to photo-oxidize a typical organic pollutant, such as stearic acid. Other paiis are described. The result of a study of the kinetics of the photocatalyzed reduction of the dye in a paii is described and discussed, along with the recent use of digital photography and color analysis as an alternative to UV/vis spectrophotometry in order to make the use of the inks easier, especially in the field. The emergence of an ISO based on the Rz international standard is noted, and a brief review of the use of paiis in photocatalysis is given. Finally, the potential limitations of paiis are discussed.<br/
Bio-inspired titanium dioxide materials with special wettability and their applications
No full textTitanium dioxide (TiO2) is one of the most widely used nanomaterials in our daily life. In 1972, Fujishima and Honda reported the photo electrolysis of water into H2 and O2 utilizing an electrochemical cell in which the TiO2 single-crystal electrode is connected with a Pt electrode. This is analogus with the natural photosynthesis that produces oxygen through oxidizing water and reducing carbon dioxide using sunlight, where solar energy is converted into chemical energy. Since that time, photocatalysis has received considerable attention owing to its important applications in the conversion of light energy into useful chemical energy. In 1997, Fujishima et al. first reported the photogeneration of a superamphiphilic (both superhydrophilic and superoleophilic, where the contact angle of water and oil on a surface is almost 0°, respectively) TiO2 surface under UV light irradiation, showing self-cleaning and antifogging characteristics. This breakthrough work expanded the research field of TiO2 materials and marked the beginning of a new era in TiO2-based self-cleaning materials. Since then, an important effort has been focused on the understanding of the fundamental mechanism of this novel function and on the development of selfcleaning materials for a wide range of applications in energy, environmental, and industrial fields, resulting in the generation of new markets. Although photocatalysis and photoinduced superhydrophilicity can take place simultaneously on the same TiO2 surface, they are intrinsically different processes. In recent years, environmental pollution and damage on a global scale have emerged as a serious issue. The viable environmental cleanup has attracted a great deal of attention to achieve important breakthroughs in the design of advanced materials and in the development of new technology. Now, a variety of TiO2-based materials have been commercialized arising from their unique photoinduced properties. Furthermore, these commercial products demonstrate their importance in the environmental cleanup
Modulating the interaction between gold and TiO2 nanowires for enhanced solar driven photoelectrocatalytic hydrogen generation
No full textThe interaction strength of Au nanoparticles with pristine and nitrogen doped TiO2 nanowire surfaces was
analysed using density functional theory and their significance in enhancing the solar driven photoelectrocatalytic
properties was elucidated. In this article, we prepared 4-dimethylaminopyridine capped Au
nanoparticle decorated TiO2 nanowire systems. The density functional theory calculations show {101}
facets of TiO2 as the preferred phase for dimethylaminopyridine–Au nanoparticles anchoring with a binding
energy of 8.282 kcal mol1
. Besides, the interaction strength of Au nanoparticles was enhanced
nearly four-fold (35.559 kcal mol1
) at {101} facets via nitrogen doping, which indeed amplified the Au
nanoparticle density on nitrided TiO2. The Au coated nitrogen doped TiO2 (N–TiO2–Au) hybrid electrodes
show higher absorbance owing to the light scattering effect of Au nanoparticles. In addition, N–TiO2–Au
hybrid electrodes block the charge leakage from the electrode to the electrolyte and thus reduce the
charge recombination at the electrode/electrolyte interface. Despite the beneficial band narrowing effect
of nitrogen in TiO2 on the electrochemical and visible light activity in N–TiO2–Au hybrid electrodes, it
results in low photocurrent generation at higher Au NP loading (3.4 107 M) due to light blocking the
N–TiO2 surface. Strikingly, even with a ten-fold lower Au NP loading (0.34 107 M), the synergistic effects
of nitrogen doping and Au NPs on the N–TiO2–Au hybrid system yield high photocurrent compared to
TiO2 and TiO2–Au electrodes. As a result, the N–TiO2–Au electrode produces nearly 270 mmol h1 cm2
hydrogen, which is nearly two-fold higher than the pristine TiO2 counterpart. The implications of these
findings for the design of efficient hybrid photoelectrocatalytic electrodes are discussed.
