Solidification of liquid metal drops during impact

Hot liquid metal drops impacting onto a cold substrate solidify during their subsequent spreading. Here we experimentally study the influence of solidification on the outcome of an impact event. Liquid tin drops are impacted onto sapphire substrates of varying temperature. The impact is visualised both from the side and from below, which provides a unique view on the solidification process. During spreading an intriguing pattern of radial ligaments rapidly solidifies from the centre of the drop. This pattern determines the late-time morphology of the splat. A quantitative analysis of the drop spreading and ligament formation is supported by scaling arguments. Finally, a phase diagram for drop bouncing, deposition and splashing as a function of substrate temperature and impact velocity is provided

Les arts à la fin du xve et au xvie siècle : quelle identité pour les Pays-Bas septentrionaux ?

L’historiographie des arts figuratifs, des arts appliqués et de l’architecture des Pays-Bas septentrionaux, à la fin du xve et au xvie siècle, est aussi ancienne que la période ici considérée. Initialement, aucune distinction ne fut établie entre les Pays-Bas du Sud et du Nord, comme en témoignent, par exemple, le Schilder-Boeck de Karel van Mander (Haarlem, 1604) ou les Pictorum aliquot celebrium Germaniae inferioris effigies de Dominicus Lampsonius (Anvers, 1572). Ce n’est qu’au xixe siècle que l’histoire de l’art des Pays-Bas septentrionaux fut séparée de celle des provinces méridionales. La distinction paraissait évidente pour le xviie siècle, le Siècle d’or hollandais car, depuis la guerre de Quatre-Vingts Ans, les Pays-Bas du Nord et du Sud avaient suivi des voies différentes ; cette situation fut ensuite étendue aux périodes antérieures, celles du gothique tardif et de la Renaissance. Dans le courant du xxe siècle, l’accent fut mis à nouveau sur l’unité artistique et culturelle des anciens Pays-Bas, en particulier pour la période des xve et xvie siècles. Les travaux consacrés à la symbolique et à l’iconologie, inaugurés par l’ouvrage d’Erwin Panofsky, Early Netherlandish Painting (Cambridge, 1953), soulignèrent l’unité culturelle des anciens Pays-Bas. Les résultats des études techniques récentes (radiographie, photographie infrarouge, réflectographie infrarouge, macrophotographie, dendrochronologie) vont dans le même sens. Dans ce contexte, il est d’autant plus étonnant que des publications et des expositions récentes présentent à nouveau les Pays-Bas septentrionaux comme une entité culturelle à part, plus ou moins isolée.The historiography of the figurative arts, applied arts, and architecture of the northern Netherlands, at the end of the fifteenth and throughout the sixteenth centuries, is as old as the period in question. Initially, no distinction was established between the northern and southern parts of the Netherlands, as shown, for example, in Karel van Mander’s Schilder-Boeck (Haarlem, 1604) or Dominicus Lampsonius’s Pictorum aliquot celebrium Germaniae inferioris effigies (Antwerp, 1572). It was only in the nineteenth century that the history of northern Netherlandish art was separated from that of the country’s southern provinces. The distinction seemed clear for the seventeenth century, the Dutch Golden Age, because the Northern and Southern parts of the Netherlands had followed different paths since the Eighty-Years War. This situation was now extended to earlier periods, those of the late Gothic and the Renaissance. During the