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Książki na temat „2D material technology”

Autor: Grafiati

Data publikacji: 6 września 2023

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Sprawdź 27 najlepszych książek naukowych na temat „2D material technology”.

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1

Rogalski, Antoni. 2d Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2022.

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Rogalski, Antoni. 2D Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2020.

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3

2D Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2020.

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4

Rogalski, Antoni. 2d Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2020.

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5

2D Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2020.

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6

Rogalski, Antoni. 2D Materials for Infrared and Terahertz Detectors. Taylor & Francis Group, 2020.

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7

Banks, Craig E., i Dale A. C. Brownson. 2d Materials. Taylor & Francis Group, 2021.

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8

Houssa, Michel, Alessandro Molle i A. Dimoulas. 2d Materials for Nanoelectronics. Taylor & Francis Group, 2021.

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9

Dimoulas, Athanasios, Michel Houssa i Alessandro Molle. 2D Materials for Nanoelectronics. Taylor & Francis Group, 2016.

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10

Kumar, Santosh, Sanjeev Kumar Raghuwanshi i Yadvendra Singh. 2D Materials for Surface Plasmon Resonance-Based Sensors. Taylor & Francis Group, 2021.

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11

Kumar, Santosh, Sanjeev Kumar Raghuwanshi i Yadvendra Singh. 2D Materials for Surface Plasmon Resonance-Based Sensors. Taylor & Francis Group, 2021.

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12

Kumar, Santosh, Sanjeev Kumar Raghuwanshi i Yadvendra Singh. 2d Materials for Surface Plasmon Resonance-Based Sensors. Taylor & Francis Group, 2021.

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13

2D Materials for Surface Plasmon Resonance-Based Sensors. Taylor & Francis Group, 2021.

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14

Banks, Craig E., i Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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15

Banks, Craig E., i Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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16

2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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17

Jones, Christopher G., Guohua Hu, Leonard W. T. Ng, Richard C. T. Howe, Xiaoxi Zhu, Zongyin Yang i Tawfique Hasan. Printing of Graphene and Related 2D Materials: Technology, Formulation and Applications. Springer, 2018.

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18

Hu, Guohua, Leonard W. T. Ng, Richard C. T. Howe, Xiaoxi Zhu i Zongyin Yang. Printing of Graphene and Related 2D Materials: Technology, Formulation and Applications. Springer International Publishing AG, 2018.

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19

Levy, Jean-Claude Serge. Magnetic Structures of 2D and 3D Nanoparticles: Properties and Applications. Jenny Stanford Publishing, 2018.

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20

Levy, Jean-Claude Serge. Magnetic Structures of 2D and 3D Nanoparticles: Properties and Applications. Jenny Stanford Publishing, 2018.

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21

Goldenberg, Joseph, i James Valentino. Learning Mastercam X Lathe Step by Step in 2D. Industrial Press, Inc., 2008.

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22

Meier, Dennis, Jan Seidel, Marty Gregg i Ramamoorthy Ramesh. Domain Walls. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862499.001.0001.

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Technological evolution and revolution are both driven by the discovery of new functionalities, new materials and the design of yet smaller, faster, and more energy-efficient components. Progress is being made at a breathtaking pace, stimulated by the rapidly growing demand for more powerful and readily available information technology. High-speed internet and data-streaming, home automation, tablets and smartphones are now ‘necessities’ for our everyday lives. Consumer expectations for progressively more data storage and exchange appear to be insatiable. In this context, ferroic domain walls have attracted recent attention as a completely new type of oxide interface. In addition to their functional properties, such walls are spatially mobile and can be created, moved, and erased on demand. This unique degree of flexibility enables domain walls to take an active role in future devices and hold a great potential as multifunctional 2D systems for nanoelectronics. With domain walls as reconfigurable electronic 2D components, a new generation of adaptive nano-technology and flexible circuitry becomes possible, that can be altered and upgraded throughout the lifetime of the device. Thus, what started out as fundamental research, at the limit of accessibility, is finally maturing into a promising concept for next-generation technology.

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23

Wang, Bing, Han Zhang i Nasir Mahmood Abbasi. Semiconducting Black Phosphorus: From 2D Nanomaterial to Emerging 3D Architecture. Taylor & Francis Group, 2021.

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24

Wang, Bing, Han Zhang i Nasir Mahmood Abbasi. Semiconducting Black Phosphorus: From 2D Nanomaterial to Emerging 3D Architecture. CRC Press LLC, 2021.

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25

Semiconducting Black Phosphorus: From 2D Nanomaterial to Emerging 3D Architecture. Taylor & Francis Group, 2021.

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26

Wang, Bing, Han Zhang i Nasir Mahmood Abbasi. Semiconducting Black Phosphorus: From 2D Nanomaterial to Emerging 3D Architecture. Taylor & Francis Group, 2021.

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27

Thomson-Jones, Katherine. Image in the Making. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567616.001.0001.

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Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.

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