Synthesis and Estimation of Some Surface-Active Compounds Derived from Fused Pyridine as Corrosion Inhibitors for Aluminum in Hydrochloric Acid Solutions

Protection of Metals and Physical Chemistry of Surfaces - Three nonionic surfactants molecules (NS) derived from a fused pyridine characterized by IR and 1HNMR spectra were synthesized and examined...     

Binding Mode and Structure–Activity Relationships around Direct Inhibitors of the Nrf2–Keap1 Complex

An X‐ray crystal structure of Kelch‐like ECH‐associated protein (Keap1) co‐crystallised with (1S,2R)‐2‐[(1S)‐1‐[(1,3‐dioxo‐2,3‐dihydro‐1H‐isoindol‐2‐yl)methyl]‐1,2,3,4‐tetrahydroisoquinolin‐2‐carbonyl]cyclohexane‐1‐carboxylic acid (compound (S,R,S)‐ 1 a ) was obtained. This X‐ray crystal structure provides breakthrough experimental evidence for the true binding mode of the hit compound (S,R,S)‐ 1 a , as the ligand orientation was found to differ from that of the initial docking model, which was available at the start of the project. Crystallographic elucidation of this binding mode helped to focus and drive the drug design process more effectively and efficiently.     

Between the wars

Abstract

During the 1930s the Julien Levy Gallery was the liveliest photographic centre in New York City. It opened in 1931, and it was Levy's plan to show photographs along with paintings and drawings and other works of art. It was at his Madison Avenue gallery that New Yorkers first saw the photographs of Atget that Berenice Abbott acquired shortly after the photographer's death, together with Julien Levy, who advanced the purchase funds. It was also there that Walker Evans had his first one-man show, and where Henri Cartier-Bresson was introduced to the American public. Through his series of exhibitions the New York public came to know the work of the avant garde in photography. Indeed, without Julien's pioneering work, the exhibition which the present reviewer organized for The Museum of Modern Art in 1937 would have been the poorer. Julien Levy has never received the recognition he deserves. Now, upon the occasion of receiving the Julien Levy Collection, partly as a gift, partly on extended loan, the Art Institute of Chicago has remedied the situation by publishing this modest but well illustrated and meticulously documented catalogue. Produced by David Travis, the museum's Associate Curator of Photography, it is, without question, the most important scholarly publication on the history of art photography between World Wars I and II. Not only does the book recreate the excitement of the discovery by Julien and his friends that photography was indeed a part of 'modern art', but it contains a wealth of information. Moreover, of the 58 photographs that are reproduced, three-quarters have not been previously published. They were made by 32 photographers. It is well to name them, for 15 have been almost entirely forgotten today. They were: Berenice Abbott, Manuel Alvarez-Bravo, Eugene Atget, Use Bing, Brassai:, Anton Bruehl, Henri Cartier-Bresson, Alvin Langdon Coburn, Imogen Cunningham, Walker Evans, Walter Hege, Gertrude Kasebier, Andre Kertesz, Clarence John Laughlin, Alice Lex-Nerlinger, Eli Lotar, George platt Lynes, Lee Miller, Lucia Moholy-Nagy, Laszlo Moholy-Nagy, Nadar, Oscar Nerlinger, Paul Outerbridge Jr, Roger Parry, Man Ray, Sherril V. Schell, Charles Sheeler, Emmanuel Sougez, Ralph Steiner, Paul Strand, Maurice Tabard, Umbo (Otto Umbehr), and Clarence H. White.     

Fitness Considerations for Contemporary Composite Materials: (Who’s Afraid of the Composite Micro-Crack?)

Avoiding the catastrophic failure of a large structure demands the material’s microstructure be designed in such as a way as to render any crack present innocuous thereby raising the integrity of that structure. Structural integrity of a composite material embraces contributions from: materials science and engineering; processing science; design and fabrication technology. It combines a number of interacting factors: the criticality of the application; the accessibility for and ability to inspect vital parts and components; the intended use including load spectrum and time; the consequences of impact, fatigue, temperature and hostile environment; the nature of inherent flaws; the constituent properties of the material system utilized; and it takes into account human factors.     

High voltage power supplies for ITER RF heating and current drive systems

The RF heating and current drive (H&CD) systems to be installed for the ITER fusion machine are the electron cyclotron (EC), ion cyclotron (IC) and, although not in the first phase of the project, lower hybrid (LH). These systems require high voltage, high current power supplies (HVPS) in CW operation.These HVPS should deliver around 50 MW electrical power to each of the RF H&CD systems with stringent requirements in terms of accuracy, voltage ripple, response time, turn off time and fault energy. The PSM (Pulse Step Modulation) technology has demonstrated over the past 20 years its ability to fulfill these requirements in many industrial facilities and other fusion reactors and has therefore been chosen as reference design for the IC and EC HVPS systems.This paper describes the technical specifications, including interfaces, the resulting constraints on the design, the conceptual design proposed for ITER EC and IC HVPS systems and the current status.     

RF sources for ITER Ion Cyclotron H&CD system

The Ion Cyclotron Heating and Current Drive (IC H&CD) system for ITER will provide 20 MW to the plasma. The associated Radio Frequency (RF) source system has to be compliant with all operation modes foreseen in that frame. Their specifications are fully described in this paper and constraints on IC RF source components are detailed, in particular concerning the final stage tube of the amplifier. Results of tests performed under a collaborative work at the National Institute for Fusion Science (NIFS) facility are presented. Consequences on the procurement process by ITER India (II) are deduced.