Sentences with phrase «mof synthesis method»

Case in point: In April, Samsung Electronics, working with South Korea's Sungkyunkwan University, announced a graphene synthesis method that promises to speed the material's commercialization, touting its potential for use in flexible displays and other cutting - edge products.

The synthesis method developed in this work opens up possible variations, such as cross-linking or chemical functionalization (adding atoms or small molecules to the carbon nanothread that alter its function).

For example, genetically engineered organisms used in the research laboratory to develop new chemical synthesis methods are not likely to require the same level of public dialogue as products that have more uncertainty associated with them, such as organisms with gene drives, which enhance organisms» ability to pass certain genetic traits on to their offspring.

In particular, current chemical synthesis methods use high temperatures and toxic solvents, which make environmental remediation expensive and challenging.

The researchers fabricated these composites using a scalable chemical synthesis method and studied their performance in oxygen reactions.

However, in reality this synthesis method could be used for a wide range of materials outside the biomedical field.»

DAG proceeds in a low chemical yield of 40 percent by this synthesis method, with the remaining 60 percent of the possible product being lost.

«Our synthesis method is controllable and scalable, allowing us to obtain graphene as large as the size of the silicon wafer [over 300 millimeters in diameter],» Kim said.

«Guillardia theta has obviously combined tried - and - tested and novel synthesis methods and enzymes,» says Prof Dr Nicole Frankenberg - Dinkel.

The synthesis method is simple and easy to scale up.

The synthesis method also gives rise to the potential for new strategies for controlling the crystalline phase of nanomaterials made from the noble metals.

«Ion billiards» cue novel material synthesis method.»

A team of Hokkaido University researchers has developed a novel material synthesis method called proton - driven ion introduction (PDII) which utilizes a phenomenon similar to «ion billiards.»

The synthesis method is based on a liquid - free process that allows for intercalation — insertion of guest ions into a host material — and ion substitution with those in the host material by driving ions with protons.

With this understanding, scientists can design their synthesis methods to account for growth dynamics and the restructuring of atoms.

Methods: The team began with a novel materials synthesis method, and a new microscope to obtain the images and interpret the associated chemical data.

Different chemicals used for the field include inhibitors for scaling, fouling, corrosion, asphaltene control, formation damage, differential pressures in multiphase environments which will be met by new synthesis methods including metathesis reactions, bio based feedstocks, new polymer surfactants, living polymers, and nanoparticle.

Further, the modular nature of the MOF synthesis method and their internal chemistry lets scientists build materials with a range of structures and properties.

Each of M - DRIVE's music tracks and sound effects has been lovingly crafted by composer Snowy Fox using the same synthesis method as the original console's Yamaha sound chip, in the styles of many of the games we grew up loving, holding the idea of an action RPG in mind, but the pack is also open to several different game genres.

Inspired by a certain series from the early 90s where you got ta go fast, composer Snowy Fox has used the same synthesis method used back in the 90s era of games, ensuring that the music will take you back in time.

Develop dynamically consistent model - data synthesis methods to combine the heterogeneous observational components.

What is the most appropriate knowledge synthesis method to conduct a review?

Not exact matches

In the preface to Creative Synthesis and Philosophic Method, Hartshorne celebrates «our English inheritance of critical caution and concern for clarity»; he seeks to learn more from Leibniz, «the most lucid metaphysician in the early modern period,» as well as from Bergson, Peirce, James, Dewey, and Whitehead, «five philosophers of process of great genius and immense knowledge of the intellectual and spiritual resources of this century.

Following Leibniz, both Deleuze and Whitehead agree that the actualization of individuals and worlds is subject to a condition of conjunctive synthesis, conceived, in Deleuze's terms, as «a method of constructing convergent series» (LS 174) or, in Whitehead's terms, as «that principle by which the many (disjunctively)» become one (conjunctively)» (cf. PR 21).

In such books as Beyond Humanism, Man's Vision of God, A Natural Theology for Our Time, Creative Synthesis and Philosophic Method, and The Logic of Perfection, Hartshorne has been indefatigable in the presentation of this «di - polar» position.

For Tillich's method is only partially dialectical; it employs neither radical affirmation nor radical negation, accordingly it must culminate in a non-dialectical synthesis.

During thisperiod our knowledge of the natural sciences has progressed and there are now significant tensions between the Thomistic synthesis and what the scientific method has revealed about our world.

