text:
|Emissive flat panel display with improved regenerative cathode
|Field emission device having nanostructured emitters
|Emissive flat panel display with improved regenerative cathode
This application claims priority benefits of provisional application Ser. No. 60/025,032 filed Sep. 13, 1996.
a) a volume of binder; and
b) a volume of BX CY NZ nanotubes suspended in the binder, where x, y, and z are numbers that indicate the relative ratios boron, carbon, and nitrogen.
a) a volume of binder;
b) a volume of BX CY NZ nanotubes suspended in the binder, where x, y, and z are numbers that indicate the relative ratios of boron, carbon, and nitrogen; and
c) at least one electrode attached to the binder matrix.
1. Field of the Invention
This invention relates generally to field emission electron sources and more specifically to field emitter materials.
2. Description of Related Art
Nanotubes made from carbon or from the combination of carbon, boron, and nitrogen have interesting structural and electronic properties that could be useful for many applications. Utilities that have been considered include high-strength lightweight fibers, chemical filters, catalysis aids, and miniature electronic wires and devices (S. Iijima, Nature 354, 56-58, 1991). The electrical properties of carbon-containing nanotubes are predicted to vary widely as a function of tube chirality, composition, and diameter (J. W. Mintmire, B. I. Dunlap, & C. T. White, Phys. Rev. Lett. 68, 631, 1992; N. Hamada, S. Sawada & A. Oshiyama, Phys. Rev. Lett. 68, 1579, 1992). Because some multi-wall nanotubes may have a complicated combination of concentric individual tubes, each with different properties, and because of the difficulty of manipulating and measuring the properties of nanoscale objects, development of carbon nanotubes for useful applications has been hampered.
A. G. Rinzler et al. (Science 269, 1550-1553, 1995) has in the past demonstrated laser-irradiation-induced electron field emission from an individual carbon nanotube. Unfortunately, for many uses of electron field emission devices it is physically cumbersome, costly, and unfeasible to use laser assisted field emission devices, such as Rinzler demonstrated. Further, the variability of emission from tube to tube makes this approach commercially unfeasible.
W. A. de Heer et al. (Chatelain, A. & Ugarte, D. Science 270, 1179-1180, 1995) have used arrays of carefully aligned carbon nanotubes to produce field emission sources. However, the difficulty of producing carefully aligned nanotubes and the fragility of the resulting structure prevents these arrays from being commercially useful.
Field emission displays (FED) are a promising challenger to the liquid crystal displays (LCD) currently used for most flat panel electronic displays. Compared to LCDs, FEDs are three times brighter, half as thick, have almost twice the viewing angle, one forth the power consumption, and more than twice the thermal operating range. But several technical barriers block use of FEDs in current flat panel displays. The barriers include: 1) maintaining the correct spacing between the field emitter tip and the cathode plate so as to maintain constant emission current on the cathode, 2) maintaining an appropriate Internal vacuum, and 3) robustness (T. Studt, Innovation spurs hardware advances, R&D Magazine, p. 14-17, April 1996).
It is an object of invention to provide a reliable, nonfragile, and robust field emission source. It is a further object of the invention to provide a field emission electron source having stable and reproducible current-voltage characteristics, that do not require ultra high vacuum and do not vary widely with spacing between the field emitter tip and cathode. It is yet another object of the invention to provide a field emission electron source having a sharp turn-on, near 100 volts and having emission current densities of up to 400 milliamps (mA) per square centimeter (cm) at about 200 volts. A further important object of the invention is to provide a method of making the sources that is straightforward and commercially feasible.
The present invention comprises a stable, high-density electron beam field emission source from a carbon nanotube matrix and a method of making the novel source. The inventive carbon nanotube electron source does not require laser irradiation induction. The source is functionally self-regenerating and thus virtually impervious to mechanical or electrical damage. Unlike previous configurations, alignment and manipulation of the nanotubes are unnecessary. The inventive methodology is straightforward making commercial fabrication feasible.
The field emission electron source uses a novel field emitter material comprising a volume of binder and a volume of nanotubes suspended in the binder, where the nanotubes are made essentially from carbon or essentially from the combination of carbon, boron, and nitrogen (BX CY NZ nanotubes).
FIG. 1A: shows the preparation from which experimental versions of the inventive field emission electron source are constructed.
FIG. 1B: shows a traced drawing SEM micrograph of nanotube matrix emission surface. Tube bundles can be seen bristling from the matrix surface with an approximate density of 1/μm2. The sketch in FIG. 1A depicts the matrix sample laminated between glass plates.
FIG. 1C: shows an experimental configuration of the inventive field emission electron source. The emission facet on top has an area of 50 μm×50 μm.
FIG. 2: shows a field emission experimental set-up. The apparatus is housed in a vacuum chamber at about 10-6 torr.
FIG. 3: shows an I-V curve for field emission from carbon nanotube matrix sample on a log-linear scale. The inset shows the same data on a linear-linear scale. Three distinct emission regions (I, II, and III) are observed.
FIG. 4: shows a high voltage (HV) conditioning effect on matrix sample field emission. Conditioning leads to an increase in onset voltage but makes the curve more reproducible, as depicted by the two curves marked "After HV." These two curves were obtained at 20 μm and 60 μm separations from the accelerating grid, showing that the emission is quite independent of this distance. All data appear to curve toward the same high voltage asymptote (Region III).
FIG. 5: shows a Fowler-Nordheim plot of Ln(1/V2 ] vs. 1/V for nanotube matrix sample. For conventional field emission tips, such a plot results in a straight line with slope S.varies.Rtip Φ3/2. The nanotube data fit the Fowler-Nordheim equation well in Region I and Region III, although the emission in the two cases clearly is of different character.
FIG. 6: shows one embodiment of the novel emission source.
The present invention comprises a field emitter material that can be used in novel field emission electron sources. The field emitter material comprises a volume of "binder", for example epoxy, and a volume of nanotubes suspended in the binder to form a binder-nanotube matrix. The nanotubes are made essentially from carbon or essentially from the combination of carbon, boron, and nitrogen (BX CY NZ, nanotubes). Alternately, the field emitter material comprises nanotubes bound directly to one another, without use of a second binder material, to form a nanotube matrix. The invention further comprises novel field emission electron sources using the inventive matrix as an emission material. Pixels made from the inventive field emission electron sources are of a micrometer scale or smaller, even resolving to the nanometer scale. The inventive field emitter material additionally provides nanoscale extremely high voltage sources.
Use of the term "binder" herein means a binding compound of suitable mechanical properties to retain suitably configured carbon nanotubes in the compound material's structure.
Use of the term "BX CY NZ " herein means amounts of boron, carbon, and nitrogen used in the ratios indicated by the subscripts "X", "Y", and "Z". For example, an essentially BX CY NZ nanotube in which X and Z are both zero and Y is one, is equivalent to an essentially carbon nanotube.
Use of the term "matrix" herein means a volume of nanotubes bound together. For example, either a combination of binder and nanotubes or nanotubes bound directly to one another would constitute a matrix.
Use of the term "field emitter material" herein means a material that emits electrons when sufficient voltage is applied to the material.
Use the term "individual electron emitter" herein means one or more nanotubes configured so that a single point, on the one or more nanotubes, emits electrons when sufficient voltage is applied.
The inventive field emission electron source comprises nanotubes made essentially from carbon or nanotubes made essentially from the combination of carbon, boron, and nitrogen. Nanotubes made from the combination of carbon, boron, and nitrogen are synthesized according to the methods described in copending application Ser. No. 08/388,494, entitled, "Miniature Particles and Tubes Based on Compounds of BX CY NZ and Production Thereof", and incorporated herein by reference.
Nanotubes made essentially from carbon were synthesized in a conventional plasma arc-discharge (T. W. Ebbesen and P. M. Ajayan, Nature 358, 220, 1992) as described elsewhere (N. G. Chopra et al., Nature 377, 135-138, 1995), incorporated by reference herein. Basically, the carbon nanotubes were prepared by a carbon-arc discharge method. The synthesis chamber employed a water-cooled 0.625-inch graphite anode, a water-cooled copper cathode, 650 Torr of environmental helium pressure, a 120 A direct electrode current (d.c.), and an electrode gap of a few millimeters. The carbon growth on the negative electrode was removed from the synthesis chamber, dispersed in ethanol, and baked in oxygen at about 650° C. to remove amorphous and graphitic carbon particles as described by T. W. Ebbesen, et al., Nature 367, 519, 1994. The carbon material resulting from this process was characterized by transmission electron microscopy (TEM) using a JEM JEOL 200CX TEM with 200 keV accelerating voltage. The material was observed to be tube-rich, composed of at least 70% multi-walled tubes with diameters between 5 and 50 nm. Tube lengths range from stub-like growths of a few hundred nm to fibers 10 μm and longer which could not be fully imaged within the TEM range. High resolution TEM inspection of the tubes revealed that many of the tube ends are tapered, with ultimate tip radii of curvature smaller than the distribution of tube diameters would suggest. The sharpest tips, which are most likely to act as emitters, were observed to have radii of curvature between 1 and 3 nm. In a random collection of tubes of different diameters, it is possible that a large fraction of the tubes serve as efficient electron emitters, with emission properties only weakly sensitive to the distribution of gross tube geometric or electronic properties. Nanotubes used in the inventive field emission source are electrically conducting when large voltages are applied even though the tubes would be conventionally characterized as semimetallic, semiconducting, or insulating when a small voltage on the order of one or a few volts is applied. When the terms "conducting", "semimetallic", "semiconducting", or "insulating" are used to describe a material in this document, they are used as those properties under conventional measuring conditions, using an applied voltages of about a volt to the material being characterized.
Using nanotubes with different conducting properties alters the turn-on voltage of the inventive field emission electron source. The novel field emission electron source comprises BX CY NZ nanotubes having uniform electrical properties, characterized as electrically conducting, semimetallic, semiconducting, or insulating. Alternatively the source comprises a mixture of nanotubes, in which some of the nanotubes are characterized as having one of the above listed electrical characteristics, and other nanotubes in the source have one or more of the other electrical characteristics. Furthermore, the electrical properties can be mixed along the length of a nanotube, wherein one region of a nanotube has one of the above listed electrical characteristics, and other regions of the same nanotube have one or more of the other electrical characteristics.
There is evidence that individual nanotubes with specific electrical properties have particularly good field emitting characteristics. For example, short, electrically insulating nanotubes may behave like thin films of diamond, which have been demonstrated to have good field emitter properties. Additionally, semiconducting nanotubes tipped with metallic material (N. G. Chopra, Science 269:966, 1995) promise to have good emitter properties. The inventive field emission source may have enhanced emission properties if made from nanotubes enriched with insulators or metal-tipped semiconductors. The enriched regions comprise nanotubes between about 2 angstroms (Å) and about 30 microns in length. Alternatively, the nanotubes are between about 2 Å and about 10 Å in length. In another embodiment the nanotubes are between about 10 Å and about 100 Å long. In yet another embodiment, the nanotubes are between about 100 Å and about 30 microns long.
Nanotube tip shapes vary as a function of the nanotube structure. Typically, the carbon, boron, and nitrogen form an array of six-membered rings. If the tubes are thought of as having been rolled from a plane containing the array of six-membered rings, it becomes apparent that the tube may be rolled in a straight or skewed fashion. Another way to see this is that a trace of adjacent rings may form a circle or a helix around the outside of the nanotube. The degree of helicity affects the geometry of the tip. This is thoroughly described in copending application Ser. No. 08/792,461, titled "Metal/Semiconductor Junction Nanotube Devices", and Incorporated herein by reference. One way in which the helicity is affected is by the occasional occurrence of a five-membered or seven-membered ring in the six-membered array. Presence of a five-membered ring results in a concave tip shape; a seven-membered ring results in a convex tip shape. The terms concave and convex are descriptive but approximate. A more rigorous definition is that five-membered rings give positive Gaussian curvature and seven-membered rings produce negative Gaussian curvature (that is, curvature that reduces the radius of a cylindrical tube and curvature that increases the radius of a cylindrical tube, respectively). Four-membered rings can also be inserted in the six-membered array to modify the nanotube helicity and local electrical properties. For most purposes a sharp tip acts as a better emitter than a dull tip. However there may be special applications in which a special tip shape, for example a duckbill shape, is preferable.
The material resulting from the procedure above yields a mixture of carbon nanotubes and particles, referred to as "tube-rich" material. The nanotubes can be purified out of the tube-rich material but it was found unnecessary for the present application. Tube-rich material was mixed into a binder by placing a drop of epoxy liquid on a glass slide next to an amount of tube-rich material and stirring them together with a toothpick or similar implement. FIG. 1B in most cases approximately 100 microliters of each compound was used resulting in solidified conductive mixtures. When non-conductive epoxy was used as a binder, typical resistivities of about 500 Ω-cm were obtained. The concentration of nanotubes in the binder can be adjusted higher or lower depending upon the demands of the application. In a non-conducting binder, lowering the concentration of electrically conducting nanotubes increases the resistivity. In a non-conducting binder, the concentration of electrically conducting nanotubes in the binder must be high enough that there is electrical conductivity between an electrode attached to the matrix and the individual nanotube emitters. That is, the concentration of conducting nanotubes is high enough to conduct charge in the matrix.
The matrix becomes an electron emitter material when its resistivity is between that of metallic resistivity, that is about one μΩ-cm, and about 500K Ω-cm, that is essentially non-conducting. More preferably, the resistivity of an electron emitter material was formed from matrix having a resistivity between about 1 μΩ-cm and about 50 kΩ-cm. Most preferably the resistivity of an electron emitter material was formed from matrix having a resistivity between about 1 μΩ-cm and about 5 kΩ-cm.
The binder is comprised of any of a number of compounds or materials, many commercially available, having suitable mechanical properties to retain carbon nanotubes in the material's structure. Some examples are one and two-part epoxies, conducting epoxies--for example silver epoxy, non-conducting epoxies such as Torr Seal® or Stycast®, teflon, cyanoacrylate, Crazy Glue®, polyethylene, ceramic, soft metals, low melting point metals, or other material that can hold the nanotubes. For some materials such as teflon and soft metals, the nanotubes may be simply pressed into the material or compound material.
The field emitter material can comprise nanotube rich material bound into a matrix without using a binder. Nanotube-rich material is compacted in a simple pellet press (piston/cylinder device) to a pressure sufficient to have the nanotubes "stick" to each other and form a cohesive matrix. The field emitter material is then attached to a suitable substrate using a conductive adhesive, for example, silver epoxy or silver paint. The field emission electron source made with this type of matrix has a high density of nanotube emission sources.
An alternate method of joining the nanotubes together without use of a binder material comprises using electromagnetic radiation, for example an rf furnace or UV light, to construct a matrix of nanotubes. Using nanotubes containing five-membered rings and seven-membered rings enhances a tendency for nanotube crosslinking. A field emission electron source having this matrix as its field emitter material exhibits a high density of field emission nanotube-tip sources on the surface of its field emitter material.
