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Titlebook: Ordered Porous Nanostructures and Applications; Ralf B. Wehrspohn Book 2005 Springer-Verlag US 2005 nanostructure.optics.polymer.preparati

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發(fā)表于 2025-3-25 06:27:13 | 只看該作者
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發(fā)表于 2025-3-25 08:41:54 | 只看該作者
978-1-4419-3637-0Springer-Verlag US 2005
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發(fā)表于 2025-3-25 13:39:41 | 只看該作者
Ordered Porous Nanostructures and Applications978-0-387-25193-6Series ISSN 1571-5744 Series E-ISSN 2197-7976
24#
發(fā)表于 2025-3-25 19:23:59 | 只看該作者
Porous Silicon for Micromachininge early 1990s with the discovery of photoluminescence and the potential for micromachining. Since these early investigations, both macroporous and microporous silicon have been shown to be valuable tools for micromachining.
25#
發(fā)表于 2025-3-25 20:04:28 | 只看該作者
comprises a variety of different characters speaking from, through, to and about wounds. If we consider the wound in the context of its etymological root ‘trauma’, it is usually understood to be beyond symbolic representation. The wound is mute, silent, or as Cathy Caruth says, it embodies an ‘impos
26#
發(fā)表于 2025-3-26 02:55:19 | 只看該作者
27#
發(fā)表于 2025-3-26 07:41:45 | 只看該作者
V. Lehmanne commoditization of health; and the complex interactions be?This book explores the intersections between wearable objects and human health, with particular emphasis on how artists and designers are creatively responding to and rethinking these relations. Addressing a rich range of wearable artefact
28#
發(fā)表于 2025-3-26 10:50:13 | 只看該作者
29#
發(fā)表于 2025-3-26 13:32:29 | 只看該作者
Hideki Masuda 2013). Both films portray women who are spatially and imaginatively enmeshed with and enraptured by their homes. While this situation is made clear in ways I shall explore, it is never explained. The directors organise their two architectures in ways which visually iterate something about the inter
30#
發(fā)表于 2025-3-26 17:36:05 | 只看該作者
S. Langa,J. Carstensen,M. Christophersen,H. F?ll,I. M. Tiginyanumane to my enquiry into the spatial depiction of subjectivity in the cinema. Deren perceives how film syntax can alter the contours of film space, and uses this aspect of the film ‘instrument’ to build herself a new cinematic house and inhabit it in her own way. After closely reading the editing in
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