This thesis describes investigations performed into the ion exchange and intercalation properties of aluminium triphosphate, AlH\(_2\)P\(_3\)O\(_{10}\)•2H\(_2\)O (AlTP). Materials synthesised were characterised using a variety of techniques, including powder neutron and X-ray diffraction, Rietveld analysis, thermogravimetic analysis and environmental scanning microscopy. Monovalent ion exchange (with Na, K, Rb, Cs and Ag) gave complete and facile exchange of the host’s hydrogen ions and gave crystalline products. A thermodynamically favoured phase with two waters of crystallisation was observed for all monovalent cation exchanges. The alkali metals also showed metastable phases with differing numbers of waters of crystallisation, four for Na and one for K, Rb and Cs. Unit cells have been assigned to the exchanged phases, with all showing a more than doubling of the \(a\) parameter. Structural characterisation of the rubidium and caesium phases show this to be a result of a change of symmetry to C2/c causing adjacent layers to shift half a unit cell along [010] with respect to one another. Ion exchange with divalent cations (Cu, Mn, Zn, Ca and Sr) has also been shown to be possible, with phases showing altered XRD patterns and decomposition products. Intercalation with a range of increasingly complex amines was found to be possible in AlTP. Multifunctional molecules, including amino acids, were also found to intercalate into AlTP, with evidence in the intercalation of 6-aminohexanoic acid that interactions between intercalated molecules within the inter-lamellar region are possible. Trends were found to be similar to other layered phosphates with respect to the amounts and angles of intercalation of simple monoamines and the effects of pK\(_b\) and sterics upon an amines ability to intercalate into AlTP. In addition, intercalation with silver exchanged AlTP was also found to be possible. This was able to intercalate several similar amines to AlTP, but showed its own unique intercalation properties including the ability to intercalate thiols.

Today it is possible to create veneers that are aesthetically and functionally satisfying, but there are some factors that may compromise the aesthetic results.  The aim of this study was to investigate influence of cement shades and ceramic thickness on the colour of ceramic veneers, but also to study how well try-in pastes match with their corresponding cements. PubMed was used to search for papers using MeSH-terms and keywords. 144 titles and abstracts were read, 29 full texts were read and 24 papers were used in the analysis. All of the studies were in vitro. In 20 studies, it was found that the cement shade influences the colour of the ceramic veneer. Two studies reported that the cement shade had no influence on the colour of ceramic veneers, and two did not draw any conclusions regarding the influence of cement shade. Twelve studies compared different thicknesses of the veneers; all of them found that the thicknesses had an influence on the colour of the veneers. Two out of four studies found no compatibility between try-in pastes and their corresponding cements, while two studies found compatibility for some try-in pastes. The shades of cement and thicknesses of ceramic veneers can influence the colour of the ceramics. The colour of try-in pastes does not always show a similarity with their corresponding cement.

This study attempts to analyze the efficiency of intervention policy in Turkey during the period between 4.1.2005 and 31.12.2012 with a sub period which is between 4.1.2007 and 31.12.2010. For our study purpose, therefore we investigated how interventions with pre-announced auctions as a whole influence the exchange rates. Further, we analyze whether there is an asymmetric effect among the buying and selling transactions with respect to their impact on the exchange rates. In the study, the E-GARCH model is employed to find the asymmetric effect. The final object of this study is whether buying auctions which are conducted to serve for only purpose of increasing international reserves influence the exchange rates. We evaluate the efficiency of transactions in the same direction of central bank statements. In conclusion, the findings did not amount to any significant impact of total transaction on exchange rates. The study findings also suggest that there is asymmetric effect among the selling and buying transactions. The amounts of selling transaction have a negative impact on both level and volatility while buying auctions did not have any significant effect on them. As a new research result, we found that buying auctions served well with respect to their contributions to reserves while they do not...

Most existing 3D virtual try-on systems put clothes designed in one environment on a human captured in another environment, which cause the mismatching color and brightness problem. And also typical 3D clothes modeling starts with manually designed 2D patterns, deforms them to fit on a human, and applies stitching to sew those patterns together. Such work usually relies on labor work. In this thesis, we describe an approach to reconstruct clothes and human that both are from the same space. With multiple Kinects, it models the 3D clothes directly out of a dressed mannequin without the need of the predefined 2D clothes patterns, and fits them to a human user. Our approach has several advantages: (i) a simple hardware setting consisted of multiple Kinects to capture a human model; (ii) 3D clothes modeling directly out of captured human figure. To the best of our knowledge, our work is the first one which separates clothes out of captured human figure; (iii) resizing of clothes adapting to any sized human user; (iv) a novel idea of virtual try-on where clothes and human are captured in the same location.