No attempt was made to align the nanotubes within the binder-nanotube matrix. The bundles of tubes within the matrix are assumed to be completely disordered, however some fraction of the tubes pierce the binder surface and extend their tips outward well beyond the surface. It is these extended tube tips that constitute the emission source of the emitter surface. The number of protruding tips is sufficient to generate large and reproducible emission currents.
FIG. 1C shows one configuration of an inventive field emission electron source 2. Sample sources were constructed, each having an emission surface area 4 of about 50 μm×50 μm. This sample corresponds to a single pixel. About 100 μl each of epoxy and tube-rich material was mixed on a clean microscope slide 7. A gold wire 6 of about 2 mm diameter was placed on the epoxy-nanotube mixture 13, crosswise to the length of the slide 5. Then a second microscope slide 5' was placed over the epoxy-nanotube mixture 13. The slides were spaced 50 μm apart using shims. The matrix was allowed to dry between the microscope slides under pressure applied by a #50 binder clip. A crosswise strip 11 containing the electrode was cut from slide-matrix assembly. FIG. 1A the short end 8 of the strip was then ground back to expose a square sample facet 4 which served as the electron emission surface. In some cases the emission surface was lightly polished with 400 grit sandpaper to yield a reproducible and approximately flat surface. Scanning electron microscopy (SEM) characterization of the polished surface imaged bundles of nanotubes on the surface, showing a typical density of 1 bundle per μm2. It was found that sanding was not a necessary step in constructing an operating sample because the distance between the emitter and the cathode did not affect the emission current. This feature is discussed more, below. FIG. 1B shows a diagram of a typical SEM image of the emission surface. The nanotubes 10 appeared to stick out in all directions like the spines on a cactus. The bases of the nanotubes remain firmly embedded in the matrix 12 which contains a gold lead that serves as an electrical contact to the conductive matrix. The electrode can be made of any conducting wire or substance and there are many other ways to attach the electrode to the matrix as is well known by those who practice in this art.
In practice, the pixel sizes constructed can vary greatly, depending on the intended application. The 50 μm×50 μm size chosen above is typical for a television screen or flat panel display. A pixel size as small as 1 μm2 is achieved by adjusting the concentration of nano-tubes downward. If the concentration becomes too low to for the matrix to be conductive, a conducting binder is used.
The emission surface is exceedingly robust. Even harsh mechanical sanding or, as described below, "burning" of the epoxy-nanotube matrix surface by high voltage arcing results in exposure of new tube tips from the underlying matrix. The newly exposed tips serve as fresh emission sources when old ones break off, bend over, or are otherwise damaged. The surface is self-regenerating in the sense that new functionally competent surface constantly replaces damaged surface as needed.
FIG. 2 depicts the experimental apparatus used to determine field emission characteristics from the field emission electron source constructed as described above. A sample source 2 was attached to a flexible holder 14, such as a glass microscope slide that would bow slightly under pressure from a micrometer. The sample was aligned directly above a conducting grid 16. One type of grid found useful was commercially available 3 mm diameter TEM grids. A micrometer 18 was used to move the sample holder up and down with respect to the grid and collector so that the dependence of emission current on that separation could be measured. Negative dc voltages up to 1000 volts were applied to the sample, and the emission currents which passed through the 50% transmitting grid 16 were collected on a collector 20 and measured by an electrometer. Although the experiments were conducted at 10-6 torr, the emission was not excessively sensitive to the vacuum quality; similar emission was observed at 10-3 torr as well. These results are extremely important. They demonstrate that the inventive field emission sources do not have to be operated under ultra high vacuum.
FIG. 3 shows a typical emission current (I) versus sample-to-grid bias voltage (V) characteristic on a log-I, linear-V scale that was obtained using the apparatus illustrated in FIG. 2. The current displayed a sharp onset near 130 volts and increased exponentially with increasing V. Distinct regions were easily identified. Below the onset voltage, the device was "off" with currents below our experimental limit of 1 pA. Above the onset, the emission turned on but increased at different rates in the three voltage regions, as labeled in the figure. In Region I, the current rose exponentially at a rate of 1 order of magnitude every 10 volts, up to a current of 10 nA. In this region, the emission current exhibited ±50% fluctuations, as well as short-lived current decreases by an order of magnitude. The exponential rise crested in Region II, and the negative curvature in the log-I representation indicated tendency towards some type of current saturation. In Region III, at still higher voltages, the current again rose exponentially but at only one-tenth the rate of Region I. The inset to FIG. 3 shows the same data plotted on a linear-I linear-V scale.
Although the emission onset voltage showed some sample-to-sample variation, all samples show the same three-region characteristic I-V structure depicted in FIG. 3. Furthermore, all samples (prepared in the manner described above) emitted currents of at least 1 nA at only 200 volts. Samples typically yielded current densities up to and exceeding 400 mA/cm2 at 200 V. Handling of the samples notably did not affect the field emission density or stability. Samples were routinely brought into direct contact with the grid to calibrate the separation distance, which caused no change in field emission quality or character. To further test sample robustness, samples were arced at high voltage against the grid, momentarily passing up to 100 mA of current. Despite the likelihood of significant surface damage, arced samples still achieved appreciable emission currents. Generally emission from arced samples maintained similar voltage onsets but in some cases the current magnitude varied within a multiplicative factor of 5. The persistence of emission is thought to be due to two factors: (1) the density of tube tips is uniform throughout the matrix, so that removal of surface material creates as many emitters as it destroys; and (2) the emission characteristics only weakly depend on the grid separation, so tube tips on an unpolished surface emit as well as they do from a smooth surface.
Under constant voltage bias in Region III, the samples displayed stable emission currents over many hours. At a bias of 200 volts, total emission currents ranged from 0.01-10 μA depending on the initial density of tubes used in the matrix preparation. For our sample size, this corresponds to current densities as high as 400 mA/cm2. Assuming that every tube observable in an SEM image emits, each tube must on average carry 10 nA. It is possible that only a small fraction of the tubes actually emit and those that do carry much higher currents.
When comparing different samples, or the same sample after different degrees of arcing damage, we found Region III to display the most reproducible emission characteristics. The voltage onset and the current rise in Region I were much less predictable for freshly prepared samples. However, it was found that initial application of a high voltage (non-arcing) "conditioning" pulse or ramp leads to reproducible I-V characteristics even in Region I.
FIG. 4 depicts I-V characteristics for a typical sample nanometer-scale field emission electron source before and after the conditioning described above. Before the high voltage ramp, the pristine sample showed a voltage onset at about 50 volts with a 20 μm sample-to-grid separation (open circles in FIG. 4). As long as the emission current was kept below 100 nA, the exact onset voltage was only reproducible within a 50 volts range, e.g. between 50 and 100 volts. Ramping once to higher voltages and currents, resulted in a "smoothing" of the I-V curve, a permanent general decrease of the emission current in Region I, and an increase in the voltage onset (open squares in FIG. 4). After a small number of such voltage ramps, the I-V curve was seen to be completely reproducible (closed symbols in FIG. 4), with an onset at 90±5 volts. The number of voltage ramps was preferably between about 2 and about 5. More preferably, the number of voltage ramps was about 3 or 4. The emission in Region III appeared unaffected by conditioning, with only the Region III voltage boundary being shifted.
A possible explanation for the conditioning effect is that the best field emitters quickly burn out, but are replaced by other, more stable emitters with higher onset voltages. These new emitters may be different tubes nearby on the sample, or they may be the same tube modified into a more stable geometry. Tubes sticking farthest from the surface should be the first emitters, but these are also most likely to suffer atomic rearrangement (R. Gomer, Field Emission and Field Ionization 1-195 (Harvard University Press, Cambridge, 1961) because of exposure to the high stresses of 1 dyne/μm2 resulting from the large local fields. However, as our analysis below indicates, the character of the field emission before and after conditioning suggests that the nanotube tip work function and tip curvature of the emitting tubes remain essentially unchanged.
Conventional field emission analysis utilizes the Fowler-Nordheim (FN) equation (R. H. Fowler, & L. W. Nordheim, Proc. Roy. Soc. (London) A 119, 173, 1928), which relates measured emission current to the effective local electric field Eloc at an emitting tip: ##EQU1## where J is the emission current density at the tip surface, Φ is the local work function of the emission tip, and μ is the local chemical potential. In the matrix sample configuration studied here, the total emission current may be due to an ensemble of emitting nanotubes, for which Eq. (1) is not directly applicable. However, assuming a narrow distribution of emission parameters, Eq. (1) provides a first order characterization of tube emission properties.
We first considered Eloc. With a sample-grid separation d=20 μm, the observed bias onset voltages for field emission from the matrix samples are of order 100 volts, which corresponds to an average applied electric field Eavg =5×104 volts per centimeter (V/cm) in the region between the sample surface and the grid. This field value is nearly 1000 times smaller than typical local fields associated with field emission from sharp metallic tips and suggests that the actual local field at the nanotube tips is not simply the voltage bias per separation; instead Eloc >>Eavg. Local field enhancement at a sharp tip can be modeled in one of two ways (Gomer, R. Field Emission and Field Ionization 1-195; Harvard University Press, Cambridge, 1961. In one case the small radius of curvature of the tip Rtip simply enhances the average field by a multiplicative factor and Eloc γEavg /d (2)
(with γ.about.1/Rtip), while in another case where the tip is modeled as an isolated charged hemisphere the local field depends only on the applied bias voltage (V) yielding Eloc =V/αRtip (3)
with α a constant of order unity.
Notably, field emission from the inventive nanometer-scale field emission electron source sample did not show the source-grid separation (d) dependence expected from Eq. (2). Indeed, after a high voltage conditioning ramp, the emission current was particularly insensitive to the sample-grid separation: the onset voltage had small deviations proportional to the separation, but the I-V curves were quite similar for separations from 20 to 100 μm in Regions I and II and the I-V curves are identical in Region III. This is the behavior expected from Eq. (3). Practically, this independence of the emission current on d is of tremendous importance as it allows large fabrication and utility tolerances. Physically, it suggests that the electric field is indeed confined to the immediate region of the tip by a high concentration of charge. These results are extremely important. They demonstrate that the inventive field emission sources are not as sensitive to the distance between the emitter and cathode as conventional field emission sources are. This feature overcomes a major problem related to field emission devices in flat panel displays.
FIG. 5 displayed the same data shown in FIG. 3 but plotted as ln(I/V2) versus 1/V, a form motivated by the FN relationship, Eq. (1). If Eq. (1) is obeyed, such a plot should yield a straight line with slope S .varies.αRtip Φ3/2. Both regions I and III were consistent with this behavior. For Region I, assuming an average tip radius R.about.1-3 nm and α.about.6 due to geometry and screening, we obtained Φ=6-10 eV. For Region III we found (Φ=2-5 eV, which is in the same range as the work function for graphite (Φgraphite =5 eV). Although it is possible that a high-field-induced atomic rearrangement affects the local work function of the nanotube emitters, the change in Φ between the two regions strongly suggests that the FN equation does not directly apply in at least one regime.
The change does indicate, though, that the emission of Region III has a completely different character from that of Region I. One possibility is that a buildup of space charge leads to a significant flattening of the I-V curve in Region III. Alternatively, emission in this state may be dominated by the finite resistivity of the tubes themselves. For emission from a long nanotube with high intrinsic resistance, a saturation in the current density is to be expected. In our experiments no current plateau is observed up to I≉0.1 mA, at which point the samples arc to the grid. It is possible that a more sophisticated model, taking into account distributions in the tube emission ensemble, could account for the unusual I-V characteristic of Region III.
Instead of constructing discreet pixels as described above, active emission surfaces have been patterned on to a larger surface area. A patterned array of emitting and non-emitting regions are useful for many commercial applications. Three methods were found to reliably create a pattern of electron field emitters that could be independently controlled with an underlying electrode network or circuit.
Two of the methods relied on inactivating portions of the emitter surface.
One of the methods comprised applying a metal overlayer, for example, gold, to portions of an emitter surface. A nanotube-binder matrix was dried onto a glass slide. The matrix surface area was approximately 2 cm by 2 cm. Using conventional sputtering techniques, a gold overlayer about 5 nm thick was applied to selected regions of the 4 cm2 emitter surface area. The metal overlayer effectively protected the nanotube tips from high electric fields and quenched all field emission. No current was detected from gold-overlaid regions at voltages up to 1000 volts even though those regions had emitted before the metal layer was applied.
A second patterning method comprises ion sputter etching of the sample to damage the surface and emitting tips. Samples were bombarded with Ar+ fluxes of 15 nA for up to ten minutes. Field emission was reduced by a factor of 10 in regions exposed to the maximum dose of Ar+. Additionally, the voltage onset value was nearly always 50-75 volts higher than it had been prior to etching via ion bombardment. A corresponding decrease in emission current in Region I was observed. And, the transition from Region I to Region III occurred at a current 10 times lower than before ion etching, that is, at 1 nA instead of 10 nA. At higher voltages, the emission completely saturated at 1 μA. Further, at any given voltage the electron emission from regions of the sample that had been ion bombarded were much less stable than prior to bombardment. The sputtered samples did not exhibit any "on" regions at which they emit stably over time.
The sputter etching may provide a particularly important technique for device fabrication. At small scales, metallic separation of independent emitters could be problematic if electric voltages exceed several 100 volts because arcing can occur between metal overlayer regions. Focused ion damage to produce emitting and non-emitting regions is a more promising technique since the non-emitting regions will not have any effect on the pristine regions.
A patterned area of emitting and non-emitting regions can also be achieved by selectively depositing pixels of nanotube matrix material using processes similar to silk screening onto a substrate. An approximately 2 cm×2 cm area of a glass slide substrate was covered by a mask made of copper mesh. The mesh size was about 0.2 mm wide and had square openings of about 0.2 mm. The still fluid and uncured binder-nanotube matrix material was swept across the top of the copper mesh with a flexible scraper, pressing the binder-nanotube material through the mesh holes onto the glass slide. The mesh was immediately removed, leaving behind a patterned array of discreet nanotube matrix field emission sources, each of having an area of approximately 0.2 mm×0.2 mm. For some applications, independent electrical contacts are first placed on the substrate at each pixel site. This 0.2 mm square pixel size is a useful size for television and flat panel displays. Using techniques generally known in the art, the array can be made larger or smaller, patterned according to need, and the pixels sizes made larger or smaller.
Thus, the invention provides a novel field emission electron source material and nanometer-scale field emission electron source, commonly known as field emission devices (FEDs). The novel FED are insensitive to emitter-cathode distances and do not require ultra high vacuum for operation. They are useful for flat panel displays, electrostatic scrubbers for industrial air pollution control, or other applications where high local electric fields are useful.
The description of illustrative embodiments and best modes of the present invention is not intended to limit the scope of the invention. Various modifications, alternative constructions and equivalents may be employed without departing from the true spirit and scope of the appended claims.


