An album of seascapes by Gustave Le Gray

Abstract

In 1856 Ernest Lacan, a journalist and early critic in the field of photography, advanced a prediction which only recently has been confirmed, that Gustave Le Gray (1820–c. 1882) ‘s'est fait un nom qui restera dans l'histoire des progrès de la photographie’¹. There is little doubt that in the 1850s Le Gray was considered at least the equal of contemporary luminaries such as Nadar, owing to the following activities and accolades: his highly advanced technical experiments, discoveries and improvements; his several treatises and short notes in journals which dealt with such; his extensive and consistent exhibition record which was accompanied by almost exclusively positive and enthusiastic reviews; persistent application of and investigation into nearly every photographic technique and iconographic theme popular at the time; his informal or professional training of photographers of note such as Henri Le Secq, Charles Nègre, Charles Marville, Maxime Du Camp, Roger Fenton, and Adrien Tournachon; and the ultimate approbation, the grant to him in c. 1858–1859 of the title ‘Photographe de S. M. L'Empereur’. Accordingly, one finds in the histories and photographic journals of his day repeated references to the exceptional quality of Le Gray's prints and the widespread influence of his writings and instruction. Nadar, in his Quand j'étais photographe of c. 1900, included extensive remarks relating to Le Gray's personal life and photographic career, but because of a span of 40 or more years between original events and recollections, Nadar's account of his subject's endeavours is at best superficial, and tends to emphasize anecdote as opposed to factual history. Short treatments dealing primarily with the technical aspects of Le Gray's photography do appear in most 20th-century surveys (Freund, Lécuyer, Gernsheim, Newhall, etc.), but neither these brief synopses nor Nadar's reminiscences constitute what may even faintly be construed as a serious attempt at a reconstruction of the photographer's career and accomplishments2 For essentially revisional biographical information concerning Le Gray, see the author's dissertation¹, especially pp. 1–20, 41–42, 52–53, and 63–47. . In recent years, however, photographic historians, art historians, and to some extent the general public, have witnessed a renaissance of interest in Le Gray's life and works, a revival which has led to more detailed and accurate textual inforinntion, and the attendant availability of a wider range of examples of his works and writings³. It therefore seems propitious to add to this rapidly expanding corpus of Le Gray studies an intensive discussion of what may well be the photographer's most distinguished technical and aesthetic achievement, the Vistas del Mar album of scascapes, here dated c. 1857–1859, now housed in the Art Institute of Chicago.     

‘Swiping … and Daguerreotyping’: Photographing Golf at St Andrews

Abstract

When photography was invented, St Andrews was already a very old town, littered with the remains of a glorious and turbulent his tory: notably the skeletons of a once magnificent cathedral and a large Augustinian priory and a ruined castle, horne of the former bishops and archbishops. Zealous reformers had helped reduce these great symbols of medieval Scotland's archiepiscopal see, which were now picturesque ruins, ideal for recording in the new medium of photography. However, St Andrews in the nineteenth century was more than just ‘that Reformation bombsite’.1 This rather apt phrase was used recently by Les Murray in his poem, St Andrews University AD 2000, one of ten poems specially commissioned to mark the 250th anniversary of the birth of Robert Fergusson, poet, former St Andrews student and inspiration to Robert Burns. It had a small, sleepy university, with old college buildings nestling among the town's commercial and private properties. But also it had something else alive and stirring in the western end of the town — its famous 'Old' golf course. Around the time the first St Andrews photographs were being made, George Fullerton Carnegie penned the following lines in his Golfiana: Address to St Andrews:     

Alfred Stieglitz and New Yark Dada

Abstract

In February of 1921 the photographer and entrepreneur Alfred Stieglitz mounted the fIrst public exhibition of his work since the closing of his pioneering art gallery, ‘291’, nearly four years earlier.1 An exhibition of 146 of Stieglitz's photographs was held at the Anderson Galleries in New York during February of 1921. This show was instrumental in helping Stieglitz ultimately to reassert his prominence in the New York art world and re-establish his status as an important American artist. Curiously, however, the manner in which Stieglitz and his associates chose to promote the photographer was somewhat unusual. They repeatedly described the camera as an extension of Stieglitz's own body, and his photographs as an extension of his spirit. As a result, they claimed that Stieglitz had achieved a profound physical and spiritual union both with his machinery and with the subjects he photographed.     

