The triboelectric nanogenerator(TENG)offers a novel approach to harness mechanical energy continuously and sustainably.It has emerged as a leading technology for converting mechanical energy into electricity.The deman...The triboelectric nanogenerator(TENG)offers a novel approach to harness mechanical energy continuously and sustainably.It has emerged as a leading technology for converting mechanical energy into electricity.The demand for self-powered wearable microelectronics and energy generation in extreme conditions underscores the need for efficient high-temperature operatable TENGs(HTO-TENGs).However,the operating environment temperature not only affects the storage and dissipation of electrons during triboelectrification,leading to decreased output performance of TENG and instability at high temperatures,but also damage to the mechanical stability and effective defects in most tribomaterials,resulting in a further reduction in TENG’s effective output power.Moreover,the unstable material properties of the triboelectric layer at high temperatures also restrict the use of the TENG in harsh environments.Therefore,it is imperative to consider the structural durability and electrical output stability of TENG when applying it in challenging working environments.This review aims to bridge this gap by providing a comprehensive overview of the current state and research advancements in HTO-TENG for the first time.Finally,this review presents insights into future research prospects and proposes design strategies to facilitate the rapid development of the field.展开更多
中国传统写作中的常规方式是将人声与其他声音混在一起,而不是将其作为一个类别化的现象来单独思考。因此,本文的策略是随着时间的推移,追踪不同的“人声模式”(models of voice)的出现。中国早期(公元前五世纪至公元一世纪)的经典著作...中国传统写作中的常规方式是将人声与其他声音混在一起,而不是将其作为一个类别化的现象来单独思考。因此,本文的策略是随着时间的推移,追踪不同的“人声模式”(models of voice)的出现。中国早期(公元前五世纪至公元一世纪)的经典著作中对人声有两种截然相反的观点:一种是存在于儒家关于音乐和诗歌的表述中的“表现性模式”(expressive model),另一种是《黄帝内经·灵枢》中的“生理学模式”(physiological model)。儒家学派早期作品中,声音没有被挑选和甄别出来,也没有被定义或赋予特殊地位,而只是被暗示,被归入人类声音和运动表达的无差别模式中。《黄帝内经》则提供了一套对发声器官的详细描述。在六朝(公元三至五世纪)的宫廷文学中,作为自然乐器的一种,人声模式在几个有意思的方向上得到了发展,出现了“肉声”“啸”“语音作为固有的音乐”三种模式。清代徐大椿的《乐府传声》中,可以看到将具有自主性的人声作为分析类别的最充分的表达。它主张使用现代的技术方法训练人声,作为修复过去和现在音乐之间的断裂的理想化工具。在徐大椿的戏曲观中,只有两样东西是固定而不可改变的,不是旋律和节奏,而是调式和模式系统以及对演唱口型方法的需要。只有发出音响的人声才能使人类的微观世界与宇宙的宏观秩序协调,使人类的治理与圣王的教义一致。但不仅如此——只有训练有素的戏曲的歌声,通过对人类天生拥有的发声工具的完善,才能实现人声的这种潜能。展开更多
基金supported by the National Natural Sci-ence Foundation of China(No.52003074,52125205,U20A20166,52192614,52003073,and 62174049)the Project funded by China Postdoctoral Science Foundation(No.2020M680097)+5 种基金the Postdoctoral Fellowship Program of CPSF(No.GZC20230681)the Natural Science Foundation of Henan Province(No.202300410058)the National Sci-ence Fund for Excellent Young Scholars of Henan Province(No.222300420033)National key R&D program of China(2021YFB3200302 and 2021YFB3200304),Natural Science Foundation of BeijingMunicipality(Z180011 and 2222088)Shenzhen Science and Technology Program(grant number KQTD20170810105439418)the Fundamental Research Funds for the Central Universities.
文摘The triboelectric nanogenerator(TENG)offers a novel approach to harness mechanical energy continuously and sustainably.It has emerged as a leading technology for converting mechanical energy into electricity.The demand for self-powered wearable microelectronics and energy generation in extreme conditions underscores the need for efficient high-temperature operatable TENGs(HTO-TENGs).However,the operating environment temperature not only affects the storage and dissipation of electrons during triboelectrification,leading to decreased output performance of TENG and instability at high temperatures,but also damage to the mechanical stability and effective defects in most tribomaterials,resulting in a further reduction in TENG’s effective output power.Moreover,the unstable material properties of the triboelectric layer at high temperatures also restrict the use of the TENG in harsh environments.Therefore,it is imperative to consider the structural durability and electrical output stability of TENG when applying it in challenging working environments.This review aims to bridge this gap by providing a comprehensive overview of the current state and research advancements in HTO-TENG for the first time.Finally,this review presents insights into future research prospects and proposes design strategies to facilitate the rapid development of the field.
文摘中国传统写作中的常规方式是将人声与其他声音混在一起,而不是将其作为一个类别化的现象来单独思考。因此,本文的策略是随着时间的推移,追踪不同的“人声模式”(models of voice)的出现。中国早期(公元前五世纪至公元一世纪)的经典著作中对人声有两种截然相反的观点:一种是存在于儒家关于音乐和诗歌的表述中的“表现性模式”(expressive model),另一种是《黄帝内经·灵枢》中的“生理学模式”(physiological model)。儒家学派早期作品中,声音没有被挑选和甄别出来,也没有被定义或赋予特殊地位,而只是被暗示,被归入人类声音和运动表达的无差别模式中。《黄帝内经》则提供了一套对发声器官的详细描述。在六朝(公元三至五世纪)的宫廷文学中,作为自然乐器的一种,人声模式在几个有意思的方向上得到了发展,出现了“肉声”“啸”“语音作为固有的音乐”三种模式。清代徐大椿的《乐府传声》中,可以看到将具有自主性的人声作为分析类别的最充分的表达。它主张使用现代的技术方法训练人声,作为修复过去和现在音乐之间的断裂的理想化工具。在徐大椿的戏曲观中,只有两样东西是固定而不可改变的,不是旋律和节奏,而是调式和模式系统以及对演唱口型方法的需要。只有发出音响的人声才能使人类的微观世界与宇宙的宏观秩序协调,使人类的治理与圣王的教义一致。但不仅如此——只有训练有素的戏曲的歌声,通过对人类天生拥有的发声工具的完善,才能实现人声的这种潜能。
