Tag Archives: Tona Kunz

Levitator helps turn liquid cement into liquid metal

Scientists at the Argonne National Laboratory have found a way to transform liquid cement into liquid metal according to a May 27,2013 news item on ScienceDaily,

In a move that would make the Alchemists of King Arthur’s time green with envy, scientists have unraveled the formula for turning liquid cement into liquid metal. This makes cement a semi-conductor and opens up its use in the profitable consumer electronics marketplace for thin films, protective coatings, and computer chips.

“This new material has lots of applications, including as thin-film resistors used in liquid-crystal displays, basically the flat panel computer monitor that you are probably reading this from at the moment,” said Chris Benmore, a physicist from the U.S. Department of Energy’s (DOE) Argonne National Laboratory who worked with a team of scientists from Japan, Finland and Germany to take the “magic” out of the cement-to-metal transformation. Benmore and Shinji Kohara from Japan Synchrotron Radiation Research Institute/SPring-8 led the research effort.

The May 27, 2013 Argonne National Laboratory press release by Tona Kunz details how the cement-to-metal transformation is performed (Note: Links have been removed),

The team of scientists studied mayenite, a component of alumina cement made of calcium and aluminum oxides. They melted it at temperatures of 2,000 degrees Celsius using an aerodynamic levitator with carbon dioxide laser beam heating. The material was processed in different atmospheres to control the way that oxygen bonds in the resulting glass. The levitator keeps the hot liquid from touching any container surfaces and forming crystals. This let the liquid cool into glassy state that can trap electrons in the way needed for electronic conduction. The levitation method was developed specifically for in-situ measurement at Argonne’s Advanced Photon Source by a team led by Benmore.

The scientists discovered that the conductivity was created when the free electrons were “trapped” in the cage-like structures that form in the glass. The trapped of electrons provided a mechanism for conductivity similar to the mechanism that occurs in metals.

To uncover the details of this process, scientists combined several experimental techniques and analyzed them using a supercomputer.  They confirmed the ideas in experiments using different X-ray techniques at Spring 8 in Japan combined with earlier measurements at the Intense Pulsed Neutron Source and the Advanced Photon Source.

As for why transforming liquid cement into liquid metal might be worthwhile (from the Argonne National Laboratory press release),

This change demonstrates a unique way to make metallic-glass material, which has positive attributes including better resistance to corrosion than traditional metal, less brittleness than traditional glass, conductivity, low energy loss in magnetic fields, and fluidity for ease of processing and molding.

Picasso, paint, and the hard x-ray nanoprobe

There’s the paint you put on your walls and there’s the paint you put on your body and there’s the paint artists use for their works of art. Well, it turns out that a very well known artist used common house paint to create some of his masterpieces,

Among the Picasso paintings in the Art Institute of Chicago collection, The Red Armchair is the most emblematic of his Ripolin usage and is the painting that was examined with APS X-rays at Argonne National Laboratory. To view a larger version of the image, click on it. Courtesy Art Institute of Chicago, Gift of Mr. and Mrs. Daniel Saidenberg (AIC 1957.72) © Estate of Pablo Picasso / Artists Rights Society (ARS), New York [downloaded from http://www.anl.gov/articles/high-energy-x-rays-shine-light-mystery-picasso-s-paints]

Among the Picasso paintings in the Art Institute of Chicago collection, The Red Armchair is the most emblematic of his Ripolin usage and is the painting that was examined with APS X-rays at Argonne National Laboratory. To view a larger version of the image, click on it. Courtesy Art Institute of Chicago, Gift of Mr. and Mrs. Daniel Saidenberg (AIC 1957.72) © Estate of Pablo Picasso / Artists Rights Society (ARS), New York [downloaded from http://www.anl.gov/articles/high-energy-x-rays-shine-light-mystery-picasso-s-paints]

The Art Institute of Chicago teamed with the US Argonne National Laboratory to solve a decades-long mystery as to what kind of paint Picasso used. From the Feb. 8, 2013 news item on Azonano,

The Art Institute of Chicago teamed up with Argonne National Laboratory to unravel a decades-long debate among art scholars about what kind of paint Picasso used to create his masterpieces.

The results published last month in the journal Applied Physics A: Materials Science & Processing adds significant weight to the widely held theory that Picasso was one of the first master painters to use common house paint rather than traditional artists’ paint. That switch in painting material gave birth to a new style of art marked by canvasses covered in glossy images with marbling, muted edges, and occasional errant paint drips but devoid of brush marks. Fast-drying enamel house paint enabled this dramatic departure from the slow-drying heavily blended oil paintings that dominated the art world up until Picasso’s time.

