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Utilization of High-density Raw Materials for PanelProduction and Its Performance
No full textThe residues generated in the furniture industry have not yet been optimally used for panel production. One reason for this is that residues from the furniture industry contain high-density hardwood, which is not considered suitable as a raw material in panel production. In this study, the possibility of high-density hardwood species for panel production was investigated. Matoa, one of high-density hardwood species, was utilized for panel products targeted for interior application in flooring heating systems.
Methylenediphenyldiisocyanate (MDI) resin was applied as adhesive in a rotating blending box at 6% based on oven dry weight. The mat panel was hot pressed for 5 minutes at a press temperature of 180 &ord
Pengaruh proporsi lapisan muka dari dua jenis kayu terhadap sifat papan partikel lapis tanpa perekat
No full textPengaruh perlakuan panas dengan metode kukus terhadap sifat-sifat kayu nangka untuk produk perekatan dan finishing
No full textPengaruh perlakuan panas dengan metode kukus terhadap sifat-sifat kayu nangka untuk produk perekatan dan finishing
No full textEffects of Wood Modification Using Natural Resin on Wood Quality and Bonding Properties
No full textThe aim of this study was to investigate the effect of gum rosin impregnation upon a low quality young teak wood in order to enhance its quality. The main objective of the treatment was to enhance the dimensional stability, as well as strength and to reduce the hygroscopicity. A 15-years old thinned teak wood (Tectona grandis L.f.) and gum rosin from Pinus merkusii Jungh. et de Vries were used for wood modification treatment by impregnation. Three kinds of non-polar solvents, i.e. turpentine oil, petroleum oil and n-hexane-, were used to make gum rosin solution. The results indicated that gum rosin impregnation did not markedly enhance the quality of young teak wood in terms of either dimensional stability or hygroscopicity; however, a little enhancement was delivered by using 15% gum rosin solution with n-hexane as the solvent. The treatment with petroleum oil solvent (at concentration of 7.5%) and at 15% concentration with n-hexane solvent resulted in highest bending properties. The highest bonding strength in dry condition was resulted by treatment with turpentine oil solvent
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Variations on the Author
Get PDF“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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