Dielectric properties of dithiol self-assemble monolayers （SAMs） under ac electric field were presented, Using a Hg-SAM/SAM-Ⅱg junction, the ac impedances of dithiol SAMs were measured using a sinusoidal perturbati...Dielectric properties of dithiol self-assemble monolayers （SAMs） under ac electric field were presented, Using a Hg-SAM/SAM-Ⅱg junction, the ac impedances of dithiol SAMs were measured using a sinusoidal perturbation of 30 mV （peak to-peak） with the frequency ranging from 1 Hz to 1 MHz at zero bias. The contributions from dithiol SAMs and solvent interlayers were separated due to their different behaviors at ac impedance. The peak position in the loss spectra （the plot; of tgδ vs. frequency） moves to low frequcney with the incrcase of chain length of dithiols. Using a correlation of peak position with the chain length, the active energies of 23-39 meV for dithiol SAMs of C6-C10 under an ac electric field were derived,展开更多
Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple...Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple, learned techniques can assist in the production of authentic and transparent interrelational presence. Authentic presence requires three components： （1） honest exposition of a person＇s singular, essential being; （2） empathy towards the needs of other, distinct and separate from the self; and （3） mutual reciprocation, which means giving back or responding somewhat equitably to the other with whom the self is in communication, and accepting the same respondence from the other if afforded. The comprehension of Merleau-Ponty＇s ontology combined with Stanislavski＇s performance technique is uniquely suited to interpersonal communications in the ＇real world＇. Stanislavski＇s artistic vision demands an intensity of attentive involvement in order to achieve onstage authenticity. Merleau-Ponty provides supportive philosophical schematics, especially in his controversial but effective use of the expression ＇flesh＇. While this study may initially appear to focus on the artist, the development of interrelational skills is reliably applicable to anyone who desires to obtain a higher degree of authenticity in collaborative presence.展开更多
文摘Dielectric properties of dithiol self-assemble monolayers （SAMs） under ac electric field were presented, Using a Hg-SAM/SAM-Ⅱg junction, the ac impedances of dithiol SAMs were measured using a sinusoidal perturbation of 30 mV （peak to-peak） with the frequency ranging from 1 Hz to 1 MHz at zero bias. The contributions from dithiol SAMs and solvent interlayers were separated due to their different behaviors at ac impedance. The peak position in the loss spectra （the plot; of tgδ vs. frequency） moves to low frequcney with the incrcase of chain length of dithiols. Using a correlation of peak position with the chain length, the active energies of 23-39 meV for dithiol SAMs of C6-C10 under an ac electric field were derived,
文摘Constantin Stanislavski＇s Russian acting system, further developed by contemporary methodological practices, and Maurice Merleau-Ponty＇s philosophy of the body as object-subject are compared to illustrate how simple, learned techniques can assist in the production of authentic and transparent interrelational presence. Authentic presence requires three components： （1） honest exposition of a person＇s singular, essential being; （2） empathy towards the needs of other, distinct and separate from the self; and （3） mutual reciprocation, which means giving back or responding somewhat equitably to the other with whom the self is in communication, and accepting the same respondence from the other if afforded. The comprehension of Merleau-Ponty＇s ontology combined with Stanislavski＇s performance technique is uniquely suited to interpersonal communications in the ＇real world＇. Stanislavski＇s artistic vision demands an intensity of attentive involvement in order to achieve onstage authenticity. Merleau-Ponty provides supportive philosophical schematics, especially in his controversial but effective use of the expression ＇flesh＇. While this study may initially appear to focus on the artist, the development of interrelational skills is reliably applicable to anyone who desires to obtain a higher degree of authenticity in collaborative presence.