How Stieglitz came to photograph cityscapes

Abstract

Beginning in 1927, at the age of 63, Alfred Stieglitz began photographing the views of Manhattan outside the windows at the Intimate Gallery, his third-floor exhibition space on East 59th Street, and at the thirtieth-floor apartment at the Shelton Hotel, at 49th Street and Lexington Avenue, where he lived with Georgia O'Keeffe. In concerted bursts over the next four years, and then intermittently until ill-health forced the end of his picture-making in 1937, Stieglitz produced about 90 cityscapes, most of them depicting the changing views from .the Shelton and from his seventeenthfloor gallery An American Place, at 53rd Street and Madison Avenue, where he moved operations just after the stockmarket crash of 1929.1 The key set of Stieglitz's photographs in the National Gallery, Washington, DC, deposited there by Georgia O'Keeffe in 1949, includes 80 New York cityscapes from 1927 and after. The collection of the Philadelphia Museum of Art has, among its late cityscapes, a handful that are not present in Washington, being variants in either negative, cropping, or photographic paper. These have been donated in stages over the years by Dorothy Norman. Further examples of variations from the images in Washington are unknown at present. These hard-edged yet lush gelatine silver prints vividly document a building boom of the late 1920s and early Depression years which transformed the refined, residential ‘uptown’ that Stieglitz had known all his life into a skyscraper-ridden ‘midtown’, a centre for office rentals, luxury apartment hotels and the fme art trade (figure 1).     

Women workers in Notman's studio

Abstract

Scattered among the 160 000 images made by the Notman photographic studio of Montreal between 1860 and 1880, and preserved today in the studio's picture books at the McCord Museum, are about two dozen portraits of women who worked for Notman's during that period.1 These portraits were retrieved by the staff at the Notman Photographic Archives who matched the names of women listed in the Notman wages books, retained from 1864 (the studio was established in 1856), with the names identifying each and every portrait made and printed by the Notman studio from 1856 and kept in albums. Many of the negatives, too, have been retained and are in the Notman collection. Their photographs harmonize well with those of the bourgeois women who were Notman clients, sharing poses, expressions, dress, coiffures and attributes. The women are situated in comfortable home-like environments. They pose alone, or as sisters, or as mothers and daughters (never as wives), with attributes of education and leisure, such as books, watercolour sketchbooks or, notably, photographs and albums. Their clothing is always elegant and occasionally sumptuous.     

Souvenir de Constantinople

Abstract

The University Art Museum of the University of New Mexico has in its possession an albumen print, 34 × 24 em, untitled and unsigned (Figure 1). On the evidence of its process, style, format and subject matter it has been attributed to James Robertson1 Private communication from Bill Jay, the University Art Museum, University of New Mexico, Albuquerque (16th July 1973). , the photographer best known for his studies of Constantinople in the early 1850s and his work as one of the early war-photographers covering the last stages of the Crimean campaign in 1855-1856². A scrap of evidence has now come to light, confirming that the print is indeed by Robertson.     

Early landscapes by Gustave Le Gray

Abstract

Gustave Le Gray is most widely known for his collodion seascape views which were first exhibited in 1856 at the Photographic Society of London. These views, in their strict horizontal compositions and dramatic skies, anticipate the seascape paintings of Courbet¹, An equally strong parallel exists between Le Gray's landscape photographs and early paintings of the Impressionists. Le Gray's landscape views of the forest of Fontainebleau shown in the 1859 Photographic Salon were described by Burty, a French art critic: ‘he air plays through the leaves, and the sun streaks the dark grass like the hide of a panthe’ ² Ibid., p. 352. , The monumental trees, skies and rushing forests, halted by occasional lines of light, distinguish his landscape images ofthis period. He genuinely loved nature but never idealized it.     

