composite technology

Dual-function nanorod LEDs could make multifunctional displays

Cellphones and other devices could soon be controlled with touchless gestures and charge themselves using ambient light, thanks to new LED arrays that can both emit and detect light.

Made of tiny nanorods arrayed in a thin film, the LEDs could enable new interactive functions and multitasking devices. Researchers at the University of Illinois at Urbana-Champaign and Dow Electronic Materials in Marlborough, Massachusetts, report the advance in the Feb. 10 issue of the journal Science.

“These LEDs are the beginning of enabling displays to do something completely different, moving well beyond just displaying information to be much more interactive devices,” said Moonsub Shim, a professor of materials science and engineering at the U. of I. and the leader of the study. “That can become the basis for new and interesting designs for a lot of electronics.”

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anonymous asked:

hey! random question but do you know why yuzu's skates have different blades compared to a lot of other figure skaters? Like most of the time the blade is attached at 3 points to the underside of the shoe with vertical bits of metal, but yuzu's skate attachments have arch bits (possibly the worst explanation ever but hopefully you get what i mean)

I honestly don’t know if he’s ever said anything about this. My sources tell me there were some articles about his skates, but not about the blades themselves :)

I guess it’s just that he feels better with those blades, I honestly don’t know, sorry :) Ask Edea guys! XD

Edit: thanks to @nanoka12 for more insight: “They are revolution blades, I don’t recall him ever saying why he uses them but they are supposed to be lighter due to carbon composite technology and the structure is supposed to provide better cushioning of the impact of landing jumps.” and to @senyuunopoohsan “The three points where Yuzuru’s blades attach to his boots are of a lighter carbon composite material.Basically so his blades are lighter. The boots are also edeas lightest model.”

Why I Am Done Being The Transboy Nextdoor

I’m out for a run. My feet keep time with music that sounds like it belongs in an indie film about self discovery. I imagine I am in the film, then wonder why I’m running. Reflecting on the past year and a half I become aware of the many reasons to be running.

The year I came out as as transman was also the year I became an activist was also the year I left music was also the year I became angry at the world was also the year I began losing the ability to really feel anything. As the token transman on campus I was asked to tell my story to countless classes. I ran workshops on different campuses and wrote a blog about my transition. Every new person I met turned me into their trans 101 educator, and even conversations with friends and family were littered with references to my gender identity, the most recent attack or death of a trans person, the newest queer vocabulary list, or their own ideas and perceptions of what gender meant to them.

By the time I graduated college I believed that I was a political activist, that because I was trans it was my duty to go through this. Even though I felt out of place in that world, I fully believed that the stress would decrease, that I would get used to a life spent ineffectively providing society with band aids from my ever-diminishing first aid kit. After a year in that life I had come to realize that organizations were being forced to compromise their missions and each other in the scramble to financial stay afloat, politics had none of the answers for fixing a system broken so long no one knows if it was originally supposed to work and that bandaids were not going to change the world.

I was also reaching a point were I was getting tired of feeling like a petting zoo for cisgender people with hearts in the right places and questions in the wrong spaces. Being a drag and queer burlesque performer I am often found at the bar between acts with my shirt off. One of the first rules stated in these performances is literally “Don’t fucking touch us” without our consent. And while they are often asking for consent, by the time they have finished asking “Can I touch your scars?” their finger is already an inch from my chest. They are drunk, I am a character. To keep them coming back to the shows I continue the performance, but when I am home being asked yet again to tell my trans story, I find myself frustrated that the only story people seem to care about is the one about my body and not about my life.

When I looked around at many of the trans and queer activists I have worked with I remember how much pain they are in and I wonder if it’s because they don’t have the time or space to develop themselves outside of their gender or sexual identity. In the life of an activist your day job is to take care of people who have been and will continue to be damaged by a system you can’t stop and when you finally get home, your free time is spent coping with what you’ve dealt with. Eventually you hit burnout and you either leave or you push through and stop feeling.

