Capacitance of the interface between two immiscible electrolyte solutions - A controversial issue

2021 ◽  
pp. 139720
Author(s):  
Antonín Trojánek ◽  
Vladimír Mareček ◽  
Zdeněk Samec
1961 ◽  
Vol 29 (3_4) ◽  
pp. 285-285 ◽  
Author(s):  
A. Weller

2015 ◽  
Vol 60 (12) ◽  
pp. 1218-1223
Author(s):  
N.A. Atamas ◽  
◽  
L.A. Bulavin ◽  
D. Vasyl’eva ◽  
◽  
...  

Author(s):  
Jaecheol Choi ◽  
Hoang-Long Du ◽  
Manjunath Chatti ◽  
Bryan H. R. Suryanto ◽  
Alexandr Simonov ◽  
...  

We demonstrate that bismuth exhibits no measurable electrocatalytic activity for the nitrogen reduction reaction to ammonia in aqueous electrolyte solutions, contrary to several recent reports on the highly impressive rates of Bi-catalysed electrosynthesis of NH<sub>3</sub> from N<sub>2</sub>.


2018 ◽  
Author(s):  
Ryan Kingsbury ◽  
Shan Zhu ◽  
Sophie Flotron ◽  
Orlando Coronell

Ion exchange membrane (IEM) performance in electrochemical processes such as fuel cells, redox flow batteries, or reverse electrodialysis (RED) is typically quantified through membrane selectivity and conductivity, which together determine the energy efficiency. However, water and co-ion transport (i.e., osmosis and salt diffusion / fuel crossover) also impact energy efficiency by allowing uncontrolled mixing of the electrolyte solutions to occur. For example, in RED with hypersaline water sources, uncontrolled mixing consumes 20-50% of the available mixing energy. Thus, in addition to high selectivity and high conductivity, it is desirable for IEMs to have low permeability to water and salt in order to minimize energy losses. Unfortunately, there is very little quantitative water and salt permeability information available for commercial IEMs, making it difficult to select the best membrane for a particular application. Accordingly, we measured the water and salt transport properties of 20 commercial IEMs and analyzed the relationships between permeability, diffusion and partitioning according to the solution-diffusion model. We found that water and salt permeance vary over several orders of magnitude among commercial IEMs, making some membranes better-suited than others to electrochemical processes that involve high salt concentrations and/or concentration gradients. Water and salt diffusion coefficients were found to be the principal factors contributing to the differences in permeance among commercial IEMs. We also observed that water and salt permeability were highly correlated to one another for all IEMs studied, regardless of polymer type or reinforcement. This finding suggests that transport of mobile salt in IEMs is governed by the microstructure of the membrane, and provides clear evidence that mobile salt does not interact strongly with polymer chains in highly-swollen IEMs. <br>


2015 ◽  
Vol 60 (2) ◽  
pp. 49-65
Author(s):  
Christian Grüny

Die musikalische Hermeneutik ist ein umstrittenes Unternehmen, das heute vor allem für eine historisch-kulturwissenschaftliche Analyse musikalischer Bedeutungen steht. Daneben besteht aber eine wilde Alltagshermeneutik, in der das Verstehen mit dem alltäglichen Umgang mit Musik verwoben ist. Meg Stuarts Tanzstück Built to last wird gelesen als Reflexion auf diese Alltagshermeneutik. Es wendet Stuarts Technik der Erforschung und Verfremdung von Ausdrucksbewegung auf die Bewegung der und zur Musik an, und sein dezidiert »falscher« Umgang mit der klassischen Musik lässt mehr über deren Gegenwart erkennen als ein formalerer, »richtiger« Ansatz. <br><br>Musical hermeneutics is a controversial issue. Today it is primarily associated with historical research into musical meanings in the context of cultural studies. Besides this, there is an everyday hermeneutics where understanding is inextricably linked to the daily use of music. Meg Stuart’s dance piece Built to last is interpreted as a reflection of this everyday hermeneutics. It applies Stuart’s technique of researching and distorting expressive movement to the movement of and to music, and its decidedly “wrong” way of doing this reveals more about classical music’s presence than a more formal, “right” approach.


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