The key to decoding this long-standing mystery was the development of a unique high-energy X-ray instrument, called the hard X-ray nanoprobe, at the U.S. Department of Energy’s Advanced Photon Source (APS) X-ray facility and the Center for Nanoscale Materials, both housed at Argonne. The nanoprobe is designed to advance the development of high-performance materials and sustainable energies by giving scientists a close up view of the type and arraignment of chemical elements in material.

At that submicroscopic level is where science and art crossed paths.

The Argonne National Laboratory Feb. 6, 2013 news release by Tona Kunz, which originated the news item,  provides more  technical detail,

Volker Rose, a physicist at Argonne, uses the nanoprobe at the APS [Advanced Photon Source]/CNM [Center for Nanoscale Materials] to study zinc oxide, a key chemical used in wide-band-gap semiconductors. White paint contains the same chemical in varying amounts, depending on the type and brand of paint, which makes it a valuable clue for learning about Picasso’s work.

By comparing decades-old paint samples collected through e-Bay purchases with samples from Picasso paintings, scientists were able to learn that the chemical makeup of paint used by Picasso matched the chemical makeup of the first commercial house paint, Ripolin. Scientists also learned about the correlation of the spacing of impurities at the nanoscale in zinc oxide, offering important clues to how zinc oxide could be modified to improve performance in a variety of products, including sensors for radiation detection, LEDs and energy-saving windows as well as liquid-crystal displays for computers, TVs and instrument panels.

“Everything that we learn about how materials are structured and how chemicals react at the nanolevel can help us in our quest to design a better and more sustainable future,” Rose said.

Physicists weren’t the first to investigate the question,

Many art conservators and historians have tried over the years to use traditional optical and electron microscopes to determine whether Picasso or one of his contemporaries was the first to break with the cultural tradition of professional painters using expensive paints designed specifically for their craft. Those art world detectives all failed, because traditional tools wouldn’t let them see deeply enough into the layers of paint or with enough resolution to distinguish between store-bought enamel paint and techniques designed to mimic its appearance.

“Appearances can deceive, so this is where art can benefit from scientific research,” said Francesca Casadio, senior conservator scientist at the Art Institute of Chicago, and co-lead author on the result publication. “We needed to reverse-engineer the paint so that we could figure out if there was a fingerprint that we could then go look for in the pictures around the world that are suspected to be painted with Ripolin, the first commercial brand of house paint.”

Just as criminals leave a signature at a crime scene, each batch of paint has a chemical signature determined by its ingredients and impurities from the area and time period it was made. These signatures can’t be imitated and lie in the nanoscale range.

Yet until now, it was difficult to differentiate the chemical components of the paint pigments from the chemical components in the binders, fillers, other additives and contaminates that were mixed in with the pigments or layered on top of them. Only the nanoprobe at the APS /CNM can distinguish that level of detail: elemental composition and nanoscale distribution of elements within individualized submicrometeric pigment particles.

“The nanoprobe at the APS and CNM allowed unprecedented visualization of information about chemical composition within a singe grain of paint pigment, significantly reducing doubt that Picasso used common house paint in some of his most famous works,” said Rose, co-lead author on the result publication titled “High-Resolution Fluorescence Mapping of Impurities in the Historical Zinc Oxide Pigments: Hard X-ray Nanoprobe Applications to the Paints of Pablo Picasso.”

The nanoprobe’s high spatial resolution and micro-focusing abilities gave it the unique ability to identify individual chemical elements and distinguish between the size of paint particles crushed by hand in artists’ studios and those crushed even smaller by manufacturing equipment. The nanoprobe peered deeper than previous similar paint studies limited to a one-micrometer viewing resolution. The nanoprobe gave scientists an unprecedented look at 30-nanometer-wide particles of paint and impurities from the paint manufacturing process. For comparison, a typical sheet of copier paper is 100,000 nanometers thick.

Using the nanoprobe, scientists were able to determine that Picasso used enamel paint to create in 1931 The Red Armchair, on display at the Art Institute of Chicago. They were also able to determine the paint brand and from what manufacturing region the paint originated.

X-ray analysis of white paints produced under the Ripolin brand and used in artists’ traditional tube paints revealed that both contained nearly contaminate-free zinc oxide pigment. However, artists’ tube paints contained more fillers of other white-colored pigments than did the Ripolin, which was mostly pure zinc oxide.

Casaido [sic] views this type of chemical characterization of paints as a having a much wider application than just the study of Picasso’s paintings. By studying the chemical composition of art materials, she said, historians can learn about trade movements in ancient times, better determine the time period a piece was created, and even learn about the artist themselves through their choice of materials.