twentieth century, the artistic and cultural unity of the Low Countries was newly emphasized, especially for the fifteenth and sixteenth centuries. Works dedicated to symbolism and iconology, inaugurated by Erwin Panofsky’s Early Netherlandish Painting (Cambridge, 1953), underlined their territorial unity. The results of recent technical studies (X-rays, infra-red photography and reflectography, macrophotography and dendrochronology) lead us in the same direction. In this context, it is therefore all the more surprising that recent publications and exhibitions have newly introduced the northern Netherlands as a separate, more or less isolated cultural entity.De historiografie van de beeldende kunst, kunstnijverheid en architectuur uit de latere vijftiende en de zestiende eeuw van de Noordelijke Nederlanden reikt terug tot in de tijd zelf. Bijvoorbeeld Karel van Mander, het Schilder-Boeck (Haarlem, 1604), enDominicus Lampsonius, Pictorum aliquot celebrium Germaniae inferioris effigies (Antwerpen, 1572), behandelden zonder enig onderscheid zowel Noord- als Zuid-Nederlandse schilders. Pas in de negentiende eeuw werd de kunstgeschiedenis van de Noordelijke Nederlanden losgemaakt van die van de Zuidelijke gewesten. Voor de zeventiende eeuw, de ‘Hollandse Gouden Eeuw’, leek dit evident en de voorgeschiedenis van de twee sinds de Tachtigjarige Oorlog van elkaar geïsoleerde kunst- en cultuurgeschiedenissen werd probleemloos geprojecteerd op de late gotiek en de renaissance. Tegelijkertijd werd in de loop van de twintigste eeuw de kunst- en cultuurhistorische eenheid van de Nederlanden juist benadrukt, zeker voor de vijftiende en zestiende eeuw. Dit gebeurde ondermeer door de meer op betekenis en symboliek gerichte benaderingen die met name sinds Panofsky’s Early Netherlandish Painting (Cambridge, 1953) opgang maakten, en blijkt ook uit recent technisch onderzoek (röntgenfoto’s, infrarood fotografie en -reflectografie, macrofotografie, dendrochronologie). Des te verbazingwekkender is dat in recente kunsthistorische publicaties en tentoonstellingen de Noordelijke Nederlanden opnieuw als zelfstandig, min of meer geïsoleerd cultuurgebied worden gepresenteerd.Die Geschichtsschreibung der bildenden und angewandten Künste sowie der Architektur in den nördlichen Niederlanden des 15. und 16. Jahrhunderts ist so alt wie die Epoche selbst. Anfangs wurde keinerlei Unterschied zwischen südlichen und nördlichen Niederlanden gemacht, wie zum Beispiel das Schilder-Boeck von Karel van Mander (Haarlem, 1604) oder die Pictorum aliquot celebrium Germaniae inferioris effigies des Dominicus Lampsonius (Antwerpen, 1572) belegen. Erst im 19. Jahrhundert wurde die Kunstgeschichte der südlichen Niederlanden von jener der nördlichen Provinzen getrennt. Diese Unterscheidung schien treffend für das 17. Jahrhundert, das goldene Zeitalter Hollands, da seit dem achtzigjährigen Krieg der niederländische Norden und Süden in der Tat getrennte Wege gegangen waren. Allerdings wurde diese getrennte Herangehensweise auch auf die früheren Epochen übertragen, wie die der Spätgotik und der Renaissance. Im Laufe des 20. Jahrhunderts wurde der Akzent erneut auf die künstlerische und kulturelle Einheit der frühen Niederlande, insbesondere für die Zeit des 15. und 16. Jahrhunderts, gesetzt. Die der Symbolik und der Ikonologie gewidmeten Studien, die durch Erwin Panofskys Early Netherlandish Painting (Cambridge, 1953) eingeläutet wurden, unterstrichen diese kulturelle Einheit der damaligen Niederlande. Auch die Ergebnisse neuerer technischer