Life painting and light painting: Photography and the early Russian avant-garde

Abstract

‘At worst a colour photograph, at best a graveyard on the edge of town’.1 Kazimir Malevich, ‘Posledniaia glava ncokonchennoi avtobiografii’, in Vasilii Rakitin and Andrei Sarab'anov, eds., N. I. Khardzhiev. Stat'i ob avangarde, Moscow: RA 1997, vol. I, 130. Malevich may well have made this remark after looking through the journal Solntse Rossii (Petrograd), No. 293 (September 1915), which ran an obituary and extensive photographic tribute to Konstantin Makovskii. That is how Kazimir Malevich once described nineteenth-century Realism and the stylization of the fin de siecte that had preceded his establishment of Suprematism in 1915. He emphasized further that for him there was no cardinal difference between ‘naturalism’ (his generic denotation of all pre-Suprematist painting) and ‘photography’. Yet only a decade later Aleksandr Rodchenko was exhorting the new society to dismiss painting and to ‘photograph and be photographed’,² replacing his paintbrush with a handcamera — and zhivopis' with svetopis'— to produce some of the most remarkable photographs of the twentieth century.3 ‘hivopis’ (‘life painting’), while an early, indigenous word for ‘photography’ was ‘svetopis’ (‘light painting’); soon, however, replaced by fotografia.      

A note on ‘A bivariate optimal replacement policy for a repairable system’

An error appearing in equation (3) of Y.L. Zhang (J. Appl. Prob., 1994, 31, 1123–1127) has been pointed out by S.H. Sheu (Eur. J. Oper. Res., 1999, 112, 503–516) and the correct expressions (25)–(27) given accordingly on pp. 510–511. However, the derivation of the key expression (27), the long-run expected loss rate, was not presented. The purpose of this note is threefold. First, since a monotone process (e.g. an arithmetic, geometric, or arithmetic–geometric process) approach, as discussed by K.N.F. Leung (Eng. Optimiz., 2001, 33, 473–484), is considered to be relevant, realistic, and appropriate to the modelling of a deteriorating system maintenance problem, it is worth explicitly developing this expression, which is of benefit to the subsequent studies. Secondly, equation (3) in Zhang (1994) Zhang, Y. L. 1994. A bivariate optimal replacement policy for a repairable system. J. Appl. Prob., 31: 1123–1127. [Crossref], [Web of Science ®] , [Google Scholar] is shown to be fundamentally correct and so it can be viewed as an alternative method of formulating similar bivariate cases. Thirdly, although equations (4) and (5) in Zhang (1994) Zhang, Y. L. 1994. A bivariate optimal replacement policy for a repairable system. J. Appl. Prob., 31: 1123–1127. [Crossref], [Web of Science ®] , [Google Scholar] have been logically and correctly derived, both can be readily reduced to their simplest forms which are derived here.     

The late work of Charles Marville

Abstract

Compared with other photographers of his generation, the career of Charles Marville was remarkably long. His first calotypes date from no later than 1851, and some may have been produced earlier than that. Although biographical details about his life are sketchy at best, it is likely that Marvillc continued to work in the medium of wet-plate collodion almost until his death, which is believed to have occurred in 1879.1 The year of Marvillc's death has never been determined precisely. It generally has been assumed that the sale of his studio and equipment, which took place in 1879, followed shortly after his demise. Henri Lc Sccq, who was two years younger than Marvillc, produced no new work after the mid-1850s. Gustave Lc Gray, Charles Ncgre and Edouard Baldus, all of whom were four years his junior, ceased active photography in the 1860s. Of the first generation of French photographers working in the calotype or daguerreotype processes, only Hippolyte Bayard, who was 14 years older than Marville, had a longer active career. Marville produced a large body of calotypes, many of which were published by Blanquart-Evrard, that first revealed what became a lifelong passion for architectural photography.² However, it was only after Marville took up the wet plate in the 1850s that he settled into a full-time career as an architectural photographer.     