text:
Meridian Audio has just released a new product that makes it easy to integrate their active in-room and in-wall DSP speakers together, as well as with other audio brands, within a multi-room application. This new product is the Meridian Distributor 3. The Distributor 3 is designed to seamlessly integrate distributed audio sources and control system with any pair of DSP Loudspeakers. Up to three rooms can be added, and multiple Distributor 3 units can be used for additional rooms.
The Distributor 3 has rack mounting hardware and is designed for discrete installation within a home electronics rack. The rear panel is divided into three discrete "zones," each zone provides analogue and digital inputs as well as SpeakerLink for a Meridian source, such as a streaming system. Typically used with a "matrix switch," each room, or "zone", can accommodate analogue, digital, and SpeakerLink sources. DSP Loudspeakers can be controlled via the home's existing control system or handheld IR remote.
Multiple source inputs for each zone are available with the Distributor 3 – including: Meridian-proprietary digital SpeakerLink input for Meridian SpeakerLink-equipped sources; an analog stereo input that has its signal converted to 24-bit/96kHz digital; one coax S/PDIF digital input and; one USB Type B input. Outputs for each zone include a SpeakerLink-equipped output to drive Meridian's SpeakerLink-equipped digital active speakers via RJ-45 cable. SpeakerLink also conveys two-way control signals. Another output per zone is a coax S/PDIF. Discrete control of each zone via an RS232 interface
The Distributor 3 incorporates the following Meridian exclusive features:
– Meridian High Resolution (MHR) – the first approved encryption method for transferring high definition digital audio between components. MHR allows secure movement of high resolution digital audio within a Meridian system, without compromise, improving quality by reducing cyclic repetition.
– SpeakerLink – an "Ethernet style" cable that delivers pristine digital sound and control down a single cable between Meridian components – simple, unobtrusive, and cost-effective cables that are easy to install.
INPUTS (for each of the 3 sections):
1 x RS232 control signal (DB9)
1 x SpeakerLink (RJ45)
1 x Analogue stereo pair (phono) ?converted internally to 24-bit 96kHz digital
1 x Digital S/PDIF coax (phono)
1 x USB B type for configuration if required
OUTPUTS (for each of the 3 sections):
2 x SpeakerLink (RJ45, Master & Slave)
Digital Aux S/PDIF coax (phono) for linking between zones
430 (16.9) x 112 (4.4) x 43.50 (1.71) (W D H mm (in)) (1U, 19in rack-mounting)
1 kg (2.2 lb) approx.
The new Director 3 is currently available at a MSRP of $1,500 U.S. Look for more details at: www.meridian-audio.com.
Leave A Comment
You must be logged in to post a comment.

