Song, Synthesis of fluorinated graphene/coal-layered double hydroxide composites as electrode materials for supercapacitors. Fan, Recent advances in design and fabrication of electrochemical supercapacitors with high energy densities. Kuang, Hierarchical porous carbon spheres/graphene composite for supercapacitor with both aqueous solution and ionic liquid. In addition, the fabricated NiCo 2S 4//activated carbon asymmetric device delivers a high energy density of 45.7 Wh kg −1 at a power density of 800.0 W kg −1, indicating that the NiCo 2S 4 hollow nanospheres as a promising potential in high performance supercapacitors. NiCo 2S 4 as a promising electrode for supercapacitors, benefiting from its unique morphology and structure as well as the synergistic effect of transition double metal sulfides, it exhibits a high specific capacity of 893 F g −1 at a current density of 1 A g −1, and a long cycle life is 81.49% after 2500 cycles.
Herein, NiCo 2S 4 hollow nanospheres were synthesized by sacrificial template method and ion exchange method using Cu 2O cubic as template. Compare to solid structure, hollow nanospheres structures apparently have more advantages in specific surface area, high pore volume, and surface permeability. The Guardian is a media partner of Manchester international festival.Transition metal sulfides are ideal electrode materials for supercapacitors, which have been widely studied in the field of supercapacitors. The Nico Project is at The Stoller Hall, Manchester, until 21 July. It ends with Peake alone in the gloom singing an a cappella Nibelungen, but, however bleak and forlorn, its impact is diminished by the lack of context. Anna Clyne’s arrangements of songs such as Frozen Warnings and Evening of Light have a scary intensity, all troubling double bass, fidgety violins and strident kettle drums, made edgier still by the terror-stricken look of the players as they scatter about the stage. The uncertainty is doubly frustrating because, when the music kicks in, it can be tremendous.
There’s no doubting the atmosphere of nightmarish desperation, but it’d help to know who she was and why she was taking on Nico’s demons. With heavy eyeliner and long fringe, she talks cryptically about searching for a person, a feeling, the truth (it’s hard to say for sure), switching from her own voice to the singer’s deep Germanic slur and back again. Peake could be compelling reading the phone book, and her performance as a woman seemingly possessed by the ghost of Nico is equal parts fascinating and frustrating. Unfortunately, in the case of EV Crowe’s script, “experimental” means never getting to the end of a sentence and never declaring your purpose. Commissioned by the Manchester international festival, actor Maxine Peake and director Sarah Frankcom have assembled an all-female company, including an orchestra from the Royal Northern College of Music dressed in the tunics and neckerchiefs of the Hitler youth, to evoke something of the singer’s troubled worldview. If you’re going to pay tribute to an experimental album, there’s a logic in putting on an experimental show. “I suspect that if you’re ever in the perfect mood to play The Marble Index, then it’s probably the last thing you should be playing,” said Dorian Lynskey in the Guardian. Released in 1968, The Marble Index was an unsettling collision of modernist classical orchestration, doomy vocals and the discordant throb of a harmonium. W hen 1980s Manchester resident Nico released her second solo album, she discarded her image as a beautiful model operating in the world of pop (albeit the warped pop of the Velvet Underground) to create something dark, austere and poetic.
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