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Dye aggregates formed in Langmuir-Blodgett films of amphiphilic merocyanine dyes
Keiichi Ikegami 한국물리학회 2006 Current Applied Physics Vol.6 No.4
The electronic absorption spectra of pure Langmuir (L) lms of 6MeDS prepared upon MgCl2, CaCl2, CdCl2, and CuCl2 aque-ous solutions have shown that the Mg2+,Ca2+, and Cd2+ cations promote the J-aggregation of the dye, but the Cu2+ cation inhibitsit. Instead, the Cu2+ cation promotes the formation of another type of dye aggregate (D-aggregate), which exhibits a split electronicabsorption band. These L lms have been transferred onto solid substrates by the LangmuirBlodgett (LB) technique. The vibronicabsorption spectra observed for the obtained LB lms have shown the similarity between the metalcation-containing J-aggregateand the metal-free J-aggregate of the dye, the latter of which was characterized in the previous study [K. Ikegami, J. Chem. Phys. 121(2004) 2337]. These spectra have also indicated that the bimolecular metal chelation plays an important role in the J-aggregation,like the intermolecular hydrogen bonding in the metal-free case.
Ikegami, Kozo,Shirasawa, Yo,Yokotsuka, Tomohito,Niitsu Yasushi 대한금속재료학회(대한금속학회) 1998 METALS AND MATERIALS International Vol.4 No.4
Cyclic plastic deformation of stainless steel SUS 304 is experimentally investigated at low temperature of liquid nitrogen (77 K) under various cyclic loading conditions. Thin walled tubular specimens are subjected to cyclic loading under constant strain ranges. At low temperature, the material shows remarkable hardening by cyclic loading comparing with cyclic loading at room temperature. The hysteresis curves of stress-strain relations by cyclic loading are saturated by increasing the cycle numbers. The saturation tendency depends on loading direction. The saturated stress values are related with cumulative plastic strain of cyclic loading. The prestraining is given at 77 K by axial and torsional loadings, and subsequent cyclic loading under constant strain range is conducted at 77 K. The cyclic stress-strain curves are saturated by increasing cyclic numbers. At small cyclic numbers, cyclic plastic deformation depends on the prestrain direction. The directional effect of pre-strain on cyclic loading becomes small with increasing number of cycles.
Status and Prospects of OTEC Integrated with Seawater Desalination in Japan
Yasuyuki Ikegami,Sami Mutair,Takafumi Morisaki 한국해양환경·에너지학회 2012 한국해양환경공학회 학술대회논문집 Vol.2012 No.11
Oceans cover approximately 71% of the total surface area of earth; hence oceans are considered the biggest solar collectors on earth. Most of the heat energy transferred by sunlight is absorbed by the thin layer of the ocean’s water near the surface. Below this layer, however, the temperature declines gradually with depth. Ocean Thermal Energy Conversion (OTEC) is a system that converts the temperature difference between the surface and the deep waters of the ocean into electricity. In addition, OTEC provides a clean source of fresh water by further utilization of the remaining temperature difference between the seawaters discharging from the power generation plant in driving the desalination process. This paper describes the evolution of OTEC and desalination research in Japan.
The “Triumph” of Japanese Neo-Pop: A Historical Evaluation
Hiroko Ikegami 현대미술사학회 2011 현대미술사연구 Vol.0 No.30
Who represents contemporary Japanese art today? The first name that comes to anyone’s mind would be Murakami Takashi, who held a successful solo show at the Palaces Versailles in 2010 and also holds the record price by a living Japanese artist with his signature work My Lonesome Cowboy (1998) having sold for $15.2 million in 2007 at Sotheby’s New York. In addition, Murakami’s gift as a curator was widely acknowledged when he organized for New York’s Japan Society in 2005 Little Boy: The Arts of Japan’s Exploding Subculture ,which received an award of the “Best Thematic Museum Show in New York” from AICA USA, an American section of International Association of Art Critics. This paper examines this “triumph” of Japanese Neo-Pop in a historical perspective, by comparing Little Boy to the exhibition entitled The New Japanese Painting and Sculpture, the first large-scale exhibition of Japanese contemporary art in the United States, organized and traveled by the Museum of Modern Art, New York in 1965-67. Despite the great distance of four-decades that separates Little Boy and The New Japanese Painting and Sculpture, it is helpful to compare the two exhibitions in terms of agency and discourse, asking such questions as “Who organized the exhibition?” and “What kind of narrative was created for the exhibit?” While the lack of these two ingredients marked The New Japanese Painting and Sculpture a critical failure, Murakami had a clear agenda regarding what to show and how to narrate his exhibit. The two exhibitions are also historically connected through the patronage of John D. Rockefeller 3rd, who promoted cultural exchange between the U.S. and Japan after World War II. While he revived the Japan Society as its president after WWII, his namesake foundation, The JDR 3rd Fund,supported The New Japanese Painting and Sculpture and funded Asia Cultural Council,from which Murakami received a grant to spend one year in New York in 1994-95. This connection points to another important issue in this paper: that is, the presence of America in postwar Japan. If such Anti-Art artists as Shinohara Ushio and Kojima Nobuaki dealt with this question in the 1960s, Murakami differently engaged the same question in the 2000s. With a well-planned discursive strategy, Murakami succeeded in establishing a narrative of Japanese contemporary art and culture that did not depend upon Euro-American models of modernism, through a joint labor with Alexandra Munroe,the then director of Japan Society Gallery who commissioned him to curate Little Boy. However, that narrative was based on his nationalistic historical determinism and narrative of victimhood based on Japan’s experience of two atomic bombs and defeat of World War II, which could undermine the actual diversity of Japanese contemporary art. As will be demonstrated with the case of Teruya Yūken, how the “U.S. problems” in postwar Japan is confronted varies from one artist to another within each generation. Through this historical analysis, this paper will present the “triumph” of Japanese Neo-Pop as an ambivalent legacy for the future generation of Japanese artists.
Toru Ikegami,Jong Man Kim,Dong-Hwan Jung,Yuji Soejima,김동식,Jae Won Joh,Sung Gyu Lee,Tomoharu Yoshizumi,Masaki Mori 대한이식학회 2019 Korean Journal of Transplantation Vol.33 No.4
Early series in living donor liver transplantation (LDLT) in adults demonstrated a lower safe limit of graft volume standard liver volume ratio 25%–45%. A subsequent worldwide large LDLT series proposed a 0.8 graft recipient weight ratio (GRWR) to define small-for-size graft (SFSG) in adult LDLT. Thereafter, researchers identified innate and inevitable factors including changes in liver volume during imaging studies and graft shrinkage due to perfusion solution. Although the definition of small-for-size syndrome (SFSS) advocated in the 2000s was mainly based on prolonged cholestasis and ascites output, the term SFSS was inadequate to describe clinical manifestations possibly caused by multiple factors. Thus, the term “early allograft dysfunction (EAD),” characterized by total bilirubin >10 mg/dL or coagulopathy with international normalized ratio >1.6 on day 7, has become prevalent to describe graft dysfunction including SFSS after LDLT. Although various efforts have been made to overcome EAD in LDLT, graft selection to maintain an expected GRWR >0.8 and full venous drainage, as well as inflow modulation using splenic artery ligation, have become standard in recent LDLT.