subset: commoncrawl


text:
May 19, 2011
The Words Speak for Themselves:
George W. Bush speech after the capture of Saddam Hussein:
The success of yesterday's mission is a tribute to our men and women now serving in Iraq. The operation was based on the superb work of intelligence analysts who found the dictator's footprints in a vast country. The operation was carried out with skill and precision by a brave fighting force. Our servicemen and women and our coalition allies have faced many dangers in the hunt for members of the fallen regime, and in their effort to bring hope and freedom to the Iraqi people. Their work continues and so do the risks. Today, on behalf of the nation, I thank the members of our Armed Forces and I congratulate them.
Barack Obama speech after the killing of bin Laden:
And so shortly after taking office, I directed Leon Panetta, the director of the CIA, to make the killing or capture of bin Laden the top priority of our war against al Qaeda, even as we continued our broader efforts to disrupt, dismantle, and defeat his network. Then, last August, after years of painstaking work by our intelligence community, I was briefed on a possible lead to bin Laden. It was far from certain, and it took many months to run this thread to ground. I met repeatedly with my national security team as we developed more information about the possibility that we had located bin Laden hiding within a compound deep inside of Pakistan . And finally, last week, I determined that we had enough intelligence to take action, and authorized an operation to get Osama bin Laden and bring him to justice. Today, at my direction, the United States launched a targeted operation against that compound in Abbottabad , Pakistan ..
Obama used the words I, me, or my over a dozen times in his entire speech. George Bush used them twice to say "I thank" and "I congratulate".
3 comments:
- Alligator said...
Today Obama praised the CIA, but in his praise he said "I, me or mine" 35 times. It's on the White House website: http://www.whitehouse.gov/the-press-office/2011/05/20/remarks-president-cia-director-leon-panetta-and-dni-director-james-clapp
"Although most individuals have some narcissistic traits, high levels of narcissism can manifest themselves as a pathological form... as narcissistic personality disorder, whereby the patient overestimates his or her abilities and has an excessive need for admiration or affirmation."
It is sad, but in my humble opinion the evidence overwhelmingly points to Obama having this disorder. How many of these signs has he publicly exhibited?
* An obvious self-focus in interpersonal exchanges
* Difficulty with empathy
* Problems distinguishing the self from others (e.g. "we" really means "me')
* Hypersensitivity to any sleights or imagined insults
* Haughty body language
* Flattery towards people who admire and affirm him or her
* Detesting those who do not admire him or her
* Using other people without considering the cost to them of doing so
* Pretending to be more important than he or she is
* Bragging (subtly but persistently) and exaggerating his or her achievements
* Claiming to be an "expert" at most things
* Inability to view the world from the perspective of other people
* Denial of remorse and gratitude
A lot of this develops when childhood relationships are erratic, unstable and without empathy. Obama never knew his real dad, briefly had a step dad of another nationality, mother died when he was young and he bounced around relatives and was finally raised by liberal grandparents.
That was not a childhood of stability and nurturing. It was not his fault he was born and raised in that circumstance. But in my opinion, it has given us a narcissistic commander-in-chief.
- 21 May, 2011 05:57
- The_Editrix said...
'gator! Good to have you back! Yes, that's an impressive list. I had to smile at this point: "Pretending to be more important than he or she is". It occurred to me that being elected President of the United States must be every narcissist's dream. The man creeps me out.
- 21 May, 2011 09:46
- Alligator said...
I just read the other day where the president was reminiscing about his dad (Obama Sr.) giving him his first basketball. Then he said he never understood why his dad left one day and didn't come home. However, the Obama family chronology doesn't allow for these events. The evidence says that Obama Sr. never lived with his "family" or else he took off shortly after Obama's birth and never saw him again.
There is so much censorship, sealed records and media smokescreens when it comes to Obama's background it is difficult to ascertain what when on in his life and when. This is the first president that I know of whose personal life remains so unknown and difficult to verify. That the president is "remembering" a father whom he never really met is rather disturbing. Even putting politics aside, do you want a person living a fantasy in charge of a nation? Oh we'd probably be terrified to see what really goes on in the hearts and minds of so many world leaders.
- 22 June, 2011 14:27