Neste trabalho, comunicamos aquilo que pode ser comunicado, o que pode ser representado. No entanto, nossa escrita buscou pensar para além disso e escrever com aquilo que não pode ser representado: escrever em meio aos fluxos em passagem, às intensidades em errância, às transversalidades à deriva. E poderiam, afinal, esses elementos que não se prestam à representação instigarem alguma escrita? Que escrita seria esta que se desprende das marcas do tempo e daquilo que é sempre variante? Entendendo não ser mais possível explicar esse inexplicável, nem nomear esse inominável, sem que estancássemos seu próprio movimento, seu próprio modo de ser, tratou-se então de experimentá-los. Experimentar o indizível em fragmentação, as tortuosas conexões com o incessante, os evasivos traços que vão sendo feitos em bordaduras penduradas pelos fios dos encontros, fazendo trama com o que deles vai ficando escrito. Experimentar, aqui, como a tentativa de manter em variação aquilo que apenas sabe variar. Escrever como experimentação implica um modo híbrido de escrita, um modo transformado e equivocado pelo próprio gesto do escrever. Requer que não sigamos modalidades de escrita já consagradas por sua perfeição e objetividade. Requer que deixemos de lado os modos de escrita propagados pela razão, que buscam sempre suprimir aquelas formas de escrita estranhamente impuras, que alargam certa reserva de irracionalidade ou acolhem algum grau de insensatez. A escrita em transversal acaba confundindo as fronteiras, desvanecendo-as ou redimensionando-as, pois ela se afasta dos compartimentos hierarquizados da razão, tão bem fixados na comunidade acadêmica. Neste texto, a escrita não funciona apenas como seu meio de trabalho, mas como seu próprio problema, já que é ela que se torna um lugar de experiência: sempre colocada em questão, a cada linha que se escreve. E, afinal, para todos os inquietos, a escrita é sempre problema: Como não problematizar junto a um conteúdo, seu modo de exposição? Como não interessar-se pelas maneiras pelas quais esse modo de exposição não prejudique qualquer conteúdo? E, eis aqui, seu conteúdo como sua própria forma de exposição: por escrito. / In this work, we communicate what can be communicated, which can be represented. However, our writing sought to think beyond that and write what can not be represented: write in the midst of fluxes in passing, wandering in the intensities at transversalities adrift. They could, after all, these elements do not lend themselves to representation instigate some writing? What would be written that gives off the marks of time and what is always variant? Understanding no longer possible to explain this inexplicable, even naming this unnameable, without we stopped its own movement, its own way of being, then treated to try out them. Try out the unspeakable in fragmentation, the tortuous connections with the incessant, evasive traces that are being made in borders hanging by the wires of the meetings, making them plot with what gets written. Try out here as an attempt to bring in change only knows what vary. Write as experimentation involves a hybrid writing mode, and mistaken by a transformed gesture write own way. Requires that let us follow no written arrangements already established by their perfection and objectivity. Requires us to put off writing modes propagated by reason, always seeking to suppress those forms of impure strangely written, which extend certain reserve of irrationality and hosting some degree of folly. Writing cross ends up confusing borders, fading away them or resizing them, as it moves away from hierarchical compartments of reason, so well established in the academic community. In this text, the writing does not work just like your working environment, but as your own problem, since it is becoming a place of experience: always called into question, every line you write. And, after all, for all the restless, the writing is always a problem: How not to discuss next to an item, your exposure mode? How not to become interested in ways in which this mode of exposure is not detrimental to any content? How not to become interested in ways in which this mode of exposure is not detrimental to any content? And, here are, their contents as its own form of exposure: writing.