In his review article of Hartshorne's Creative Synthesis and Philosophic Method (PS 2:49 - 67), Robert Neville remarks that «one of Hartshorne's most important contributions» has been his concern to deal «with problems as formulated by public discussion, usually that of analytical philosophers.»

We will soon see that more recently he gave a negative answer to the first of these questions in Creative Synthesis and Philosophic Method.

Review of Creative Synthesis and Philosophic Method (hereafter CSPM), Inquirer, London, Feb. 13, 1971, 6.

My critic does not refer to Creative Synthesis and Philosophic Method, my most philosophical book and the one coming closest to summing up my system.

Continue reading «Experience and Philosophy: A Review of Hartshorne's Creative Synthesis and Philosophic Method ``

This phase aims at the synthesis of the conflicted or competing «subpersonalities» around the conscious self or ego (a method for doing this is described later in this chapter).

Charles Hartshorne, Creative Synthesis and Philosophic Method, (Open Court Publishing Co., La Salle, Ill., 1970), p. 121.

CSPM — Charles Hartshorne, Creative Synthesis and Philosophic Method.

This method of creative synthesis has two particularly important features for the future.

The analysis and synthesis of the philosopher, the imagination and insight of the poet and artist, the experience of the prophet and the mystic — these involve distinctive categories, distinctive methods, and distinctive languages of communication.

The chapter headings give us an overview of the work: Ignorance of Scripture is ignorance of Christ: the theological project of Joseph Ratzinger; The critique of criticism: beginning the search for a new theological synthesis; The hermeneutic of faith: critical and historical foundations for a biblical theology; The spiritual science of theology: its mission and method in the life of the church; Reading God's testament to humankind: biblical realism, typology, and the inner unity of revelation; The theology of the divine economy: covenant, kingdom, and the history of salvation; The embrace of salvation: mystagogy and the transformation ofsacrifice; The cosmic liturgy: the Eucharistic kingdom and the world as temple; The authority of mystery: the beauty and necessity of the theologian's task.

I've developed six of them in my book Creative Synthesis and Philosophic Method.

The scholarly search to find a better synthesis between the historical and theological methods, between higher criticism and church doctrine, is hardly a recent phenomenon.

Hartshorne, Creative Synthesis and Philosophical Method, p. 170.

In Creative Synthesis and Philosophical Method Charles Hartshorne writes: God «Can not absolutely conceal himself from any creature, for the omnipresent can never be more than relatively inaccessible» (CSPM 156, italics added.

In Creative Synthesis and Philosophic Method Charles Hartshorne demonstrates that his is among the few.1 Of course, completeness in a philosophy is relative to what the philosophy says it should contain.

The second serious question concerns the claim made throughout Creative Synthesis and Philosophic Method that something abstract can be contained in something concrete.

I have dealt with this once more in Creative Synthesis and Philosophic Method (Chapter XII).

(See my just published Creative Synthesis and Philosophic Method, LaSalle and London: Open Court; SCM.)

This disturbed processing, embedded as it became in the dialectical method of inquiry (thesis, antithesis, synthesis), generated polarized and competing forces: rival powers (such as popes versus emperors), competing orders (such as the simple Franciscans versus the sophisticated Dominicans), competing pieties (such as natural realism versus Gothic symbolism), and competing inquiries (such as nominalism's empiricism versus realism's idealism) The dialectic between spirit and matter was pressed beyond its limits, resulting in both collapse and rigidification.

Let us begin by reformulating the ultimate issue in Hartshorne's terms through a sketch of his metaphysics derived largely from his Creative Synthesis and Philosophic Method.

See, for instance, Whitehead's RM; Hartshorne's Creative Synthesis and Philosophic Method (La Salle, Ill.: Open Court, 1970); John B. Cobb, Jr.'s «Buddhist Emptiness and the Christian Cod,» Journal of the American Academy of Religion 45/1 (March, 1977), 11 - 26; and Christ in a Pluralistic Age (Philadelphia: Westminster, 1975); for several critical dialogues on this issue, see John Cobb's Theology in Process, edited by David Ray Griffin and Thomas J. J. Altizer (Philadelphia: Westminster, 1977).

«The Aesthetic Matrix of Value,» in Creative Synthesis and Philosophic Method.