Matching Items (4)
Description
This thesis analyzed Canon GPR-30 Black Standard Yield Toner in hopes to gain better understanding of the additives and plastic used in a popular photocopier toner formulation. By analyzing the toner’s composition from the perspective of its recyclability and potential to be manufactured using recycled plastic, this thesis hoped to fill a gap in current literature regarding how toner fits into a circular economy. While the analysis of the selected toner was ultimately inconclusive, three hypotheses about the toner’s composition are put forth based upon data from differential scanning calorimetry (DSC), solubility analysis, and Fourier Transform Infrared (FTIR) spectroscopy experimentation. It is hypothesized that the toner is most likely composed of either polymethyl methacrylate (PMMA) or polyethylene terephthalate (PET). Both of these polymers have characteristic FTIR peaks that were exhibited in the toner spectra and both polymers exhibit similar solubility behavior to toner samples. However, the glass transition temperature and melting temperature of the toner sampled were 58℃ and 74.5℃ respectively, both of which are much lower than that of PMMA and PET. Thus, a third hypothesis that would better support DSC findings is that the toner is primarily composed of nylon 6,6. While DSC data best matches this polymer, FTIR data seems to rule out nylon 6,6 as an option because its characteristic peaks were not found in experimental data. Thus, the Canon GPR-30 Black Standard Yield Toner is probably made from either PMMA or PET. Both PMMA and PET are 100% recyclable plastics which are commonly repurposed at recycling facilities, however, unknowns regarding toner additives make it difficult to determine how this toner would be recycled. If the printing industry hopes to move towards a circular economy in which plastic can be recycled to use towards toner manufacturing and toner can be “unprinted” from paper to be recycled into new toner, it is likely that monetary incentives or government regulations will need to be introduced to promote the sharing of toner formulations for recycling purposes.
ContributorsChase, Jasmine (Author) / Green, Matthew (Thesis director) / Emady, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2023-05
ContributorsChase, Jasmine (Author) / Green, Matthew (Thesis director) / Emady, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2023-05
ContributorsChase, Jasmine (Author) / Green, Matthew (Thesis director) / Emady, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2023-05
Description
“I want something that will show what is truth itself.”- Zheng Chongbin For artist Zheng Chongbin, truth is visualized through elegant, frenetic dances of blacks, whites, and grays on paper and sculptural transformations of divine spaces. Beginning with the vehicle of ink and its materiality, Zheng explores the potentialities of phenomenological realities in his artworks. His pieces are portraits and scenes of cosmic links and structures intended to question preconditioned biases and awaken human perception of elemental forms and the unnoticed beauty in our environment. This paper follows the evolution of Zheng’s visual philosophy by tracing the thread of influences, spanning disciplines, cultures, and time, behind Zheng’s artistic endeavors. While a body of literature on Zheng’s practice exists, mainly written by art historians with a specialty in contemporary Chinese art, much of it is largely concerned with establishing his position as a revolutionary artist revitalizing and transforming the Chinese ink painting tradition. Interpretative essays and critical writings about Zheng’s artwork most often attempt to fit them within the Chinese artistic canon or are surface aesthetic comparisons to Western post-war artists. However, little to no scholarly research has comprehensively addressed Zheng’s inclination towards transdisciplinary and transhistorical schools of thought and how those ideas are integrated into his methodology. By revealing the rich philosophical constructs behind Zheng’s practice, the paper opens up pathways for new approaches to his artworks. Ultimately, this challenges the narrow categorization of Zheng’s practice as definitively Chinese contemporary art, and instead facilitates the understanding that his artworks demonstrate a convergence of multiple artistic hereditary lines and global discourses.
ContributorsYang, Celia (Author) / Hoy, Meredith (Thesis advisor) / Little, Stephen (Committee member) / Brown, Claudia (Committee member) / Arizona State University (Publisher)
Created2021