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This work represents an environmentally sound method to form graphene through ball-milling expanded graphite in the presence of the vitamin B2 derivative Riboflavin Mononucleotide to give a covalently bonded, highly dispersible, low defect graphene.

defines a creative incubator as a warm physical space and a psychological environment conductive to a growing collaboration between art and science practitioners and theorists. This incubator can already be found inside interspatial zones that encourage creative experiment building and the sharing of findings in disciplinary-specific technology. She suggests that an increase in creative collaboration, "lateral thinking" (de Bono 1967), "tacit interactions" (Polanyi 1958) and "situated" knowhow-transfer (Harding 2005) may encourage this incubator to grow. She uses specific examples from science and art research from Australia and overseas to cross-correlate creative incubators in four different interspatial zones.In biology labs, an incubator is used to regulate temperature, air circulation, oxygen levels and humidity; controlling the conditions that can help a premature life to grow, change or survive.Here artists are working with incubators to re-create life forms or bio-mimic the growth of it and study behavior. Theoretical physicists refer to the incubator as a research factory of talents, one that advances knowledge about the production of matter and energy (Cavedon 2016). Here artists can collaborate, sonify or visualize the invisible and explore particle interaction. However, Scott`s creative incubator also has feminist, sociological and educational connotations and here artists and designers often work with citizen scientists and social scientists to take research and technology out for public communities to learn, use and be empowered. Another interspatial zone collaboration focuses on evolution and ecology where the macro-connotations of incubators are apparent, like our catastrophic realities of ocean quality and animal welfare (the Anthropocene) which portray the whole earth as a giant incubator, one in which the humans are doing the warming! (Latour 2012). Here holistic and symbiont behaviors are already inspiring new communicative interpretations.Scott's version of the creative incubator incorporates all these interpretations, but foremost it is an active concept where mutual understanding for discussion and practice, of not just new inventions and discoveries, but those matters which are unformed and in-process, difficult to describe even in the language of one's "home" discipline. Participants could aim to share goals, perspectives and values about culture and society as well as promote community consciousness. Certainly, as our "natural" environments become more complex and less sustainable, there is an increasing need to join a "commons network" where we can re-design representations of the "artificial" and collaborate on new "wet" experiments that explore how our sensory processes can cope with increasing complexities. Creative Incubators for a Common Culture could create a new methodology with its own logic or a series of energetic subsystems that can remove boundaries between culture and society for more public engagement. Rather than being focused Leonardo Just Accepted MS.

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