Neste trabalho, comunicamos aquilo que pode ser comunicado, o que pode ser representado. No entanto, nossa escrita buscou pensar para além disso e escrever com aquilo que não pode ser representado: escrever em meio aos fluxos em passagem, às intensidades em errância, às transversalidades à deriva. E poderiam, afinal, esses elementos que não se prestam à representação instigarem alguma escrita? Que escrita seria esta que se desprende das marcas do tempo e daquilo que é sempre variante? Entendendo não ser mais possível explicar esse inexplicável, nem nomear esse inominável, sem que estancássemos seu próprio movimento, seu próprio modo de ser, tratou-se então de experimentá-los. Experimentar o indizível em fragmentação, as tortuosas conexões com o incessante, os evasivos traços que vão sendo feitos em bordaduras penduradas pelos fios dos encontros, fazendo trama com o que deles vai ficando escrito. Experimentar, aqui, como a tentativa de manter em variação aquilo que apenas sabe variar. Escrever como experimentação implica um modo híbrido de escrita, um modo transformado e equivocado pelo próprio gesto do escrever. Requer que não sigamos modalidades de escrita já consagradas por sua perfeição e objetividade. Requer que deixemos de lado os modos de escrita propagados pela razão, que buscam sempre suprimir aquelas formas de escrita estranhamente impuras, que alargam certa reserva de irracionalidade ou acolhem algum grau de insensatez. A escrita em transversal acaba confundindo as fronteiras, desvanecendo-as ou redimensionando-as, pois ela se afasta dos compartimentos hierarquizados da razão, tão bem fixados na comunidade acadêmica. Neste texto, a escrita não funciona apenas como seu meio de trabalho, mas como seu próprio problema, já que é ela que se torna um lugar de experiência: sempre colocada em questão, a cada linha que se escreve. E, afinal, para todos os inquietos, a escrita é sempre problema: Como não problematizar junto a um conteúdo, seu modo de exposição? Como não interessar-se pelas maneiras pelas quais esse modo de exposição não prejudique qualquer conteúdo? E, eis aqui, seu conteúdo como sua própria forma de exposição: por escrito. / In this work, we communicate what can be communicated, which can be represented. However, our writing sought to think beyond that and write what can not be represented: write in the midst of fluxes in passing, wandering in the intensities at transversalities adrift. They could, after all, these elements do not lend themselves to representation instigate some writing? What would be written that gives off the marks of time and what is always variant? Understanding no longer possible to explain this inexplicable, even naming this unnameable, without we stopped its own movement, its own way of being, then treated to try out them. Try out the unspeakable in fragmentation, the tortuous connections with the incessant, evasive traces that are being made in borders hanging by the wires of the meetings, making them plot with what gets written. Try out here as an attempt to bring in change only knows what vary. Write as experimentation involves a hybrid writing mode, and mistaken by a transformed gesture write own way. Requires that let us follow no written arrangements already established by their perfection and objectivity. Requires us to put off writing modes propagated by reason, always seeking to suppress those forms of impure strangely written, which extend certain reserve of irrationality and hosting some degree of folly. Writing cross ends up confusing borders, fading away them or resizing them, as it moves away from hierarchical compartments of reason, so well established in the academic community. In this text, the writing does not work just like your working environment, but as your own problem, since it is becoming a place of experience: always called into question, every line you write. And, after all, for all the restless, the writing is always a problem: How not to discuss next to an item, your exposure mode? How not to become interested in ways in which this mode of exposure is not detrimental to any content? How not to become interested in ways in which this mode of exposure is not detrimental to any content? And, here are, their contents as its own form of exposure: writing.