Untersuchungen (Radiographie, Infrarot-Fotografie, Infrarot-Reflektographie, Makrofotografie, Dendrochronologie) gehen in dieselbe Richtung. In diesem Zusammenhang ist es daher erst recht überraschend, dass die aktuellen Publikationen und Ausstellungen die südlichen Niederlande wieder als mehr oder minder isolierte kulturelle Einheit darstellen.La storiografia delle arti figurative, delle arti applicate e dell’architettura dei Paesi Bassi settentrionali alla fine del xv e nel xvi secolo è antica tanto quanto il periodo qui considerato. All’inizio, nessuna distinzione fu stabilita tra i Paesi Bassi del Sud e del Nord, come testimoniano ad esempio lo Schilderboek di Karel van Mander (Haarlem, 1604) o il Pictorum aliquot celebrium Germaniae inferioris effigies di Dominicus Lampsonius (Anversa, 1572). Fu solo nell’Ottocento che la storia dell’arte dei Paesi Bassi settentrionali fu separata da quella delle province meridionali. La distinzione sembrava evidente per il Seicento, il secolo d’oro olandese, giacché a partire dalla guerra degli ottant’anni i Paesi Bassi del Nord e del Sud avevano seguito vie differenti, ma questo schema fu esteso ai periodi anteriori, il tardo gotico e il Rinascimento. Nel corso del Novecento, l’accento fu messo di nuovo sull’unità artistica e culturale degli antichi Paesi Bassi, in particolare per i secoli xv e xvi. I lavori dedicati alla simbologia e all’iconologia, inaugurati dall’opera di Erwin Panofsky Early Netherlandish Painting (Cambridge, 1953), sottolinearono l’unità culturale degli antichi Paesi Bassi. I risultati degli esami tecnici recenti (radiografia, fotografia all’infrarosso, riflettografia all’infrarosso, macrofotografia, dendrocronologia) vanno nella stessa direzione. In un simile contesto, è ancor più sorprendente che delle pubblicazioni e delle mostre recenti presentino di nuovo i Paesi Bassi settentrionali come un’entità a parte, più o meno isolata.La historiografía de las artes figurativas y aplicadas, y de la arquitectura de los Países Bajos septentrionales, entre el final del s. xv y el s. xvi, es tan antigua como el mismo periodo. En un primer momento no se hizo ninguna distinción entre les Países Bajos del sur y los del norte, tal como lo atestiguan por ejemplo el Schilder-Boek de Karel van Mander (Haarlem, 1604) o los Pictorum aliquot celebrium Germaniae inferioris effigies de Dominicus Lampsonius (Amberes, 1572). Sólo fue en el s. xix cuando la historia del arte de los Países Bajos septentrionales fue separada de la de las provincias meridionales; una diferenciación que parecía evidente para el s. xvii, el Siglo de Oro holandés, pues desde la guerra de los Ochenta Años los Países Bajos del norte y los del sur habían seguido caminos distintos, siendo esta situación ampliada a los periodos anteriores del gótico tardío y del Renacimiento. A lo largo del s. xx, se volvió a hacer hincapié en la unidad artística y cultural de los antiguos Países Bajos, y más específicamente en los siglos xv y xvi. Las investigaciones sobre simbólica e iconología, estrenadas por Erwin Panofsky en Early Netherlandish Painting (Cambridge, 1953), recalcaron la unidad cultural de los antiguos Países Bajos. Igualmente lo confirman los resultados de los recientes análisis técnicos (radiografía, fotografía infrarroja, reflectografía infrarroja, macrofotografía, dendrocronología). Por lo tanto es sorprendente comprobar que algunas publicaciones y exposiciones recientes vuelven a presentar los Países Bajos septentrionales como una entidad cultural aparte, casi aislada

