Optical and electrical characteristics of (LiCl)x(P2O5)1-x glass.

Homogeneous (LiCl) x (P2O5)1 − x glasses were synthesised using a melt-quenching method for x = 0.1–0.6 in the interval of 0.05. The amorphous structure of the samples was evident by the X-ray diffraction spectrum. The short range structures of the binary phosphate samples were examined by Fourier transform infrared spectroscopy, whilst the density of the samples was measured as supportive data for the investigations. The results of refractive indices as measured using an ellipsometer reveal the homogeneity of samples and was found to depend on the glass composition. The electrical properties of the glasses were investigated by ac impedance spectroscopy from 10 mHz to 1 MHz for temperatures ranging from room temperature to 573 K. An estimation of the bulk resistivity was obtained by taking the intercepts on the real axis at low frequencies of the complex impedance plot. The dc conductivities derived from the reciprocal of resistivity values were found to obey the Arrhenius relationship, and its activation energy shows a decreasing trend with the increase in LiCl content in the glass. Lastly, an equivalent circuits consisting of real and complex capacitors is proposed to describe the dielectric response of the glass

The Ephemeral as Transcultural Aesthetic: a Contextualization of the Early Films of Ozu Yasujiro

This paper argues that through the privileging functions of camera lenses both fragmenting and highlighting, and through the formal processes of camera movement and editing, cinema is the material manifestation of an aesthetics of the ephemeral of modernity par excellence, being characterized by the time-space separation of modernity, and the accompanying reflexive ‘ordering and reordering’ of knowledge. Therefore, following Anthony Giddens’ sociological understanding of the ‘consequences of modernity’, this paper seeks to theorize the emergent technology of cinema, the techniques of its use, and the resultant aesthetic of the ‘ephemeral’ at the historical juncture when it was exported from the US and Europe to the non-western world with particular reference to Japan and the serious shōshimingeki (lower middle-classes) films directed by Ozu Yasujirō in the mid-1930s