Heterogeneous reactions of NO2 on different surfaces play an important role in atmospheric NOxremoval and HONO formation,having profound impacts on photochemistry in polluted urban areas.Previous studies have suggeste...Heterogeneous reactions of NO2 on different surfaces play an important role in atmospheric NOxremoval and HONO formation,having profound impacts on photochemistry in polluted urban areas.Previous studies have suggested that the NO2 uptake on the ground or aerosol surfaces could be a dominant source for elevated HONO during the daytime.However,the uptake behavior of NO2 varies with different surfaces,and different uptake coefficients were used or derived in different studies.To obtain a more holistic picture of heterogeneous NO2 uptake on different surfaces,a series of laboratory experiments using different flow tube reactors was conducted,and the NO2 uptake coefficients(γ)were determined on inorganic particles,sea water and urban grime.The results showed that heterogeneous reactions on those surfaces were generally weak in dark conditions,with the measuredγvaried from<10-8 to 3.2×10-7 under different humidity.A photo-enhanced uptake of NO2 on urban grime was observed,with the obvious formation of HONO and NO from the heterogeneous reaction.The photo-enhancedγwas measured to be 1.9×10-6 at 5%relative humidity(RH)and 5.8×10-6 at 70%RH on urban grime,showing a positive RH dependence for both NO2 uptake and HONO formation.The results demonstrate an important role of urban grime in the daytime NO2-to-HONO conversion,and could be helpful to explain the unknown daytime HONO source in the polluted urban area.展开更多
This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as ...This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as Amiri Baraka and Nathaniel Mackey.Historicizing writings on Black music,and their intersections with questions of gender and class,the essay also reflects on the relations between U.S.and U.K.thinking on anti-blackness and music,and sketches some speculative lineages for the different poetic traditions from which such work emerges.Exploring Trap’s address to male desire and vulnerability within the context of anti-black violence and the American carceral State,White hears in Trap something beyond nihilism,even if only as proxy or metaphor—an expression of desire and horror which is the threat of aliveness in the face of social death.The essay also explores U.K.-born,U.S.-based D.S.Marriott’s engagement with grime in his most recent book of poetry,Duppies(2017,U.S.edition 2019).“Post-work”and“post-brexit,”Marriott’s grime poetics registers the racial antagonisms unleashed by the Brexit vote,and harks back to the 2011 U.K.riots triggered by Mark Duggan’s murder at the hands of the police.Marriott understands grime as representing performances of labor,and racialized identity performance itself as a kind of un-remunerated labor,related to Black social death.Both internalizing and refusing the interpellation of the police and state apparatus,and often literally unintelligible to white mainstream society,it is a space of performative subversion,powerful even when mocked,derided or ignored.As“the thread which links afro-pessimism to afro-futurism,”grime could be positioned as a theoretical solution to ongoing debates on Afro-pessimism and Afro-optimism;but it“proceeds without ties or duplicity,”refusing identification or pigeonholing.Neither grime nor Trap,Marriott’s nor White’s poetry,ask for or require empathy.Their“fierce rigor and method”are tools of diagnosis and resistance vital for understanding poetry,race and politics today.展开更多
基金supported by the French National Research Agency/Research Grants Council of Hong Kong Special Administrative Region,China(ANR/RGC)Joint Research Scheme(project A-PolyU502/16-SEAM)National Natural Science Foundation of China(Nos.91744204,91844301)+1 种基金the Research Grants Council of Hong Kong Special Administrative Region,China(Nos.T24/504/17,15265516,C5022-14G)。
文摘Heterogeneous reactions of NO2 on different surfaces play an important role in atmospheric NOxremoval and HONO formation,having profound impacts on photochemistry in polluted urban areas.Previous studies have suggested that the NO2 uptake on the ground or aerosol surfaces could be a dominant source for elevated HONO during the daytime.However,the uptake behavior of NO2 varies with different surfaces,and different uptake coefficients were used or derived in different studies.To obtain a more holistic picture of heterogeneous NO2 uptake on different surfaces,a series of laboratory experiments using different flow tube reactors was conducted,and the NO2 uptake coefficients(γ)were determined on inorganic particles,sea water and urban grime.The results showed that heterogeneous reactions on those surfaces were generally weak in dark conditions,with the measuredγvaried from<10-8 to 3.2×10-7 under different humidity.A photo-enhanced uptake of NO2 on urban grime was observed,with the obvious formation of HONO and NO from the heterogeneous reaction.The photo-enhancedγwas measured to be 1.9×10-6 at 5%relative humidity(RH)and 5.8×10-6 at 70%RH on urban grime,showing a positive RH dependence for both NO2 uptake and HONO formation.The results demonstrate an important role of urban grime in the daytime NO2-to-HONO conversion,and could be helpful to explain the unknown daytime HONO source in the polluted urban area.
文摘This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as Amiri Baraka and Nathaniel Mackey.Historicizing writings on Black music,and their intersections with questions of gender and class,the essay also reflects on the relations between U.S.and U.K.thinking on anti-blackness and music,and sketches some speculative lineages for the different poetic traditions from which such work emerges.Exploring Trap’s address to male desire and vulnerability within the context of anti-black violence and the American carceral State,White hears in Trap something beyond nihilism,even if only as proxy or metaphor—an expression of desire and horror which is the threat of aliveness in the face of social death.The essay also explores U.K.-born,U.S.-based D.S.Marriott’s engagement with grime in his most recent book of poetry,Duppies(2017,U.S.edition 2019).“Post-work”and“post-brexit,”Marriott’s grime poetics registers the racial antagonisms unleashed by the Brexit vote,and harks back to the 2011 U.K.riots triggered by Mark Duggan’s murder at the hands of the police.Marriott understands grime as representing performances of labor,and racialized identity performance itself as a kind of un-remunerated labor,related to Black social death.Both internalizing and refusing the interpellation of the police and state apparatus,and often literally unintelligible to white mainstream society,it is a space of performative subversion,powerful even when mocked,derided or ignored.As“the thread which links afro-pessimism to afro-futurism,”grime could be positioned as a theoretical solution to ongoing debates on Afro-pessimism and Afro-optimism;but it“proceeds without ties or duplicity,”refusing identification or pigeonholing.Neither grime nor Trap,Marriott’s nor White’s poetry,ask for or require empathy.Their“fierce rigor and method”are tools of diagnosis and resistance vital for understanding poetry,race and politics today.