Meletius Dutkiewicz (1836˜1897)

Abstract

Dutkiewicz, a fascinating and in some ways tragic character, has had no luck with biographers. Apart from one article in a photographic monthly ¹ Polish Biographical Dictionary, Cracow (1948), Vol. 6, pp. 15-16. This is in fact a résumé of an article by Aleksander Karoli, ‘In memoriam of Meletius Dutkiewicz’, published in a photographic monthly of Warsaw, Swiat?o (Light), No. 10 (1899), pp. 448-452. , and a brief entry in the Polish Biographical Dictionary, no published information concerning him has been traced. However, much that is of interest can be gleaned from surviving correspondence between the eminent Polish photographers Karol Beyer, Joseph Kordysz and Michal Greim ² Only a part of this correspondence was published by Juliusz Garztecki in his book on Michal Greim Mistrz zapominiany (Forgotten Master), Wydawnictwo Literackie, Cracow (1972). .     

The delicious Harlequin

Abstract

The prim little girl in the century-old cabinet photograph ¹ Connie Giickrist. Original in the Pennsylvania State University Libraries. Purchased from D'Offay Couper Galleries, London, in 1971 is wearing her very best dress, and the bow fitted around her waist must have made it difficult to maintain a balance in a high wind. But she most certainly could have coped with the problem because rope-skipping was her particular talent, and she practised it as ‘the skipping girl’ on the stage of the Adelphi Theatre². Good looks and a few lengths of hemp made 11-year-old Constance MacDonald Gilchrist a London celebrity, and a personage who needed no introduction as late as 1898. She fascinated painters. Whistler was captivated enough to make two studies of her, retaining one of them, Harmony in Yellow and Gold: The Gold Girl, Connie Gilchrist, until his death³. (It is now in the Metropolitan Museum of Art in New York City.) Lewis Carroll svho, strangely enough, shared Whistler's interest in the theatre, also had a more than casual interest in little girls, and a near-professional interest in photographing them. That this great man has been occasionally criticized for this penchant seems hardly fair, but his diaries often betray a man caught in the grip of two passions—for children, and for photography. The passages on Connie Gilchrist are as good as any for illustration.     

Virtual hybrid-FDM system to enhance surface finish

Many rapid prototyping systems which produce prototypes by layer-by-layer material deposition are now commercially available. The layer-by-layer deposition process leads to a stepped surface known as staircase. Staircase formation is a geometric constraint of the layered manufacturing, which can not be eliminated. The presence of staircase on the surface of a prototype detracts from the surface finish and hence restricts functionality of prototypes. It is realized that there is a need to make modifications in RP (rapid prototyping) systems so that prototypes with better surface finish can be produced without incurring high production costs. A virtual hybrid fused deposition modelling system (hybrid-FDM) is proposed in the present work that uses both layer-by-layer deposition and machining. In this system, CAD model is sliced adaptively using limited centre line average (Ra) value as a criterion (Pandey et al. 2003a Pandey, P.M., Reddy, N.V. and Dhande, S.G. 2003a. A real time adaptive slicing for fused deposition modelling. Int. J. Machine Tools and Manufacture, 43: 61–71.  [Google Scholar]). Hot cutter machining/ploughing (HCM) (Pandey et al. 2003b Pandey, P.M., Reddy, N.V. and Dhande, S.G. 2003b. Improvement of surface finish by staircase machining in fused deposition modelling. Journal of Material Processing Technology, 132: 323–331. [Crossref], [Web of Science ®] , [Google Scholar]) is recommended to machine the build edges (staircase) of ABS material. Numerically controlled x?y traversing mechanism is proposed as an attachment to move hot cutters along the periphery of slices to machine build edges. In this paper, geometrical designs of cutters are proposed. A process planning system to decide the number of layers to be deposited and then machined in order to access intricate features of a part is implemented. The developed system simulates surface roughness, before and after hot cutter machining. An experimental study is carried out by machining the build edges of an axisymmetric FDM part on lathe machine to form a basis for a hybrid-FDM system.     

Synthesis of Heterocycle-Containing [60]Fullerene Derivatives

Abstract

Fullerene functionalization with heterocycles is reviewed, focusing attention on cycloaddition methodology and oxidative heterocyclization. ^{1 1}This paper was presented before the Symposium 3 on ‘Expanded Horizons of Fullerene Science and Technology’ organized by L. Y. Chiang, E.Osawa, H. Terrones and M. Saunders at the 4th International Conference on Advanced Materials (ICAM-IV), Aug. 27 to Sept. 1, 1995, Cancun, Mexico.