Neste trabalho, comunicamos aquilo que pode ser comunicado, o que pode ser representado. No entanto, nossa escrita buscou pensar para além disso e escrever com aquilo que não pode ser representado: escrever em meio aos fluxos em passagem, às intensidades em errância, às transversalidades à deriva. E poderiam, afinal, esses elementos que não se prestam à representação instigarem alguma escrita? Que escrita seria esta que se desprende das marcas do tempo e daquilo que é sempre variante? Entendendo não ser mais possível explicar esse inexplicável, nem nomear esse inominável, sem que estancássemos seu próprio movimento, seu próprio modo de ser, tratou-se então de experimentá-los. Experimentar o indizível em fragmentação, as tortuosas conexões com o incessante, os evasivos traços que vão sendo feitos em bordaduras penduradas pelos fios dos encontros, fazendo trama com o que deles vai ficando escrito. Experimentar, aqui, como a tentativa de manter em variação aquilo que apenas sabe variar. Escrever como experimentação implica um modo híbrido de escrita, um modo transformado e equivocado pelo próprio gesto do escrever. Requer que não sigamos modalidades de escrita já consagradas por sua perfeição e objetividade. Requer que deixemos de lado os modos de escrita propagados pela razão, que buscam sempre suprimir aquelas formas de escrita estranhamente impuras, que alargam certa reserva de irracionalidade ou acolhem algum grau de insensatez. A escrita em transversal acaba confundindo as fronteiras, desvanecendo-as ou redimensionando-as, pois ela se afasta dos compartimentos hierarquizados da razão, tão bem fixados na comunidade acadêmica. Neste texto, a escrita não funciona apenas como seu meio de trabalho, mas como seu próprio problema, já que é ela que se torna um lugar de experiência: sempre colocada em questão, a cada linha que se escreve. E, afinal, para todos os inquietos, a escrita é sempre problema: Como não problematizar junto a um conteúdo, seu modo de exposição? Como não interessar-se pelas maneiras pelas quais esse modo de exposição não prejudique qualquer conteúdo? E, eis aqui, seu conteúdo como sua própria forma de exposição: por escrito. / In this work, we communicate what can be communicated, which can be represented. However, our writing sought to think beyond that and write what can not be represented: write in the midst of fluxes in passing, wandering in the intensities at transversalities adrift. They could, after all, these elements do not lend themselves to representation instigate some writing? What would be written that gives off the marks of time and what is always variant? Understanding no longer possible to explain this inexplicable, even naming this unnameable, without we stopped its own movement, its own way of being, then treated to try out them. Try out the unspeakable in fragmentation, the tortuous connections with the incessant, evasive traces that are being made in borders hanging by the wires of the meetings, making them plot with what gets written. Try out here as an attempt to bring in change only knows what vary. Write as experimentation involves a hybrid writing mode, and mistaken by a transformed gesture write own way. Requires that let us follow no written arrangements already established by their perfection and objectivity. Requires us to put off writing modes propagated by reason, always seeking to suppress those forms of impure strangely written, which extend certain reserve of irrationality and hosting some degree of folly. Writing cross ends up confusing borders, fading away them or resizing them, as it moves away from hierarchical compartments of reason, so well established in the academic community. In this text, the writing does not work just like your working environment, but as your own problem, since it is becoming a place of experience: always called into question, every line you write. And, after all, for all the restless, the writing is always a problem: How not to discuss next to an item, your exposure mode? How not to become interested in ways in which this mode of exposure is not detrimental to any content? How not to become interested in ways in which this mode of exposure is not detrimental to any content? And, here are, their contents as its own form of exposure: writing.

Along with the increased popularity of browsing and purchasing clothes in online stores, thelogistical and environmental issue of returning unwanted items has reached alarming proportions.In an attempt to lower the amount of returns, a range of companies are now considering ways inwhich the online shopping environment can provide a more immersive and informative experienceakin to a physical store – a concept called virtual try-on. In this report, visual and interactiveshortcomings of existing solutions are addressed by approaching the areas of virtual outft representation and creation from a video game-oriented point of view. Additionally, a framework fortranslating the concept of character customization from the video game world to the virtual try-onworld is explored with the aim of providing means to enhance customer engagement. Throughdeveloping and evaluating a proof of concept implementation, we propose a method for creating asimple, yet fexible, outft creation system, as well as techniques and considerations for rendering3D apparel items in a performant, interactive, and realistic manner. Finally, approaches for adapting character customization-related features to virtual try-on are proposed through psychologicaltheories by considering the personalized virtual avatar as the central element. / I samband med ökad nätklädeshandel har antalet returnerade produkter nått alarmerande proportioner, vilket har både logistiska och miljömässiga implikationer. I syfte att minska antalet returneringar inom nätklädeshandeln utvecklas just nu olika metoder ämnade till att ge kunden verktyg till att utvärdera produkter online på ett sätt som liknar de traditionella provhyttarna – ett concept som kallas virtual try-on. Denna rapport tar sig an visuella och interaktiva brister som återfinns i nuvarande lösningar genom att angripa problem relaterade till framställningen och sammansättningen av virtuella kläder från ett datorspelsorienterat perspektiv. Dessutom utforskas ett ramverk för överförandet av konceptet character customization från datorspelsvärlden till virtual try-on i syfte att möjliggöra utvecklingen av mer engagerande virtuella miljöer. Genom att först utveckla och utvärdera en konceptuell virtual try-on implementation föreslår vi sedan en metod för att skapa ett enkelt, men samtidigt flexibelt, system för att skapa virtuella ytstyrslar, samt tekniker och överväganden kopplade till effektiv, interaktiv samt realistisk rendering av tredimensionella klädesplagg. Slutligen framförs tillvägagångssätt för att adaptera koncept relaterade till character customization till virtual try-on genom ett ramverk baserat på psykologiska teorier, där den personliga virtuella avataren står i centrum.