Perceived barriers and facilitators for model-informed dosing in pregnancy:a qualitative study across healthcare practitioners and pregnant women

Background: Most women use medication during pregnancy. Pregnancy-induced changes in physiology may require antenatal dose alterations. Yet, evidence-based doses in pregnancy are missing. Given historically limited data, pharmacokinetic models may inform pregnancy-adjusted doses. However, implementing model-informed doses in clinical practice requires support from relevant stakeholders. Purpose:To explore the perceived barriers and facilitators for model-informed antenatal doses among healthcare practitioners (HCPs) and pregnant women. Methods: Online focus groups and interviews were held among healthcare practitioners (HCPs) and pregnant women from eight countries across Europe, Africa and Asia. Purposive sampling was used to identify pregnant women plus HCPs across various specialties prescribing or providing advice on medication to pregnant women. Perceived barriers and facilitators for implementing model-informed doses in pregnancy were identified and categorised using a hybrid thematic analysis. Results: Fifty HCPs and 11 pregnant women participated in 12 focus groups and 16 interviews between January 2022 and March 2023. HCPs worked in the Netherlands (n = 32), the UK (n = 7), South Africa (n = 5), Uganda (n = 4), Kenya, Cameroon, India and Vietnam (n = 1 each). All pregnant women resided in the Netherlands. Barriers and facilitators identified by HCPs spanned 14 categories across four domains whereas pregnant women described barriers and facilitators spanning nine categories within the same domains. Most participants found current antenatal dosing information inadequate and regarded model-informed doses in pregnancy as a valuable and for some, much-needed addition to antenatal care. Although willingness-to-follow model-informed antenatal doses was high across both groups, several barriers for implementation were identified. HCPs underlined the need for transparent model validation and endorsement of the methodology by recognised institutions. Foetal safety was deemed a critical knowledge gap by both groups. HCPs’ information needs and preferred features for model-informed doses in pregnancy varied. Several pregnant women expressed a desire to access information and partake in decisions on antenatal dosing. Conclusions: Given the perceived limitations of current pharmacotherapy for pregnant women and foetuses, model-informed dosing in pregnancy was seen as a promising means to enhance antenatal care by pregnant women and healthcare practitioners.</p

M & L Jaargang 11/6

GeneriekEloy Koldeweij Het goude leer. [Gold leather.]Historische binnenaankledingen blijven een nog nauwelijks ontgonnen onderzoeksterrein waar M&L graag met enige regelmaat plaats voor ruimt. Ooit fel gegeerd en met eigen Zuidnederlandse productiecentra, verdient goudleder in dit opzicht meer dan de gewone aandacht. Ontstaan en bloei - met de nadruk op de 17de en 18de eeuw - van dit merkwaardig ambachtelijk product worden door Eloy Koldeweij met een vanzelfsprekende eruditie meteen ook een Europese dimensie aangemeten.Ann Bergmans en Eloy Koldeweij Inventaris van het 17de- en 18de-eeuwse goudleder in Vlaanderen. [Inventory of the 17th and 18th century gold leather in Flanders.]Aansluitend op het totstandkomingsverhaal gingen Ann Bergmans en Eloy Koldeweij gezamenlijk op zoek naar wàt van deze kostbare goudledervellen in Vlaanderen bewaard bleef. Tegelijk, zo blijkt, verrassend veel maar ook bedroevend weinig.Of vormt deze inventaris slechts een eerste aanzet?Jan Wouters Opbouw en analyse van leder: een uiteenzetting voor een beter begrip van conservatorische problemen en ingrepen. [Structure and analysis of leather: fundamentals for a better understandig of conservation problems and treatments.]Meer nog dan reeds gebruikelijk veronderstelt de conserverende behandeling van goudleder een grondige kennis van het materiaal en aanmaakproces dan wel de afbraakmechanismen.Huid en looistoffen in het bijzonder maken voor Jan Wouters elk bereid vel immers vrijwel uniek. Meteen brengt hij de elementen aan voor een verantwoorde diagnose.An Peckstadt, Lieve Watteeuw en Jan Wouters Conservering van het goudlederbehang van de dekenij van Zele. [Conservation of the gold leather hangings from the deanery of Zele.]Van vele aftakelingsverschijnselen die de restauratieve aanpak van goudlederbehang onontkoombaar maken bood het ensemble in de dekenij van Zele een uitgelezen staalkaart. Redenen te over dus om de ingreep zelf te laten voorafgaan door een intensief vooronderzoek. An Peckstadt, Lieve Watteeuw en Jan Wouters illustreren met het relaas van deze opdracht nogmaals het belang van een interdisciplinaire benadering.Beter voorkomen dan genezen. Richtlijnen voor de bewaring van goudleder.SummaryM&L Binnenkran