text:
The Joy of Six: Noah Van Sciver, Parallel Lives, D'Accord and More!
Posted by Andy Oliver on May 24, 2012
Small Pressganged is Broken Frontier's weekly column designed to shine a spotlight on the often overlooked world of small press and self-published comics. Every Thursday we provide a mix of review round-ups of the best of current small press comics and spot interviews with some of the movers and shakers of the scene.
This week's column is another rapidfire mini-review session looking at a half dozen diverse SP books and minicomics. As ever, prices quoted are the originals for point of origin. Please check out each individual store for details on international orders and postage and packaging costs.
The Death of Elijah Lovejoy
Noah Van Sciver (writer/artist)
Noah Van Sciver's minicomic The Death of Elijah Lovejoy provides a dramatic reconstruction of the final moments in the life of the nineteenth century newspaper editor and anti-slavery campaigner. In 1837, after becoming trapped in a warehouse defending his sole remaining printing press, Lovejoy was murdered by a baying pro-slavery mob. His legacy, however, would live on, ensuring the moral fortitude he exhibited throughout his short life would still be celebrated the best part of two centuries later.
Superficially, what we essentially get here are simply the last few violent minutes of one man's life. But the skill of Van Sciver's storytelling lies in the way that he manages, in that brief timeframe, to so fully encapsulate the principles and moral determination of this committed activist. By focusing largely on Lovejoy's brutal end he places into stark perspective the bravery of his stand and his dedication in putting the fight against the iniquity of slavery above his own life. Bookended by a text-based, scene-setting preface and similar postscript, it's a stirring account; the power of which is capably re-enforced by Van Sciver's animated artwork and intense sense of pacing.
A graphic monument to the work of the abolitionists this is also a minicomic with a beautifully produced, tactile appeal. Van Sciver has created a biographical, historical snapshot here that is a perfect example of how the comics form can be utilised to indelibly imprint its narrative themes on the reader's consciousness. Van Sciver's The Hypo from Fantagraphics this year can't come quickly enough...
The Death of Elijah Lovejoy is published by 2d Cloud and available from their site here priced $5.00. For more on the work of Noah Van Sciver visit his site here.
Parallel Lives
Anthology – Various creators
Parallel Lives is a one-shot publication showcasing the work of the young comic talents who took part in a six-month internship programme at the londonprintstudio overseen by Youth Arts Co-ordinator Karrie Fransman (whose graphic novel The House That Groaned I rather enthusiastically reviewed here at Broken Frontier earlier this year). The anthology contains work by both the interns (Merlin Evans, Lily-Rose Beardshaw, Susan Yan Mach, Abraham Christie, Jade Sarson and Shamisa Debroey) and other young artists involved in the project.
What's most pleasing about Parallel Lives from the reader's perspective is the way in which it represents a dazzling array of diverse storytelling styles, approaches and techniques. The highlight for me was the imaginative and intriguing 'Siddown!' by Jade Sarson set on a time-travelling commuter train. The six pages presented here are apparently part of a larger graphic novel which, one feels, will most definitely bear some watching out for. I was also rather taken by the beautiful flowing stylings of Evelyn Hewitt's 'Julie', Merlin Evans's haunting visualisation of the pain of separation between Napoleon and his love in 'To Josephine, 1796', and Lily-Rose Beardshaw's endearing examination of teenage bullying and isolation in 'Ham Sandwiches'.
As Dave McKean says in his foreword to Parallel Lives, this is a wonderful opportunity to experience the creative voices of a whole new generation of future comics creators. The Indie comics scene in the U.K. is currently undergoing something of a renaissance. It's an exciting time in terms of new writers and artists approaching the field in non-traditional, innovative and boundary-pushing ways, and projects like Parallel Lives are a fitting reflection of the talents of the next generation of creators ready to make their contributions to this welcome revitalisation of the form.
Parallel Lives is published by londonprintstudio and is still available on Amazon here priced £10.00. For more on the londonprintstudio's comics collective check out their blog here.
Too Much Sex & Violence #3
Rol Hirst (writer), various artists
One line particularly stuck out for me in the latest issue of Rol Hirst's absorbing and ever unnerving multi-artist jam Too Much Sex & Violence – "But you know how they say if you eat enough chicken you'll end up looking like a chicken? Turns out the same goes for self-loathing perverts." It's a soundbite that perfectly captures the sardonic wit of this book in beautifully-formed microcosm, and gives the newbie reader an idea of the creepy fun that awaits them in the pages of this ever-macabre comic.
This month in Fathomsby, the most disconcerting seaside resort in the British Isles, the various plot threads of the characters are beginning to intersect and weave around each other in intriguing and unexpected ways. Retired pensioner super-hero Harry Hall is having a guilt trip at squishing one of the annoying local kids in a fit of rage in #1, DI Sam Kamara is investigating the murder of the four-armed, double-penised gigolo from last issue, crime boss Dermot Kaye has his nose in everyone's business, and vampire DJ Gary Gore has concerns aplenty about the welfare of his similarly afflicted sister. Oh and there's also the usual mix of local perverts, Forrest Gump fetishists, mad scientists and shapeshifting prostitutes. That Coronation Street meets Twin Peaks meets early Peter Jackson splatstick riff isn't getting old...
After last issue's jaw-droppingly gruesome scenes depicting what, for now, I'll term in a semi-non-spoiler way as the awful affair of the plucked plum pudding, it was hard to see quite how Hirst could top that particular sequence in the grisly factor stakes. While he wisely doesn't try to trump that moment of spectacular goriness in this issue, there's still plenty of jolly lashings of morbid malevolence and humour so black it's positively stygian, all ably backed up by an artistic troupe that includes Rob Wells, Stephen Prestwood, Nigel Lowrey, Adrian Bamforth, Kelvin Green, Andrew Cheverton, Martin Eden and Chris Askham.
Underlining its position as the darkest, weirdest, fantasy comics soap opera currently out there, Too Much Sex & Violence #3 is another disturbingly delightful foray into our favourite ghoulish coastal resort.
You can order a copy of Too Much Sex & Violence #3 from Rol's online store here priced £2.75 and check out his site here for more about his comics work.
D'Accord #1
Anthology - Various creators
Solipsistic Pop, ink + PAPER, Paper Science, The Comix Reader… the list of current British SP anthologies goes on and on. Indeed, there's been something of a veritable explosion of books providing a platform for the diverse talents of a number of Brit creators in the last couple of years.
While each of the titles mentioned has its own distinctive feel in terms of either content or presentation, there is something of an overlap in terms of the same names popping up again across some of these publications. No bad thing for an appreciative readership, of course, but what about those newer or less exposed talents looking for an outlet for their work?
Enter that great stalwart of the Brit small press, Sean Azzopardi, and his anthology title D'Accord which tasks itself with promoting a number of creators whose work you probably won't have come across before, with a distinctly international flavour of contents. We have Marios Costantinides and Chris Malapitan from Cyprus, Shamisa Debroey from Belgium, Thomas Gosselin from France and Jessica Penfold from the U.K. And, of course, a contribution from Mr. Azzopardi himself!
Not all the material here is, strictly speaking, traditional sequential storytelling. Some of it reminded me of the (formerly) textless Nobrow Magazine offerings; lyrical imagery to visually digest and ruminate on. Other strips have a more conventional format. Shamisa Debroey's 'Casual Conversations' for example, which also appears in the Parallel Lives anthology, is a witty little slice-of-lifer set in a coffee shop and given far more space to breathe on the larger pages of D'Accord. And I was rather taken by the Mike McMahon-isms of Thomas Gosselin's tale of undead class divisions in 'English Zombie'. The standout for me, though, was Jessica Penfold's 'Second guess' which employs one of the most individual relationships between text and illustration that I've seen in a long while in a comic.
D'Accord is a great little taster for the work of a new(er) group of artists in a handsomely produced, slightly larger format. Outlets like this for exposing deserving unseen talent to a larger audience should always be appreciated for the welcome opportunity they provide for both creator and readership alike.
D'Accord is available via Sean Azzopardi's online store here priced £6.00. To find out more about Sean's body of work check out his site here.
The Lengths #6
Howard Hardiman (writer/artist)
Howard Hardiman's tale of "dog-headed whores" is one of those books regular Small Pressganged readers will have noticed I've championed on a couple of previous occasions in this column. For those unfamiliar with this bleak but addictive strip it follows former art school student Eddie who lives a duplicitous second life as gay escort "Ford". Hardiman renders every character in anthropomorphised dog form, effectively applying that old comics standby to imbue his cast with a resonant humanity ironically accentuated by their canine visual appearances.
Three quarters of the way through the series now and our protagonist is in a very dark place, no longer entirely sure where his life as prostitute Ford ends and his previous existence as Eddie begins. There's something quite hallucinatory in the brilliantly disquieting way in which Hardiman visually portrays Eddie's fractured sense of identity in this issue; his shattered mindscape exposed in expansive, flowing shots that often use whole haunting pages as single frames. The rambling, stream-of-consciousness narration emphasising this critical juncture in his life to cutting effect.
At this point in time if you've been reading this column since its inception and haven't been persuaded to pick up The Lengths (from my reviews of #1-4 here and #5 here) then I'm probably not going to convince you to this late in the game. That would be a real shame, though, because if you're not following The Lengths then, quite simply, you're not reading one of the most compelling, contemporary comics dramas in recent memory.
The Lengths #6 is priced £3.00 and can be bought from Howard's online shop here. For more on The Lengths check out the official site here.
Psircus #1
Daniel Bell (writer/artist), Katja Lindblom (artist), Iain Buchanan (artist)
Three interconnected stories make up creator Daniel Bell's portmanteau offering that combines asylum-based horror, super-powered assassins and a covert organisation run by none other than that great American showman P.T. Barnum! In 'Kathy Isn't Right' we learn some of the background of Barnum's mind-reading operative in the eponymous Psircus in a creepy tale with supernatural overtones. Then we're treated to some insights into the disturbing past of the telekinetic weapon known as Icarus, before being re-introduced to all three characters once again in their role as "the Psircus" when they use their gifts to bring a deeply unpleasant slimeball to poetic justice in the final story 'The Pull'.
The main drawback on a first reading of Psircus is that these three stories placed together, without any framing sequence, present a disjointed, slightly confusing narrative. It took me a couple of read-throughs to work out the full structural relationship between each story and, even then, there's still a jerky, fragmented feel to the proceedings. Now that's not to say there isn't promise in the premise. On the strength of the unsettling but effective third story I'm interested in seeing where Bell takes the strip in the future. He certainly knows how to structure the short story, that most difficult of all narrative forms to master. But I can't help thinking that a greater tying together of the disparate tales in this first offering, and an acknowledgement of the questions they posed, would have provided a stronger hook to entice the readership back.
However, there's a definite adult 2000AD Future Shocks vibe to the proceedings here that is certainly appealing, and the set-up is refreshingly different. The art is strong throughout, with each segment having its own distinct mood; from Lindblom's gloomy gothic environment in 'Kathy Isn't Right' to the tonal clarity of Buchanan's actioner 'Icarus', through to Bell's own tight and atmospheric visuals in 'The Pull'. I'll be intrigued to see how Bell develops the concept in the future. If a second issue elaborates on the premise to a greater degree, and emphasises the relationships between the cast more fully, this book should have a strong foundation to build on.
Psircus #1 is available from Daniel's online site here priced £3.00 as a print copy or for $0.99 at Graphicly for a digital copy. To find out more about Daniel's work check out his blog here.
Andy Oliver is Broken Frontier's Managing Editor and a contributor to Paul Gravett's 1001 Comics You Must Read Before You Die.
If you are a small press comics creator, or self-publisher, and would like your work to be reviewed in a future edition of Small Pressganged then e-mail Andy at email@example.com for further details. You can also follow Andy on Twitter here.
Related content
Related Headlines
- Celebrate Independence December 30th - written by Fletch Adams on Oct 15, 2009
- Billy, Me & You Sampler - written by Andy Oliver on Nov 3, 2011
- Comica Festival Comiket 2012 - written by Andy Oliver on Nov 9, 2012
- Marvel Comics Solicitations For May 2012 - written by Richard Boom on Feb 21, 2012
- 2d Cloud Announce New Comic by Noah Van Sciver and Nic Breutzman - written by Andy Oliver on Oct 31, 2012
Related Lowdowns
- Small Press-Ganged: PJANG - written by Andy Oliver on Jun 14, 2010
- APE Puts Two Thumbs Up - written by Frederik Hautain on Jan 22, 2005
- Martin Eden's Spandex Soap Opera - Part 1 - written by Andy Oliver on Sep 2, 2010
- Martin Eden's Spandex Soap Opera - Part 2 - written by Andy Oliver on Sep 3, 2010
- Making The List - A Reprise - written by Andy Oliver on May 24, 2011
Related Reviews
- PJANG #5 - written by Andy Oliver on Feb 21, 2011
- The Testament of Doktor Zeitpunkt #1 - written by Andy Oliver on May 31, 2011
- Hippy Jonny and the Banality of Life - written by Andy Oliver on Sep 13, 2011
- Billy, Me & You - written by Andy Oliver on Oct 24, 2011
- Things to Do in a Retirement Home Trailer Park ...When You're 29 and Unemployed - written by Andy Oliver on Jan 9, 2012
Related Columns
- Deception, Disaster and the Daily Grind - written by Andy Oliver on Dec 1, 2011
- Diaries and Depravity: Too Much Sex & Violence, Same Day Return and Golden Campaign - written by Andy Oliver on Jan 10, 2013
- Travellers' Tales: From Paper Science to The Red Ten - written by Andy Oliver on Mar 1, 2012
- The Lost Boys: From Killjoy to The Lengths - written by Andy Oliver on Mar 8, 2012
- From Dark Secrets to Depressed Cats - written by Andy Oliver on Nov 10, 2011
Richard Boom May 25, 2012 at 12:35am
interesting... always very cool to read them articles you craft!
Andy Oliver May 28, 2012 at 8:35pm
Thanks for the feedback Richard. Promoting this material is a real passion for me so feedback is always appreciated.
Richard Boom May 29, 2012 at 12:30am
from your articles I see a diversity of cool comics... some appear so cool that they make me think I am really silly about not liking them but others (like Psicircus) seem to have a real promise to me personally. I like that feeling :)
In order to post a comment you have to be logged in. Don't have a profile yet? Register now!