I denna studie har användningen av fotskanning för att minska returer av skor köpta online och konsumenternas inställning till och kunskap om fotskanning undersökts. Fotskanning är en teknik för att skanna fötter. Efter att foten har skannats skapas en 3D modell över hur foten ser ut och den modellen används sedan för olika ändamål. Det området som denna studie har fokuserat på är online handeln av skor. Metoden som studien använde är blandad med en induktiv ansats. Empirin samlades genom en kvantitativ enkätstudie av konsumenter och en semistrukturerad kvalitativ intervju med ett företag. Efter datainsamlingen redovisades och analyserades resultaten innan en diskussion utfördes där slutsatser drogs i relation till forskningsfrågorna. Studien visar att fotskanning påverkar returer av skor positivt. Det blev färre returer med hjälp av fotskanningstekniken. När det gäller konsumenternas kunskapsnivå och inställning till fotskanning visar studien att de har en låg kunskap om fotskanning, men en vilja till att använda tekniken. På det stora hela visar fotskanning en stor potential i framtiden och med vidare forskning på ämnet kan studien användas som en indikation på om implementering av fotskanning i ett företag är nästa steg. / In this study, the use of foot scanning to reduce returns of shoes purchased online and consumers' attitudes towards and knowledge of foot scanning have been investigated. Foot scanning is a technique used for scanning feet. After the foot has been scanned, a 3D model of what the foot looks like is created and that model is then used for various purposes. The area that this study has focused on is the online trade of shoes. The method that the study used is mixed with an inductive approach. The experience was gathered through a quantitative survey study of consumers and a semi-structured qualitative interview with a company. After the data collection, the results were reported and analyzed before a discussion was carried out where conclusions were drawn in relation to the research questions. The study shows that foot scanning has a positive effect on the returns of shoes. There were fewer returns with the help of the foot scanning technology. Regarding the consumers' level of knowledge and attitude towards foot scanning, the study shows that they have a low level of knowledge on the subject, but have a willingness to use the technology. In conclusion, foot scanning shows great potential in the future and with further research on the subject, this study can be used as an indication of whether implementing foot scanning in a company is the next step.

OBJECTIVES: The aims of this study are to determine the shade correlation between try-in pastes with their corresponding resin cements. Also, to investigate the effect of resin cement shades and various ceramic thicknesses, shades, and translucency in the final color outcome over tooth-shaded backgrounds. MATERIALS AND METHOD: Lithium Disilicate CAD/CAM blocks (IPS e.max CAD) were prepared, in high and low translucency, in two different shades (A1 and A3), and in 2 different thicknesses (0.53 ± 0.02 mm and 0.83 ± 0.02 mm). Four different tooth-shaded backgrounds (ND2, ND5, ND8, and ND9) were prepared from acrylic resin in a standard thickness of 6.610 mm to achieve complete opacity. RelyX veneer cement and its corresponding try-in paste in three different shades, Transparent (TR), White Opaque (WO), and Bleached Opaque (BO), in a thickness of (80 ± 5 μm) were used. For each combination, the color was measured with a spectrophotometer to calculate the color difference (ΔΕ value) in reference to ceramic veneer, and the differences of ΔΕ among the specimens were compared statistically using JMP Pro 13. Analysis was performed for 3 aims, (1) to compare the ability of ceramic to mask the aspect of the abutment in relation to its thickness (0.5 and 0.8) mm, transparency (HT and LT) and shade (A1 and A3), (2) effect of a change in cement color (TR, WO, and BO) on the final color of the ceramic; and (3) to determine the correlation between try-in pastes with their corresponding resin cements. RESULT: A significant difference was found with a p-value of <.0001 for the following factors: Stump Shade, ceramic thickness, cured cement, ceramic shade, cement type and for the interactions of cured cement with cement type, and stump shade with ceramic transparency. Also, a significant difference was found with ceramic transparency with a p-value 0.0476. While cured cement and its corresponding try-in paste showed a significant difference in color masking (p <.0001) shade White Opaque cement and shade White Opaque try-in paste exhibited insignificant color change outcome with a p-value of 0.8051. CONCLUSION: RelyX veneer cements shades (Translucent and Bleached Opaque) have lower masking ability than White Opaque cement. RelyX veneer Try in paste is much less effective in masking than its corresponding resin cement. The only correlation between RelyX veneer cements with their corresponding try-in pastes among the shades tested (White Opaque, Translucent and Bleached Opaque) is with shade White Opaque. This study demonstrated that underlying tooth abutment color, cement color, and ceramic thickness, shade and translucency all influence the resulting optical color of CAD/CAM glass-ceramic lithium disilicate-reinforced restorations. / 2020-10-24T00:00:00Z