Chemical Colour

Synthesis of Protein-Like Copolymers Using the Chemical Colouring Approach... 

Nonetheless, one cannot exclude the probability of a successful combination of these prerequisites (as was the case with poly[(NiPAAm-co-GMA)-g-PEO considered above]) that will allow us to obtain, using the chemical colouring approach, the protein-like HP-copolymers with a dense hydrophobic core wrapped by the hydrophilic shell. Such a shell should be capable of efficiently protecting the temperature-responsive macromolecules against pronounced interchain hydrophobic interactions and precipitation at temperatures significantly higher than those at which the copolymers of the same total monomer composition—but with a non-protein-like primary sequence of comonomer units—are in the soluble state. 

In this section we will touch upon an alternative route for the synthesis of protein-like copolymers using the chemical colouring approach, i.e., the... 

We must not, however, take up more time about the mere manufacture, but go a little further into the matter. I have not yet referred you to luxuries in candles (for there is such a thing as luxuiy in candles). See how beautifully these are coloured you see here mauve, magenta, and all the chemical colours recently introduced, applied to candles. You observe, also, different forms employed. Here is a fluted pillar most beautifully shaped and I have also here some candles sent me by Mr. Pearsall, which are ornamented with designs upon them, so that as they bum you have as it were a glowing sun above, and a bouquet of flowers beneath. All, however, that is fine and beautiful is not useful. These fluted candles, pretty as they are, are bad candles they are bad because of their external shape. Nevertheless, I shew you these specimens sent to me from kind friends on all sides, that you may see what is done, and what may be done in this or that direction although, as I have said, when we... 

Commodities had found their perfect finish. Aniline paints and dyes had first been marketed as more valuable because they were more real . This real quality was based on the fact that they did not fade. Plastic likewise was marketed as a substance that was not tarnished by history or nature. Both Roland Barthes and Tupperware would make a virtue of plastic s mutability and flexibility. Plastic s essential oneness could be seen as transcendental. Barthes, in 1957, called it the very stuff of alchemy , for, as raw, telluric matter , it is shaped automatically and miraculously, into buckets or jewels or anything. Nature is outbid. Euphorically, humans freewheel through it. Barthes also noted plastic s undoing its lack of substance, its flatness, its chemical colouration, its prosaicness, its lack of pretension. 

Excimer (193, 248, 308,351 mn) Nd YAG (355, 532, 1064 nm) CO2 (10.6 jum) Ablation, colour forming Bleaching of colours, colour forming, foaming, carbonisation Engraving, foaming, carbonisation chemical colour change"... 

Among the metals, for example, sodium and potassium are similar to each other and form similar compounds. Copper and iron are also metals having similar chemical properties but these metals are clearly different from sodium and potassium—the latter being soft metals forming mainly colourless compounds, whilst copper and iron are hard metals and form mainly coloured compounds. 

I he electron density distribution of individual molecular orbitals may also be determined and plotted. The highest occupied molecular orbital (HOMO) and the lowest unoccupied molecular orbital (LUMO) are often of particular interest as these are the orbitals most cimimonly involved in chemical reactions. As an illustration, the HOMO and LUMO for Jonnamide are displayed in Figures 2.12 and 2.13 (colour plate section) as surface pictures. 

Ethyl iodide is a heavy liquid, of b.p. 72° and of d, 1 94 insoluble in water, When freshly distilled it is colourless, but on prolonged exposure to light it darkens in colour owing to the liberation of free iodine. Its chemical properties are almost identical with those of ethyl bromide given on pp. 102 and 103. 

In choosing fhe examples of lasers discussed in Sections 9.2.1 to 9.2.10 many have been left ouf. These include fhe CO, H2O, HCN, colour cenfre, and chemical lasers, all operating in fhe infrared region, and fhe green copper vapour laser. The examples fhaf we have looked af in some defail serve to show how disparate and arbifrary fhe materials seem to be. For example, fhe facf fhaf Ne atoms lase in a helium-neon laser does nof mean fhaf Ar, Kr and Xe will lase also - fhey do nof. Nor is if fhe case fhaf because CO2 lases, fhe chemically similar CS2 will lase also. 

About 20,000 tons of ultramarines are produced worldwide. The largest manufacturers are Dainichi Seika (Japan), Nubiola (Spain), and Reckitts Colours International (RCI) based in Hull (U.K.), where Isaac Reckitt first began making laundry blue in the 1850s. HoUiday Chemical Hoi dings (HCH of Huddersfield, U.K.) purchased RCI in 1994 (43). 

Chemically, the azo class is subdivided according to the number of azo groups present into mono-, dis-, tris-, tetrakis-, etc. Mono- and disazo dyes are essentially equal in importance, trisazo dyes are less important, and tetrakisazo dyes, except for a few, are much less important. For this reason, substances with more than three azo linkages are generally included under the heading of polyazo dyes. The Colour Index]isX.s the azo dyes as follows ... 

The Colour Index (up to June 1991) Hsts 21 direct violets with disclosed chemical constitutions. Commercially important are Cl Direct Violet 9 [6227-14-1] (79) (Cl 27885) (sulfanihc acid coupled to cresidiue followed by alkaline coupling to V-phenyl J-acid) and Cl Direct Violet 66 [6798-03-4] (80) (Cl 29120) (a copper complex of 2-arniao-l-phenol-4-sulfonarnide (2 mol) coupled to 6,6 -imiQobis-l-naphthol-3-sulfonic acid). 

J. Houk, M. J. Doa, M. Dezube, and J. M. Rovinski, "Evaluation of Dyes Submitted Under the Toxic Substance Control Act New Chemicals Programme," Colour Chemistry, Elsevier AppHed Science, London and New York, 1991. 

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