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From fundamentals to applications of plating additives for Damascene process and 3D-TVS technology
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From self-assembly to Charge Transport with Single Molecules - An Electrochemical Approach
No full textPhysical confinement versus adsorption driven reconstruction: The case of sulfate anion interaction with vicinal Cu(111) surfaces
No full textNano-electrochemistry, i.e., the research of the properties of nano-(structured) electrodes and their influence on
electrochemical processes when immersed inside an electrolyte, represents a hot topic in view of applications in
nano-electronics, electro-catalysis and energy storage devices. The role of physical confinement in the electrochemical fabrication and performances of the respective systems have been recently addressed in the context of
metal-organic networks on surfaces, but rarely of nano-structured bare metal surfaces, for instance, regularly
stepped (vicinal) surfaces. In this work we investigate the interplay between physical confinement and adsorbate
induced restructuring by the electrochemical adsorption of sulfate anions on the flat and two distinctly different
vicinal Cu(111) surfaces. Sulfate adsorption on the flat Cu(111) surface is known to create a long-range ordered
Moir ́e-superstructure with lattice parameters in the 2–4 nm range due to an expansion of the topmost layer of
copper atoms with respect to the underlying crystal planes. This restructuring is also observed on a vicinal Cu
(111) surface whose original terrace width is considerably smaller than the lattice vectors of the sulfate induced
Moir ́e-structure. The results clearly indicate not only that the Moir ́e formation lifts the physical confinement
imposed by the initial terrace width, but also shine more light on the Moir ́e formation process itself. Such
adsorbate induced restructuring, of course, depends on the respective adsorbate – electrode combination, but
must, in principle, always be taken into account in order to understand electrochemical processes at nanostructured (and nano-sized) electrode surfaces
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Nickel complexes containing oxygen-chelating mesoionic carbenes as easily accessible catalysts for CO2 reduction
No full textVariations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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