IntroducGlobal Research Laboratory (GRL) Program through the National Research Foundation of Korea (NRF) - Ministry of Science. K20704000003TA050000310
Japan Society for the Promotion of Science (JSPS)
University Jaume I. P1.1B2014-51
Government of the Russian Federation. 074-U0
黒田清輝、久米桂一郎宛 藤島武二書簡（三）
No full textContinuing on from Bijutsu Kenkyû No. 416, this issue introduces the 24 letters and postcards written by Fujishima Takeji to Kuroda Seiki and Kume Keiichirô, from the letter to Kuroda Seiki dated July 4, 1898 to the letter addressed to Kuroda dated December 1921.
From letter number 29 (July 4, 1898) to letter number 37 (November 24, 1905), we see how Fujishima strove to create works for entry in exhibitions. Letter number 34 shows his discouragement and anger at not being selected as a Ministry of Education overseas student for the following year. Given the lineup of Western-style painters at the Tokyo Bijutsu Gakko, Fujishima should have followed after Okada Saburô, Wada Eisaku and Asai Chû, in the handing out of overseas scholarships, but that year the Nihonga painter Shimomura Kanzan and decorative arts specialist Sakuraoka Sanshirô were chosen for that honor. The following year Shirahama Akira, a specialist in drawing education, was chosen. In Fujishima’s letter to Kuroda we can read his anger at school president Masaki Naohiko, and his despair.
On May 13, 1910, Fujishima returned from his overseas study and was appointed teacher at the Tokyo Bijutsu Gakko, and thus was made a high rank 7/class 1 civil servant. Upon this occasion Fujishima constructed a large separate painting studio near his home. The letters from this period indicate that he had a hard time raising the funds for building, and sold the works he had painted in Europe to the art school.
The Bunten exhibitions were inaugurated in 1907, while he was still overseas. Upon his return he was not named to the judging panel, and had to have his works judged alongside his pupils. However, the conservative stance of the judges meant that their works were not very well received. From this dissatisfaction, Fujishima, along with Ishii Hakutei, Yamashita Shintarô, Arishima Ikuma and others, petitioned the Ministry of Education to establish a second division in the Western painting section of the Bunten for the display of works in new styles. The Ministry rejected the request and so the requesters left the Bunten and set up their own independent exhibition, which they called the Nikaten, or second division exhibition.
In Fujishima’s letter to Kuroda dated August 2, 1914, he said that he had been recommended as a judge for the 8th Bunten, but had sent his refusal to Fukuhara Ryôjirô, Vice Minister of Education, and conversely that he also was cutting his connection with the Nikakai group. However, his letter to Kuroda the following day stated that that morning both Fukuhara and Masaki had visited him and persuaded him to change his mind, and thus he took up the role of judge. Hence while previously it had been thought that it was Kuroda’s persuasion that led to Fujishima remaining in the Bunten, finally it was not Kuroda who kept Fujishima in the Bunten, but rather these top Ministry officials.
However, in the midst of the setting up of the Nika group and exhibition, Fujishima was ordered away on an official trip to the Korean Peninsula. Fujishima sent a picture postcard of Moranbong (in present-day Pyongyang) from Korea and this is important evidence regarding his itinerary.
Examining the letters overall reveals that Fujishima frequently worried when he was creating paintings and thus we can understand why there were many instances where he could not complete a work. Further, even though after Okakura Tenshin left the school, Kuroda became the most influential person at the Tokyo Bijutsu Gakko, from what we gather from the people involved in Fujishima’s affairs, clearly it was actually the school’s president Masaki who wielded more power than Kuroda.journal articl
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