Perhaps not so coincidentally, the Art Institute of Chicago is celebrating the 100 year relationship between Picasso and Chicago, excerpted from their Jan. 14, 2013 news release,

THE ART INSTITUTE HONORS 100-YEAR RELATIONSHIP BETWEEN PICASSO AND CHICAGO WITH LANDMARK MUSEUM–WIDE CELEBRATION

First Large-Scale Picasso Exhibition Presented by the Art Institute in 30 Years Commemorates Centennial Anniversary of the Armory Show

Picasso and Chicago on View Exclusively at the Art Institute February 20–May 12, 2013

This winter, the Art Institute of Chicago celebrates the unique relationship between Chicago and one of the preeminent artists of the 20th century—Pablo Picasso—with special presentations, singular paintings on loan from the Philadelphia Museum of Art, and programs throughout the museum befitting the artist’s unparalleled range and influence. The centerpiece of this celebration is the major exhibition Picasso and Chicago, on view from February 20 through May 12, 2013 in the Art Institute’s Regenstein Hall, which features more than 250 works selected from the museum’s own exceptional holdings and from private collections throughout Chicago. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art.

The Art Institute of Chicago, Francesca Casadio, and art conservation (specifically in regard to Winslow Homer) were mentioned here in an April 11, 2011 posting.

Self-assembling, size-specific nanopores or nanotubes mimic nature

I guess you can call this biomimicry or biomimetics as it’s also known. From the  State University of New York at Buffalo  July 17, 2012 news releaseby Charlotte Hsu,

Inspired by nature, an international research team has created synthetic pores that mimic the activity of cellular ion channels, which play a vital role in human health by severely restricting the types of materials allowed to enter cells.

The pores the scientists built are permeable to potassium ions and water, but not to other ions such as sodium and lithium ions.

This kind of extreme selectivity, while prominent in nature, is unprecedented for a synthetic structure, said University at Buffalo chemistry professor Bing Gong, PhD, who led the study.

Here’s how they did it (from the news release),

To create the synthetic pores, the researchers developed a method to force donut-shaped molecules called rigid macrocycles to pile on top of one another. [emphasis mine] The scientists then stitched these stacks of molecules together using hydrogen bonding. The resulting structure was a nanotube with a pore less than a nanometer in diameter.

The July 17, 2012 media advisory by Tona Kunz from the Argonne National Laboratory (one of the partners in this research) describes why creating consistently sized nanopores/nanotubes has been so difficult and offers more information about the macrocycles,

Nanopores and their rolled up version, nanotubes, consist of atoms bonded to each other in a hexagonal pattern to create an array of nanometer-scale openings or channels. This structure creates a filter that can be sized to select which molecules and ions pass into drinking water or into a cell. The same filter technique can limit the release of chemical by-products from industrial processes.

Successes in making synthetic nanotubes from various materials have been reported previously, but their use has been limited because they degrade in water, the pore size of water-resistant carbon nanotubes is difficult to control, and, more critically, the inability to assemble them into appropriate filters.

An international team of researchers, with help of the Advanced Photon Source at Argonne National Laboratory, have succeeded in overcoming these hurdles by building self-assembling, size-specific nanopores. This new capability enables them to engineer nanotubes for specific functions and use pore size to selectively block specific molecules and ions.

Scientists used groupings of atoms called ridged macrocycles that share a planar hexahenylene ethynylene core that bears six amide side chains. Through a cellular self-assembly process, the macrocycles stack cofacially, or atom on top of atom. Each layer of the macrocycle is held together by bonding among hydrogen atoms in the amide side chains. This alignment creates a uniform pore size regardless of the length of the nanotube. A slight misalignment of even a few macrocycles can alter the pore size and greatly compromise the nanotube’s functionality.

Here’s an image of the macrocycles supplied by the Agronne National Labortory,

A snapshot of a helical stack of macryocycles generated in the computer simulation.

The size specificity is  important if  nanopores/nanotubes are going to be used in medical applications,

The pore sizes can be adjusted to filter molecules and ions according to their size by changing the macroycle size, akin to the way a space can be put into a wedding ring to make it fit tighter. The channels are permeable to water, which aids in the fast transmission of intercellular information. The synthetic nanopores mimic the activity of cellular ion channels used in the human body. The research lays the foundation for an array of exciting new technology, such as new ways to deliver directly into cells proteins or medicines to fight diseases.

The research group’s paper has appeared in Nature Communications as of July 17, 2012, from Hsu’s news release,

The study’s lead authors are Xibin Zhou of Beijing Normal University; Guande Liu of Shanghai Jiao Tong University; Kazuhiro Yamato, postdoctoral scientist at UB; and Yi Shen of Shanghai Jiao Tong University and the Shanghai Institute of Applied Physics, Chinese Academy of Sciences. Other institutions that contributed to the work include the University of Nebraska-Lincoln and Argonne National Laboratory. Frank Bright, a SUNY Distinguished Professor of chemistry at UB, assisted with spectroscopic studies.