     

Nino Migliori

Abstract

When Nino Migliori (born in Bologna 1926, where he still lives and works) began his career in photography, ideas about visual art in Italy were divided into two main camps. From the end of the Second World War up to 1948, when Migliori's first photographs were produced, a bitter debate continued between those who championed the mirroring function of art and those who were more interested in the exploration of expression, which was made possible by the avant-garde movements. This ideological battle, which pitted groups of artists such as II Fronte Nuovo delle Arti against the II Milione group, the MAC group, and the Corrente group among others, ¹ Birolli, Cassinari, Guttuso and others, adhered to the Fronte Nuovo delle Arti (founded in 1946), whose aim was concerned an. The n Milione gallery (active in Milan since 1934), attracted artists such as Fontana, Licini, Reggiani, Veronesi; the Corrente artistic movement stenuned from the magazine of the same name (1938–40), which struggled against cultural autarchy of fascism. The MAC (Movimento Arte Concreta), funded in 1948 by Dorfles, Munari and Soldati, revived 1930s abstraction in Milan. was very complex, and involved themes ranging from ideological commitment to purely aesthetic questions. However, we can not reduce these arguments to the mere opposition between realism and abstraction, or between political commitment and fomulism. Nevertheless, the artists themselves were placed in these categories, and the divisions between them have characterized the evaluation of photographic, literary, and film production as well as painting since that time. Immediately after the war, photography in Italy was also burdened by a cultural environment that was deeply influenced by Benedetto Croce's idealism, which maintained that a sharp Jivisiun existed between ‘poetry’ and ‘non-poetry’. ² The scholastic reform in Italy in the 1930s carried out by G. Gentile was inspired by the philosophy ofBencdetto Croce. Various theoretical texts by groups of Italian photographers were directly inspired by his Breviario di Estetica(1912).      

Painter and photographer; Brisbane in the 18805 and 18905

Abstract

In August of 1889 the popular local magazine The Boomerang published an article entitled ‘Photography as an Art’, which took the form of an extended advertisement for the recently moved establishment of Thomas Mathewson, one of Brisbane's well-patronized photographic studios ¹ Mathewson began as a professional photographer in 1864, travelling widely throughout Queensland and setting up studios in Gympie and Maryborough. In July of 1876 he opened the studio of Mathewson and Co. in Queen Street, Brisbane. The studio was well established by the mid 1880s and continued in operation until the 1920s. . In the article the writer compares Mathewson's studio with an artistically appointed ‘salon’: ‘This is a palace of photography indeed, with its glittering entrance gallery lined with golden show frames and its luxurious waiting-room that is like the salon of a patron of the fine arts’ ² The Boomerang (24th August 1889). (Figure 1).     

Particle processing technology

In recent years, there has been strong demand for the development of novel devices and equipment that support advanced industries including IT/semiconductors, the environment, energy and aerospace along with the achievement of higher efficiency and reduced environmental impact. Many studies have been conducted on the fabrication of innovative inorganic materials with novel individual properties and/or multifunctional properties including electrical, dielectric, thermal, optical, chemical and mechanical properties through the development of particle processing. The fundamental technologies that are key to realizing such materials are (i) the synthesis of nanoparticles with uniform composition and controlled crystallite size, (ii) the arrangement/assembly and controlled dispersion of nanoparticles with controlled particle size, (iii) the precise structural control at all levels from micrometer to nanometer order and (iv) the nanostructural design based on theoretical/experimental studies of the correlation between the local structure and the functions of interest. In particular, it is now understood that the application of an external stimulus, such as magnetic energy, electrical energy and/or stress, to a reaction field is effective in realizing advanced particle processing[1 Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar]3 Sakka Y and Uchikoshi T 2010 KONA Powder Particle J. 28 74 (kona.or.jp/search/28_074.pdf) [Google Scholar]].

