Roll-to-Roll Mechanical Peeling for Dry Transfer of Chemical Vapor Deposition Graphene

Scaling up graphene fabrication is a critical step for realizing industrial applications of chemical vapor deposition (CVD) graphene, such as large-area flexible displays and solar cells. In this study, a roll-to-roll (R2R) graphene transfer system using mechanical peeling is proposed. No etching of graphene growth substrate is involved; thus, the process is economical and environmentally benign. A prototype R2R graphene transfer machine was developed. Experiments were conducted to test the effects of relevant process parameters, including linear film speed, separation angle, and the guiding roller diameter. The linear film speed was found to have the highest impact on the transferred graphene coverage, followed by the roller diameter, while the effect of separation angle was statistically insignificant. Furthermore, there was an interaction effect between the film speed and roller diameter, which can be attributed to the competing effects of tensile strain and strain rate. Overall, the experimental results showed that larger than 98% graphene coverage could be achieved with high linear film speed and large guiding roller diameter, demonstrating that a large-scale dry graphene transfer process is possible with R2R mechanical peeling.

Breaths, Falls, and Eddies in All This Can Happen: A Dialogue

Dancefilm muddles the paradigms that would position film as an order of production controlling all cinematic motion (including camera movement, film speed, editing etc.), and dance as motion, liberated and encompassing any-movement-whatever. David Hinton and Siobhan Davies’ experimental film, <em>All This Can Happen</em> (2013), draws text, image, and edit together via a poetics that is of the order of the choreographic. In a dialogue that echoes the collaborative spirit of the film, Erin Brannigan and Cleo Mees explore the corporeal and choreographic sensibilites at work in <em>All This Can Happen</em>, recognizing dynamics of breath and weight in various aspects of the film’s composition, including the movements of the bodies on screen, the qualities of the edit, and the text of Robert Walser’s original novella (on which the film is based). In exploring these corporeal-cinematic qualities, the authors work across and soften the dance-film binary described above.