text:
Motions of Appointment
Appointment of Replacement Member of a Committee
Delegated Powers and Regulatory Reform The Senior Deputy Speaker (Lord McFall of Alcluith) moved that Baroness Andrews be appointed a member of the Select Committee in place of Baroness Dean of Thornton-le-Fylde, deceased. The motion was agreed to.
These are the speakers who discussed the Item of Business:
There are no speakers for this Item of Business
These are the divisions that occurred during this Item of Business:
There are no divisions for this Item of Business
Date and time
Tuesday 15 May 2018
Main Member
Associated Documents
Any useful documents relating to the subject matter of this Item of Business:
Further information links
These links can provide other ways of finding out about this Item of Business:


text:
|<< Previous photo | Latest photo | JH.com home | Archive | About/Links | Portfolio | RSS Feed | Next photo >>
Ring the Alarm
ISO: 100, Shutter speed: 1/200, Aperture: f/10,
Camera: Canon EOS 20D, Flash: Fill, Cropping: Minor,
Lens: Canon EF 35mm f/1.4L, Focal length: 35mm,
Captured: 30th March 2006, 3:48pm,
I've looked at this one loads of times over the past week and I've not really been sure what to do with it, processing wise. Anyway I gave it a bash today but I'm not sure if I like the result.
Permanent link to this page:
Bex, Thu 6th Apr, 2006, 2:45pm
chris, Thu 6th Apr, 2006, 2:49pm
chris, Thu 6th Apr, 2006, 2:50pm
lee, Thu 6th Apr, 2006, 4:44pm
Danielle, Thu 6th Apr, 2006, 5:26pm
Maile Lani, Thu 6th Apr, 2006, 7:46pm
milou, Thu 6th Apr, 2006, 8:09pm
Jonathan, Thu 6th Apr, 2006, 8:52pm
SysAgent, Thu 6th Apr, 2006, 10:43pm
JD, Fri 7th Apr, 2006, 6:47am
Jon, Fri 7th Apr, 2006, 12:44pm
Aaron @moeview, Fri 7th Apr, 2006, 12:52pm
To leave a comment, fill out the form below and click submit. The form should automatically remember your details (name/site) so you don't have to enter them next time.
Mailing List
If you would like to receive a link (or thumbnail picture, if you've got HTML enabled) via email every time a new picture is posted, please enter your email address into the box below and click submit. You can remove yourself from the list easily at any time and I promise I will NEVER use your address for spam or give it to anyone else.


text:
Membership Criteria
Cancer Center members are selected for their scientific excellence and for their commitment to work together in a scientific community.
Membership is available to Dartmouth faculty-at the assistant professor level or higher-who further the research mission of the Cancer Center through an active interest in cancer biology, prevention, treatment, or management. Each Investigator is appointed to a specific Research Program reflecting his/her interests, and is expected to participate fully in program activities.
Eligibility for membership is accorded to those who meet at least one of the following requirements:
- Have current cancer-related peer-reviewed funding as a principal investigator.
- Have had cancer-related research support within the past three calendar years and intend to continue in cancer research.
- Have not had cancer-related peer-reviewed funding as a principal investigator within the past three years BUT actively participate in cancer research that contributes to the Cancer Center's mission of collaborative cancer research. This interest is best demonstrated through participation on grants and publications.
- Participate in clinical cancer research through protocol development or implementation.
Members who provide support of clinical research, biostatistics, pathology, and the like, are considered central to the mission of the Cancer Center and its Research Programs.


text:
My last message to my girl?
I messaged this on Facebook to a girl whom I loved whole heartedly for 2 years. Well it was totally one sided but it was my first love. I tried and tried for 2 years to make things happen between us but sadly I didn't succeed. I was moving to a different place. So this was my goodbye message. This is not funny or sarcastic but it was straight from a broken heart.
Hey hii. I hope you are doing well. Don't be shocked or worried that I messaged you. I don't know you will even read it or not because I went on writing & message turned out to be really big :/ Nothing has happened nor it's an attempt to convince you 1 more time. I'm moving to a different location & so probably we won't face each other again in our life. I know you don't care about that but seeing you at least for a second in a day used to matter a lot to me. I wanted to assure you that there won't be any trouble in your life again because of me.
I consider myself very unlucky to have lost something which was very precious for me even after trying for 2 years & only I know what a big loss it is. Its going to hurt me for long long time & probably forever. I waited & waited for things & my life to change. The more I waited with a hope the more it pained but I will never regret it because I know waiting for you was worth all the pain. But at some point I have to realize that I have done too much for someone, that the only next possible step is to stop. Leave you alone & walk away. It's not like I am giving up, & it's not like I didn't try. It's just that I have to draw a line of determination from desperation. What is truly mine will eventually be mine, & what is not, no matter how hard I try it will never be.
You were not wrong in how you behave in all these years in my case. If anyone tells me you were wrong or anything then I can prove him that what you did is something any decent girl will do in similar situation. I never wanted to trouble or irritate you but if I did then I am really sorry but that was purely accidental and not at all intentional. Failing to get what you love so much after waiting for so long hurts to be honest but at least I got to experience what love is when so many people don't & thanks a million times for that. If not you then it would have been no one even till now. I have experienced best and worst part of loving someone but I am going to remember you only for the best part.
I'll just pray that you remain happy always & wish you loads of success. Other than your family if there is that 1 person who will be the most happy to see you successful then that's me. If I can ever play any role in your success then I'll be more than happy to do that. Whenever you go through a tough time, never forget I am there somewhere praying for you & your happiness even though I won't be part of your life. Life is not easy as I found out, but I wish & hope that you will triumph in all situation & tough times. I did few things for your good about which you are unaware but henceforth I'll stop doing them not because I no more care for you but because you don't want me to be that person who should think about your good. Though a bit difficult but I'll try to move on & you delete my chapter from your life & live happily.
I can talk about you for long time but I guess I should stop now already that message has become big.
Lastly, sorry for everything. You are a nice person, never let anything change it. All the best for your future. Take care 🙂
I never expected she would reply to me. But she is nice enough to reply me saying "All the best for your future endeavour"
I really missed her but hope some angel will come into my life and cure all my painJ After love is not about always winning but it's about losing something for the sake of other's happiness.


text:
The Mesh dress is made it from high quality textures. She is available in 8 colors 5 sizes and 2 alphas. The stocking fishnet is in packege. Wanna be sexy? Well go in store and try Demo :p
Also the dress have applier which work with LOLAS TANGO MESH BREAST. The dress you can wear it with your mesh breasts or without them.
Fat Pack
Applier for breast implants----------------------------------------------------------------------------
This is ONLY APPLIER for {ViSion} S&F -Mesh Dress Opium ( dress is not included) . The applier Works ONLY with Lolas Tango Mesh .