Initial solidification dynamics of spreading droplets

When a droplet is brought in contact with an undercooled surface, it wets the substrate and solidifies at the same time. The interplay between the phase transition effects and the contact-line motion, leading to its arrest, remains poorly understood. Here we reveal the early solidification patterns and dynamics of spreading hexadecane droplets. Total internal reflection (TIR) imaging is employed to temporally and spatially resolve the early solidification behaviour. With this, we determine the conditions leading to the contact-line arrest. We quantify the overall nucleation behaviour, \textit{i.e.} the nucleation rate and the crystal growth speed, and show its sensitivity to the applied undercooling of the substrate. By combining the Johnson-Mehl-Avrami-Kolmogorov nucleation theory and scaling relations for the spreading, we can calculate the temporal evolution of the solid area fraction, which is in good agreement with our observations. We also show that for strong enough undercooling it is the rapid growth of the crystals which determines the eventual arrest of the spreading contact line.Comment: 5 pages, 5 figure

The nonlinear effect of somatic cell count on milk composition, coagulation properties, curd firmness modeling, cheese yield, and curd nutrient recovery

The aim of this study was to investigate the relationships between somatic cell count (SCC) in milk and several milk technological traits at the individual cow level. In particular, we determined the effects of very low to very high SCC on traits related to (1) milk yield and composition; (2) coagulation properties, including the traditional milk coagulation properties (MCP) and the new curd firming model parameters; and (3) cheese yield and recovery of milk nutrients in the curd (or loss in the whey). Milk samples from 1,271 Brown Swiss cows from 85 herds were used. Nine coagulation traits were measured: 3 traditional MCP [rennet coagulation time (RCT, min), curd firming rate (k20, min), and curd firmness after 30 min (a30, mm)] and 6 new curd firming and syneresis traits [potential asymptotic curd firmness at infinite time (CFP, mm), curd firming instant rate constant (kCF, % 7 min-1), syneresis instant rate constant (kSR, % 7 min-1), rennet coagulation time estimated using the equation (RCTeq, min), maximum curd firmness achieved within 45 min (CFmax, mm), and time at achievement of CFmax (tmax, min)]. The observed cheese-making traits included 3 cheese yield traits (%CYCURD, %CYSOLIDS, and %CYWATER, which represented the weights of curd, total solids, and water, respectively, as a percentage of the weight of the processed milk) and 4 nutrient recoveries in the curd (RECFAT, RECPROTEIN, RECSOLIDS, and RECENERGY, which each represented the percentage ratio between the nutrient in the curd and milk). Data were analyzed using a linear mixed model with the fixed effects of days in milk, parity, and somatic cell score (SCS), and the random effect of herd-date. Somatic cell score had strong influences on casein number and lactose, and also affected pH; these were traits characterized by a quadratic pattern of the data. The results also showed a negative linear relationship between SCS and milk yield. Somatic cell score influenced almost all of the tested coagulation traits (both traditional and modeled), with the exceptions of k20, CFP, and kSR. Gelation was delayed when the SCS decreased (slightly) and when it increased (strongly) with respect to a value of 2, as confirmed by the quadratic patterns observed for both RCT and RCTeq. The SCS effect on a30 showed a quadratic pattern almost opposite to that observed for RCT. With respect to the CFt parameters, kCF decreased linearly as SCS increased, resulting in a linear decrease of CFmax and a quadratic pattern for tmax. Milk SCS attained significance for %CYCURD, %CYWATER, and RECPROTEIN. As the SCS increased beyond 3, we observed a progressive quadratic decrease of the water retained in the curd (%CYWATER), which caused a parallel decrease in %CYCURD. With respect to RECPROTEIN, the negative effect of SCS was almost linear. Recovery of fat and (consequently) RECENERGY was characterized by a more evident quadratic trend, with the most favorable values associated with an intermediate SCS. Together, our results confirmed that high SCS has a negative effect on milk composition and technological traits, highlighting the nonlinear trends of some traits across the different classes of SCS. Moreover, we report that a very low SCS has a negative effect on some technological traits of mil

De Brabantse leeuw sluimert (1356-1430): De ontwikkeling van de gotische kunsten

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