This special issue comprises 12 papers including three review papers. Among them, seven papers are concerned with phosphor particles, such as silicon, metals, Si₃N₄-related nitrides, rare-earth oxides, garnet oxides, rare-earth sulfur oxides and rare-earth hydroxides. In these papers, the effects of particle size, morphology, dispersion, surface states, dopant concentration and other factors on the optical properties of phosphor particles and their applications are discussed. These nanoparticles are classified as zero-dimensional materials. Carbon nanotubes (CNT) and graphene are well-known one-dimensional (1D) and two-dimensional (2D) materials, respectively. This special issue also includes two papers on the fabrication of mechanically reliable nanocomposites by dispersing graphene into a ceramic matrix, and on supercapacitors with high energy densities in a Co(OH)₂ system decorated with graphene and carbon nanotubes. As a novel preparation method of oxide films, the fabrication of alumina films with laminated structures by ac anodization is reviewed. Moreover a new type of nanosheet has been fabricated by the exfoliation of layered, ternary transition-metal carbide and nitride compounds, known as Mn 1 Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar]1 Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar]AXn phases (or MAX phases) where M is an early transition metal, such as Ti or Nb, A is an A group element, such as Si or Al, X is carbon and or nitrogen and n 1 Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar]1 Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar]3 Sakka Y and Uchikoshi T 2010 KONA Powder Particle J. 28 74 (kona.or.jp/search/28_074.pdf) [Google Scholar][4] Naguib M, Mashtalir O, Carle J, Presser V, Lu J, Hultman L, Gogotsi Y and Barsoum M W 2012 ACS Nano 6 1322 [Google Scholar]. Among the MAX phases, those containing Mo have been theoretically calculated by first-principles calculations to be a source for obtaining Mo₂C nanosheets with potentially unique properties. As an example of improving bulk ceramic properties, texturing by using a high magnetic field[5] Sakka Y and Suzuki T S 2005 J. Ceram. Soc. Japan 113 26 [Google Scholar] and sintering by the electric current activated/assisted sintering (ECAS) technology[6] Grasso S, Sakka Y and Maizza G 2009 Sci. Technol. Adv. Mater. 10 053001 [Google Scholar] have been demonstrated for ultra-high temperature ceramics with high-temperature strength.

A project on the development of materials and particle processing for the field of environment and energy has been ongoing at the National Institute for Materials Science since April 2011. This project employs various core competence technologies for particle processing such as ion beam irradiation for nanoparticle fabrication[7] Nakao H, Tokonami S, Hamada T, Shiigi H, Nagaoka T, Iwate F and Takeda Y 2012 Nanoscale 4 6814 [Google Scholar], fullerene nanomaterial processing using liquidliquid interface precipitation[8] Miyazawa K and Hotta K 2010 J. Cryst. Growth 312 2764 [Google Scholar], a gas reduction nitridation process to obtain Si₃N₄-based phosphor materials[9] Suehiro T, Xie R and Hirosaki N 2013 Indust. Eng. Chem. Res. 52 7453 [Google Scholar], advanced phosphors via novel processing[10, 11] Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar], ultra-high pressure technology for processing and in situ analysis[12 Kawamura F, Yusa H and Taniguchi T 2012 Appl. Phys. Lett. 100 251910 [Google Scholar], 13] Watanabe K and Taniguchi T 2011 Int. J. Appl. Ceram. Technol. 8 977 [Google Scholar], colloidal processing in a high magnetic field to obtain laminated, textured ceramics[1, Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar] 3, Sakka Y and Uchikoshi T 2010 KONA Powder Particle J. 28 74 (kona.or.jp/search/28_074.pdf) [Google Scholar] 5] Sakka Y and Suzuki T S 2005 J. Ceram. Soc. Japan 113 26 [Google Scholar], the ECAS process for nanostructuring ceramics[6] Grasso S, Sakka Y and Maizza G 2009 Sci. Technol. Adv. Mater. 10 053001 [Google Scholar] and so forth. Here, I would like to introduce some research achievements that are not covered in this special issue.

(1) The evolution of hydrogen by the reaction of fine metal particles such as Al[14] Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar] and Mg[15] Uda M, Okuyama H, Suzuki T S and Sakka Y 2012 Sci. Technol. Adv. Mater. 13 025009 [Google Scholar] with water; the specific surface area and surface modification are important factors.