As I began to realize that this was not the life I wanted to live I started turning back to my love for music. There are many reasons I have told myself over the years of why I left music. I left the Music Department because I didn’t feel like the program was teaching me but molding me into what they wanted me to be. I left music because I honestly felt that because I was a transgender man, the only thing I should, or maybe even could, do was activism. I was unsure that a transgender person could live as an artist, that anyone would be interested in what a transperson had to say about the world because at the time, it seemed like the only thing people were interested in hearing about was what happened with my body.

So when I was asked yet again to tell my trans story I decided I would tell a new story.

I am a transgender man. In 2012 I came out to myself, my friends, and my family. When I came out I threw myself into the world of activism in the hopes that I would change the world through grassroots organization and political change.

For three years my identity was wrapped up in being a transgender man, partly because I spent three years trying to figure out how to be a transman and partly because it seemed that people were only seeing a transman. That cycle continued until my head was spinning faster than my body could keep up.

I burnt out. I stopped feeling. I shut down and shut people out. And I started searching for who I really was.

That search started on a stage. Milwaukee is home to several drag and burlesque troupes who welcomed me with open arms and questions about who I was. Never did they ask about my transition, my genitals, or my birth-name. Their questions had my questioning myself. Other than a man with a vagina, who am I?

That simple question brought me to the rediscovery of my nerdy-side, specifically my love for Harry Potter and Dr. Who, which I translated into stage performances. Spending more and more time listening to music and learning to dance my passion for music began to reignite and I found myself dusting off my keyboard.

I finally indulged my wanderlust and took a road trip across Route 66, leaving technology, and by extension activism, behind. In ten days I drove 4,000 miles, hiked in Arizona, stood on Devil’s Bridge, dove into a 32 degree water chute, meditated in a Sedona’s energy vortexes, slept under a blanket of stars in what can only be described as the middle of absolute nowhere, experienced the overstimulating power of Las Vegas, took a very deep breath in Denver, and drove home feeling as though a flood had cleared my mind. I felt open to the world in a way I had never experienced. And almost instantly music rushed in to fill the space.

My mind suddenly felt like an echo-chamber of inspiration. Lyrics freely bled from my pen, singing became a daily ritual, orchestras provided soundtracks to my grocery shopping, and the softest viola solo kept me up at night.

I began living music again. Every waking moment was spent thinking about music and daydreaming about the life I could have if I became a musician again. The only things holding me back were the belief that I would have nothing of interest to say and a sense of responsibility I felt towards the queer community. Would it be a betrayal to stop making everything in my life about being an activist? Could I make music and an impact?

Then, one night as I sat browsing Netflix, like you do, I began watching Sense8 and was delighted to find out The Wachowskis were the brilliant minds behind this incredible series. For those of you who don’t know, the Wachowskis are a directing team made of Larry Wachowski and Lana Wachowski. Lana is a transgender woman, but that’s not the first thing I think about what I think of her. I think of her and her brother’s artistic brilliance. I think of the genius behind their films, their artful interpretations of Cloud Atlas and V for Vendetta, a movie that first inspired me to challenge society.

I binge watched Sense8 in a week. Then I watched it again. And I thought more about how Lana  was in fact a transperson but made her life about so much more than that. Since then I have watched the show 4 times all the way through. Each time I’ve found a new layer in the show, a new reason to be inspired, a new message I missed before.

It was the final push I needed.

Today I am a Music Composition and Technology Major. I am taking a risk on myself. A leap of faith that I can, and will, be more than the transboy nextdoor.


A Study into 21st Century Drone Acoustics
Much attention is focused on drones as ‘eyes in the sky’. However for people on the ground, the sound of the drones is much more pervasive. Military drones fly at high altitudes and are more often heard than seen. The word drone itself is rooted in sound, referring to the noise of the male honeybee. The sound of drones in areas of conflict create frightening soundscapes that go on for many hours on end. The sound gives them nicknames like Zanana (buzz) in Palestine.  - a soundscape by Gonçalo F. Cardoso, inspired by the abusive and destructive power or drone technology. The composition focus on the conceptual (sound) life and death of an aerial drone machine in the 21st century.