text:
Shopify POS FAQ
Still have questions about Shopify POS? You might find your answers here.
Getting started
What does Shopify POS do?
Shopify POS is an application for iOS and Android devices that you can use for transactions in a physical store or pop-up setting. Find products, process orders, take payment, swipe credit cards, produce receipts, and control it all from your iPad or mobile device. All the background management of your store is done from your Shopify admin, which you can access using any browser.
What iPad, iPhone, and Android versions does Shopify POS work with?
The Shopify POS app works with the following devices:
|iPhone 5 or better running iOS 10 or higher
|Generation 4 or better running iOS 10 or higher
|iPad mini
|Generation 2 or higher running iOS 10 or higher
|Android device running version 5.0 (Lollipop) or higher
How do I start using Shopify POS?
First, install the app. If you already have a Shopify account, then log in to Shopify POS using your credentials, and the app will load your store's products. If you don't have an account yet, you can begin a 14-day free trial and start creating products directly from the app.
Why do I need a Shopify store if I don't want to sell online?
Your Shopify store is the back end of your Shopify POS system. You manage your customer information, your Shopify account, and your product inventory from your Shopify admin, which you can access from any browser. The Shopify POS app handles customer-facing activities and your in-store settings.
What do I need apart from the app?
Shopify POS works with a variety of retail hardware, such as a cash drawer, iPad stand, receipt printer, and barcode scanner, but you can process sales without these items. The only essentials are an iPad or iPhone, the Shopify POS app, a Shopify store (which you can create from the app), and a product to sell. Shopify POS hardware is available from the Shopify Hardware Store in the continental United States, Canada, the United Kingdom, and Ireland.
Can I merge my Shopify online store with Shopify POS?
Yes. Your Shopify online store automatically synchronizes with Shopify POS, and you manage your entire business from one dashboard. Product or inventory updates that you make in your Shopify admin will instantly take effect in Shopify POS.
Is there a limit to the number of products I can have in my catalog?
No. There is no limit to the number of products that you can create, but there is a limit to the number of products that you can have in your catalog before your POS device might start to experience performance issues:
Device Number of products Number of variants iPad 2 2,000 4,000 iPad 3 3,000 6,000 iPad 4 3,000 6,000 iPad 5 5,000 8,000 iPad mini (All models) 3,000 6,000 iPad Air 5,000 8,000 iPad Pro 9.7" 5,000 8,000 iPad Pro 10.5" 7,000 10,000 iPad Pro 12.9" 7,000 10,000
Do I have to sell the same products in-store as I do online?
No. When you add products in your Shopify admin, you can decide whether to make them available online, in-store, or both.
Does the app work in every country and currency?
Almost. You can use Shopify POS worldwide, but your store needs to be based in a country where Shopify has supported credit card payment providers.
Your store
Can I use Shopify POS if I have multiple cash registers in use at the same time?
Yes. You can install Shopify POS on multiple devices, and you won't be charged any extra. Store activity on all devices is synchronized with your Shopify admin.
Can I use Shopify POS if I have multiple retail outlets?
Yes. You can add multiple locations in your Shopify admin. The maximum number of locations that you can have depends on your Shopify plan.
Can I use Shopify POS if I have more than one employee?
Yes. Shopify POS for iPad on the Shopify plan or higher includes staff accounts, and you can set up accounts for any number of employees.
Do I have to re-add all my products from my online store to Shopify POS?
No. You can add all products in your Shopify admin whether you'll be selling them online or with Shopify POS. Products that you've set to be available on Shopify POS are automatically loaded when you log in to the app.
Accepting payments
What methods of payment can my customers use?
If you're using Shopify POS for iPad or iPhone, you can accept any method of payment. If you're in the United States or Canada, you can swipe credit cards using your iPad and iPhone. If you're in the United States the United Kingdom, or Ireland, then you can accept credit card and contactless payments using the EMV-compliant Tap, Chip, and Swipe card reader.
Outside the United States, the United Kingdom, Ireland, and Canada, you can buy or rent an external credit card terminal from a payment processor (a credit card terminal is any device that allows you to accept credit cards and debit cards). If you're using Shopify POS for Android, then you can accept cash and credit payments, and you can swipe credit cards with the Swipe (audio-jack) card reader.
Can I split a payment on Shopify POS?
Yes. If you're using Shopify POS for iPad or iPhone, you can use multiple payment methods on a single transaction. You can also offer partial payments if you want to let your customer pay the balance at a later time.
Can I use Shopify POS with my own payment terminal?
Yes. If you're using Shopify POS for iPad, then you can create custom payment options within the app such as cash, debit, or IOU, and record any type of payment. Any payment options you enable will also be available in Shopify POS for iPhone. If you're using Shopify POS for Android, you must use the Swipe (audio-jack) card reader.
Can I give refunds?
Yes. If you're using Shopify POS for iPad, you can use the app to refund a purchase, as long as the purchase was made on Shopify POS. If you're using Shopify POS for iPhone or Android, you can refund an order from your Shopify admin or the Shopify app.
How do I exchange an item using Shopify POS?
The best way to exchange an item is to refund the item first, then offer the customer a store credit.
Are there any transaction fees or hidden fees I should worry about?
Shopify will not charge additional transaction fees for POS orders. If you're using a Shopify card reader with Shopify Payments or a supported credit card payment provider, you'll pay only the credit card processing fee. Shopify won't charge you for accepting any other type of payment such as cash, external debit, or external credit. If you use an external credit card terminal, you will be charged transaction fees by your payment processor.
Can I use a Shopify card reader when I travel outside the United States, Canada, the United Kingdom, and Ireland?
Yes. If your store is based in the United States, Canada, the United Kingdom, or Ireland, then you can use a Shopify card reader to accept credit card payments anywhere in the world with an internet connection.
Gift cards
Can I use gift cards with Shopify POS?
Yes, if you're on the Shopify plan or higher. Take a look at the documentation for gift cards on Shopify POS.
What if a customer loses their gift card?
If a customer loses their gift card, you can issue a replacement.
Can I make a refund to a gift card on Shopify POS?
Yes. You can make a refund to the same gift card that was used to make the purchase, and the balance on the gift card will be automatically updated.
Can I refund a gift card on Shopify POS?
Yes. Just like any other product, you can refund a gift card if a customer wants to return it. Before you make the refund, you'll need to disable the gift card.
International merchants
Can I use Shopify POS if my store's based outside the United States, Canada, the United Kingdom, and Ireland?
Yes. If your store's based in a country where Shopify has supported credit card payment providers, then you can use Shopify POS. There are two important considerations:
- You'll have to buy the supported hardware through an external retailer.
- You'll have to use an external credit card terminal to accept credit cards.
Where can I buy a cash register, receipt printer, and other hardware?
You can buy hardware kits and individual items of supported hardware from the Shopify Hardware Store in the continental United States, Canada, the United Kingdom, and Ireland. Outside these countries, supported hardware is available from authorized resellers.
I already own some hardware. Can I re-use it with Shopify POS?
Possibly. When you migrate from another platform, you might be able to re-use some of your hardware.
What is a card reader and how much does it cost?
If you're in the continental United States, Canada, the United Kingdom, or Ireland, then you can use a Shopify card reader to swipe credit cards and take payment. A Shopify card reader is very affordable, and you'll benefit from low credit card swipe rates using Shopify Payments. Simply plug the reader into your POS device, and your customers can sign their names right on the screen, with signatures stored safely online.
Does Shopify sell hardware outside the United States, Canada, the United Kingdom, and Ireland?
We currently do not sell our hardware kits outside the continental United States, Canada, the United Kingdom, and Ireland.
Your account
How much does Shopify POS cost?
All Shopify plans (starting at $9/month) include access to Shopify POS. To use its advanced features, such as staff management and hardware integration, you need to be on the Shopify plan or higher.
Do I need to enter my credit card to sign up?
No. You can sign up and use Shopify POS for 14 days without a credit card. At the end of your free trial, you can pick a plan and enter your credit card details. If you want to start making sales and processing payments during your 14-day free trial, you'll have to choose a plan and enter your credit card, but you won't be charged until the end of your trial.
How is Shopify POS billed?
Billing for Shopify POS is subscription-based, which means your credit card is charged automatically once every charging period. The charging period used by Shopify is 30 days, so you're charged 12 times in a 365-day period. The amount you pay will vary depending on the plan you choose and how you pay transaction fees.
How do I get paid with Shopify POS?
Payments collected using Shopify POS are transferred to your merchant account.
I have more than one retail location. How will I be billed?
The maximum number of locations that you can have depends on your Shopify plan.
Have a question not listed here? Browse the Shopify POS docs, email us, or start a live chat.


text:
This site uses cookies to improve the user experience. By your continued use of the site, you accept such use. Learn more here.
Home of Scandinavian Design
Monday - Friday: 8:00 - 16.00 (CET)
GRAND OPENINGScandinavian Design Center is now Nordic Nest and we are celebrating with 15-70% OFF EVERYTHING!This weekend only - Shop now!*Valid until 11.59 PM CET on 26th May 2019. Read more.
The charming Olivia sugar bowl comes from the Danish brand Superliving and is made of high quality bone china. The bowl has a trendy design with retro inspired pattern with a mix of black stripes and pastel colored drops. The bowl is perfect to use when having coffee or tea and is also a pretty interior detail. Combine the sugar bowl together with other fine pieces from the Olivia series! Choose between different colors.