(2) The realization of new carbon related materials with 1D and 2D structures consisting of fullerenes prepared by liquid liquid interface precipitation: alkaline-doped superconductive nanotubes consisting of fullerenes[16] Takeya H, Kato R, Wakahara T, Miyazawa K, Yamaguchi T, Ozaki T, Okazaki H and Takano Y 2013 Mater. Res. Bull. 48 343 [Google Scholar], application to solar cells of fullerene/cobalt porphyrin hybrid nanosheets[17] Wakahara T, D Angelo P, Miyazawa K, Nemoto Y, Ito O, Tanigaki N, Bradley D D C and Anthopoulos T D 2012 J. Am. Chem. Soc. 134 7204 [Google Scholar], etc.

(3) The fabrication of textured films and bulk materials with excellent functional properties by colloidal processing methods such as slip casting[5] Sakka Y and Suzuki T S 2005 J. Ceram. Soc. Japan 113 26 [Google Scholar], gel casting[18] Wiecinska P, Sakka Y, Suzuki T S, Uchikoshi T, Mizerski T and Szafran M 2013 J. Ceram. Soc. Japan 121 89 [Google Scholar] and electrophoretic deposition[3, Sakka Y and Uchikoshi T 2010 KONA Powder Particle J. 28 74 (kona.or.jp/search/28_074.pdf) [Google Scholar] 19] Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar], in a high magnetic field, and with subsequent heating; examples of such materials include dye-sensitized TiO₂ solar cells, thermoelectric materials and cathode materials for solid state Li-ion batteries and dielectric ceramics.

(4) The fabrication of high-strength and high-toughness MAX phase ceramics[20 Hu C, Sakka Y, Grasso S, Nishimura T, Guo S and Tanaka H 2011 Scr. Mater. 64 765 [Google Scholar], 21] Hu C, Sakka Y, Nishimura T, Guo S, Grasso S and Tanaka H 2011 Sci. Technol. Adv. Mater. 12 044603 [Google Scholar] inspired by the nacreous structure[22] Kakisawa H and Sumitomo T 2011 Sci. Technol. Adv. Mater. 12 064710 [Google Scholar].

(5) The modeling and development of the ECAS process[6] Grasso S, Sakka Y and Maizza G 2009 Sci. Technol. Adv. Mater. 10 053001 [Google Scholar]. This involves two-step pressure application[23] Grasso S, Hu C F, Maizza G, Kim B N and Sakka Y 2011 J. Am. Ceram. Soc. 94 1405 [Google Scholar] and high-pressure application above 400 MPa to fabricate transparent oxides[24 Grasso S, Kim B N, Hu C F, Maizza G and Sakka Y 2010 J. Am. Ceram. Soc. 93 2460 [Google Scholar]26] Kim B-N, Hiraga K, Grasso S, Morita K, Yoshida H, Zhang H and Sakka Y 2012 J. Ceram. Soc. Japan 120 116 [Google Scholar], and rapid heating to obtain dense nanocomposites of ceramic–CNT[27] Estili M, Kawasaki A and Sakka Y 2012 Adv. Mater. 24 4322 [Google Scholar] and diamonds[28] Grasso S, Hu C F, Maizza G and Sakka Y 2012 J. Am. Ceram. Soc. 95 2423 [Google Scholar].

(6) The contraction of ternary phase diagrams for oxide ion conductor systems such as zirconia[29] Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar] and apatite systems[30] Sakka Y 2006 J. Ceram. Soc. Japan 114 371 [Google Scholar], leading to an increased understanding of the stability of such systems and assisting the search for high oxygen ion conductors.     

A note on an industrial strategy for stock management in supply chains: modelling and performance evaluation

An analytic formulation of consignment stock (CS) policy has been proposed in Braglia and Zavanella (2003 Braglia M Zavanella L 2003 An industrial strategy for stock management in Supply Chains: modelling and performance evaluation International Journal of Production Research 2003 41 3793 3808  , International Journal of Production Research, 41, 3793) where an implicit analytical solution is given. In this note it is shown that this solution has properties that enable it to be developed into a completely explicit form, allowing for a joint optimization of all decision variables governing the delivery management.