Thermal hazard analysis of organic peroxides by adiabatic calorimetry

Organic peroxides are widely used in the chemical industry as initiators or curing agents for polymerization reactions. However, the use of peroxides presents an intrinsic hazard due to the presence of the highly unstable peroxy group which causes peroxides readily decompose. In present study, the thermal hazards of a selected organic peroxide, the benzoyl peroxide (BPO), were experimentally investigated by using adiabatic calorimetry. On the basis of experimental results, the thermal hazard parameters under adiabatic conditions were estimated. Preliminary data with respect to decomposition onset temperatures and decomposition heat were obtained by simultaneous TG-DSC-FTIR analysis. A Phi-Tec II adiabatic calorimeter was used to study the thermal decomposition of the selected peroxide. The experimental data obtained allowed the assessment of thermokinetic parameters. Decomposition products formed during the experimental runs were sampled and characterized by FTIR and gas chromatographic techniques. The results obtained in the present investigation could be useful for the adoption of inherently safer design in the manufacturing, handling, storage, and disposal of organic peroxides

Experimental assessment of organic peroxides decomposition by adiabatic calorimetry

In present study, the thermal hazards of lauroyl peroxide (LPO) and benzoyl peroxide (BPO) were experimentally investigated. LPO and BPO are widely used organic peroxides for industrial applications, which were involved in severe accidents occurred in the past. The thermal hazards of LPO and BPO were investigated by using adiabatic calorimetry. On the basis of experimental results, the thermal hazard parameters under adiabatic conditions were estimated

Figure della Malinconia attraverso l'Atlante della Memoria : Galleria ragionata delle immagini dal Bilderatlas

A "reasoned gallery of images from the Bilderatlas" in the first part of the essay that traces a route throughout Aby Warburg\u2019s whole Atlas. This track follows a postural formula that qualifies various figures that are displayed in the Atlas panels, as a specific expressive brand: a head, a face leaning on the hand. This is the posture that characterizes the enigmatic central figure of one of the better known engravings of the Renaissance: the Melencolia I by Albrecht D\ufcrer. The gallery proposed here, and that crisscrosses through all the Atlas panels, shows a gestural and postural link that connects different figures, male and female, according to precise tangent lines and marked by a well-defined position: the hand to the face, committed to support the weight of the head, as if the point where the face finds support is the precise place where the gravity of the body posture in an act of contrition or neglect is channeled most insistently, almost free-falling, be it leaning against a support, or slumped, semi-lying or all-lying. In assembling the gallery, the figures are not set in chronological order according to the date of composition, but rather in a thematic-formal articulation that starts off from the posture of pondering and reflecting (SERIES I. From the pondering Muse to the posture of the humanist-intellectual), or of anguish or mourning (SERIES II. Melancholy on the stage of commiseration), accidie (SERIES III. Figures of idleness (and old-age), and abandonment (SERIES IV. Ariadne or the figures of abandonment). Each of these presents a prototypical image in ancient repertoire: the thinking Muse (I); the mourning accompanying the deceased (II), Accidie (III), Arianna (IV)

Tre forme di malinconia : Una ricognizione su figure di malinconici, a partire dall'Atlas Mnemosyne

This reasoned survey of melancholy images contained in the Atlas is followed by an in-depth analysis on the theme of \u201cThree forms of melancholy: an interpretation, from the Bilderatlas and other images\u201d. In fact, the figures with the hand-to-face posture that you encounter in the Atlas may be divided into three groups that we have distinguished in order to map out a diagram of the analysis: Melancholy I. ex acedia; Melancholy II. ex otio; Melancholy III ex maerore. The precariousness and permeability among these typings are highlighted by the overlay of the three inclinations 12 sloth, thought, pain \u2013 that are present in almost all melancholic figures, especially in figures that do not allow themselves to be framed in one of the predefined categories. The sequence of images, through the highlighting of kindred relationships and of \u2018nerve connections\u2019, then offers possible further articulations \u2013 further overlays \u2013 of the tripartite scheme. The examples are taken from images that are displayed in the Atlas as well as other sources, which the Atlas-machine comes to summon