text:
Graeme Timmins: Designing 'Aliens: Colonial Marines'
Graeme Timmins started designing mod levels for first-person shooters like Quake, but he didn't think about a career in game development until a Seattle company wanted to recruit him straight out of high school. Now as lead level designer for Gearbox Software, Timmins is parlaying his passion for shooters into titles like Aliens: Colonial Marines.
It was one of the most highly anticipated games of the year. When the Gearbox Software announced they were rebooting the Aliens film franchise into a first-person shooter, fans of both the studio's previous games and the Ridley Scott/James Cameron films were eager to see the game's H.R. Giger-inspired aesthetic. When Aliens: Colonial Marines was released this past February, it received harsh criticism for both the gameplay and for looking significantly different than promotional demos presented earlier.
If the game proves anything, it's that critic opinion isn't always indicative of sales. Aliens: Colonial Marines debuted at number one in the U.K. and sold more than 1.31 million copies worldwide between February and May. Graeme Timmins, a lead level designer at Gearbox, worked on the game during its last year of development. Coming to Aliens: Colonial Marines after working on other titles like Brothers in Arms: Earned in Blood, Borderlands, and Borderlands 2, Timmins chatted with Get In about the challenges of creating a game from an already heralded film franchise and what it takes to work at Gearbox.
Graeme Timmins: Level designers, we like to be inspired by anything we can get our hands on, and to have Fox be gracious enough to give us some of the original environment concept art, it's like amazing to a level designer to see that because we can understand how to build the environment. As a level designer, you're putting together many pieces of art to form a space. They're all separate pieces. To get art from the original set designers, you get an idea of, "OK, this column should be here and next should be made of up three wall pieces and then I put a column again." It just gives you really great insight on how to build that environment that you saw in the film. When you're watching it, you don't necessarily understand how each piece is put together, but when you have that piece of concept art given to you, you have a much clearer vision of how to replicate that because you have the blueprint for it yourself.
GT: There are certain expectations for what the look and feel of a game is when it's based on an existing franchise that you have to aim to achieve. … You have expectations of scale for the environment that, as a level designer, you have to achieve given the types of art that were in the film, but also, you have to make the space feel good for a game. Movie franchises and games are experienced differently. One is an active role and the other is a passive role. When you're in an active world, you want to be able to explore it, but sometimes a movie set isn't that fun to explore. Level designers are kind of constantly pressed up against making a space that's enjoyable to play but also achieve the visual look and feel from the film.
GT: A lot of it goes by gut. A lot of the guys that make games play games obviously. We're big gamers at Gearbox. We use our gut first to imagine what we want to achieve and we document that as a starting point and then we build it [and] it goes through tons of iteration. We try one thing, if we don't like it, we'll throw it out. We'll redo sections of levels frequently and we'll keep iterating on the level until we feel that it's in a good state to show it. Gearbox has a focus department where we have individuals come and playtest our work. Then we get tons of great data from that department on what players like, what they didn't like, what kinds of things they'd like to see changed, and then we incorporate that into our iteration to try to make the best possible piece of level design.
GT: It really depends on the game. Each game that you play, that you work on, has a kind of flow or pace to it and you don't necessarily know that flow right when you begin. It comes to back to that whole idea of iteration because as you're starting with a game you don't have all the pieces up front. As a level designer, you're working with things as they come online, so you might build half a level without any AI [artificial intelligence] development going on. You have to imagine how enemies are going to use the space. When you actually get that enemy, it might completely change how you think about your space. It might completely change how the pacing of that level is, so in turn it changes how big you envision the level being.
In general, on major projects, we have goals for how long we want the player to play the single-player game or be engaged in whatever form of content. You go in saying, "OK, I'm imagining this level being 20 to 40 minutes long if I get these things." As you go, you'll find out if you got all the pieces that you wanted. Did you get all the art? Are you going to get all the enemies that you requested? Are you going to get all the animation?. Depending on how things come together, you'll start to feel that pace. You'll start to feel that groove and it's very easy to find, "Oh man, this level is feeling great" and then it ends. We can probably extend this moment and get more value out of it, or a level can feel like it's dragging. It's like, "OK, I'm starting to do repetitive actions too frequently and I'm kind of getting worn out," so you'll chop some of that content away to try to find that right amount of time. It's very different for every project.
GT: It was really taking the film and trying to find the things that players connected with and understanding how to translate that into our medium. That was very difficult.
GT: Pretty closely. He wrote other projects here at Gearbox. He wrote the Brothers in Arms franchise. He wrote Borderlands. I had worked with Mikey before. He's a writer, so he's able to look at a story completely different than I do. He thinks about characters and emotion and arc whereas I look at environments and layout and lights. … We had to work together, kind of saying, "These are the kind of environments I care about as a level designer and these are the kinds of things we'd like to see happen there," and he'd come with, "These are the characters I have in my mind and these are the stories that I want to tell with them." We'd have to, along with the creative director John Mulkey, the three of us, figure out how we could tell an interesting story that Mikey's proud of and that also makes sure we have excitement about what environments we're building. The script went through several iterations, just like any other game, until everyone was happy with what we had. It's, again, a lot of iteration and just working together with people that have a different perspective but all working towards the same goal.
GT: I like to see strong design in the sense of the space, have strong silhouette, I can follow the environment with my eyes well. … In terms of what the actual portfolio is, in terms of presentation, it's important to have lots of screenshots that are large, easy to get at, that highlight the strongest parts of your work. It's important that, for me, when I'm reviewing people who are applying to come here to Gearbox, I want to quickly see what they're good at, making sure to take a critical eye of their own work, finding the best stuff that they're proud of, and giving some great shots that I can get to immediately from their website or, if they're in a packet of data they're sending like a zip file, get that stuff easily readable quickly. That's really important for me. When I get a portfolio that comes by that all the screenshots are small on the website or it's a busy website and there's a lot of stuff going on, that is kind of a turnoff. I just want to see what you're good at clearly and that goes for just about anybody.
In terms of what we're looking for, in terms of what those screenshots are, what's your best work? Again, we like to see people that are capable of doing a little bit of everything, whether that's scripting and taking screenshots of your script, whether that's text, or if it's digitally based on a base like on Kismet [visual scripting system]. Those are helpful because that gives us an idea of how clean your scripting is. If you're more visually oriented, you want to see those great pieces of environment put together and highlight what you've done. If you've done the lighting yourself, if you've done the particle systems, call out the work that you've done in each shot. Highlight all those great pieces of your work and then [include] short descriptions of what you did in each of those screenshots that were yours and what your thought process was behind it.
GT: Great communication skills. When I was at Central Michigan [University], my minor was in journalism and I'm so thankful that I followed through on that because I learned a lot of communication skills. In game development, you will be working with a group of people everyday. No level is done in a vacuum…
Communication skills are a big deal to me and a lot of people throughout the industry. A great personality. A positive personality. Your work is going to be worked on by other people. There's a tendency in any creative field [to think that] your work is your work. You have to execute what you see and it's hard to let other people take it and it's hard to take criticism. Having a positive attitude that's open to constructive criticism and then acting on that in a positive way is so critical to what we do. Those two things, having a positive attitude and fantastic communication skills will take you very, very, very far.
Aliens: Colonial Marines is currently available on XBOX, Playstation 3, and Microsoft Windows. Timmins says that future game developers who want to get a taste of Unreal, the game engine licensed by Gearbox, can do so by downloading a free Unreal Developers Kit here.
Tagged As:
Related Content
Have some feedback for our editors? Contact Us


text:
EICS Community Information
The mission of the Engineering Interactive Computer Systems community is to investigate concepts, methods and tools which support the construction and analysis of user interfaces.
We encourage research contributions that support the development of large and complex systems, investigate the engineering issues relevant to development of important classes of system, and advance rigorous analytic methods appropriate for application in areas such as safety critical systems.
We aim to advance the state of the art in engineering approaches to HCI. Engineering emphasizes the application of scientific knowledge and rigorous design methods to predictably and reliably improve the consistency, usability, scalability, economy and dependability of interactive systems. In HCI, engineering approaches are broad, they include:
- Systematic, scientifically grounded methods for interactive system design and evaluation that will enable more rapid; consistent and reliable development of new interactive systems;
- Methods, languages, processes and tools that embody scientific knowledge to improve interactive systems;
- New software and hardware technologies that enable effective solutions to design problems;
- Studying the performance and behavior of existing interactive systems.
HCI and Software Engineering researchers grapple with many of the same issues (and the overlap has increased in recent years). However, surprisingly little interaction between the disciplines is evident in the literature, due partly to the lack of an appropriate publication venue. We seek to address this issue, and establishing the ACM SIGCHI Symposium on Engineering Interactive Computing Systems (http://eics-conference.org/) constitutes a significant step in this direction. Much more needs to be done, and we would encourage everyone with an interest in engineering challenges in HCI to join the community and in the development of this area!
Document Actions


text:
From The Art and Popular Culture Encyclopedia
Related e
Trashfiction.co.uk is a site dedicated to 20th century pulp fiction with profiles on imprints such as Luxor Press. The webmaster is Alwyn W Turner. The site is dedicated to and has reviews of paperbacks of the following publishers:
- Ace - Arrow - Ballantine - Bantam - Consul - Corgi - Coronet - Dell - Digit - Everest - Fontana - Four Square - Futura - Granada - Mayflower - Methuen
For the genre see pulp literature.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Trashfiction.co.uk" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice.


text:
Inside Llewyn Davis is the upcoming examination of a specific historical music culture from Ethan and Joel Coen. The film takes place over a week in the life of the eponymous character - loosely based on the real-life folk musician Dave van Ronk - as he navigates the New York Greenwich Village scene, back during the 1960s. Along the way, he inadvertently "steals" his neighbor's cat, has a series of rough encounters with an eclectic collection of fellow musicians, and struggles to find any satisfaction in either his professional career or personal endeavors.
The second Llewyn Davis theatrical preview - not counting the early screening promo or red-band trailer - goes into these story details with greater depth than previous trailers. However, the Coen Brothers' latest project is clearly more about the time, place and colorful characters who populate the film's beautifully-shot setting (courtesy of cinematographer Bruno Delbonnel); not to mention, the sort of sardonic humor and peculiar moments where the Coens manage to be sincere and philosophical, yet not even remotely serious (see: Llewyn pondering the scribble graffiti on the inside of a bathroom stall).
... And I mean that in the most endearing sense possible, as someone who loves just about every movie the Coen Brothers have ever made (and is looking forward to seeing Inside Llewyn Davis on the big screen).
It'll be interesting to see how Inside Llewyn Davis fares during the fast-approaching awards season, especially now that the marketing has begun for other Academy-friendly titles on the horizon. The Coen Brothers have won four Oscars total - for writing Fargo and writing, directing, and producing No Country for Old Men - which could have an effect on their chances of taking home even more golden statuettes (passing over whether they deserve them). Regardless, their new film seem very much worth checking out when it opens in theaters.
Oscar Isaac (The Bourne Legacy) is headlining as Llewyn Davis, with Carey Mulligan (The Great Gatsby) playing opposite him as Llewyn's sorta-ex-girlfriend. Rounding out the supporting cast are people like the Coen Brothers' frequent collaborator John Goodman (The Monuments Men), Justin Timberlake (Runner Runner), Garrett Hedlund (TRON: Legacy), F. Murray Abraham (Homeland) and Adam Driver (Girls).
Inside Llewyn Davis begins a limited U.S. theatrical release on December 6th, 2013, before it goes wide two weeks later on the 20th.
Source: Yahoo! Movies