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FURMAN EXTENDS DOWNTOWN GREENVILLE FOOTPRINT TO ONE CITY PLAZA
Compliments Furman University News
Furman is expanding its downtown presence – and planning one of the school's greatest investments in the Greenville community – with the addition of a 2,000-square-foot space on the ground floor of 101 N. Main St. in One City Plaza.
The storefront suite in the former Bank of America building next to Methodical Coffee is being designed as "an experiential learning environment," said Anthony Herrera, Furman's chief innovation officer and executive director of The Institute for Innovation and Entrepreneurship.
"This will be one of our most visible commitments to connect Furman's main campus with the local community," he said.
The One City Plaza location is the latest example of Furman's growing presence and engagement with the community, said Liz Seman, chief of staff and liaison to Furman's Board of Trustees.
"From the West End to Heritage Green, to our beautiful campus on Poinsett Highway, Furman is proud to be Greenville's University," said Seman. "We are excited to add the space at One City Plaza to our downtown footprint. Students, faculty, staff and alumni will now have the opportunity to engage with the Greenville community at Fluor Field, M. Judson Booksellers, the Upcountry History Museum and the Bon Secours Wellness Arena. All of these venues provide unique opportunities for collaboration and high-impact experiences, which are the hallmark of The Furman Advantage."
A multipurpose area with flexible furniture, the space will be quickly convertible to host a wide array of programs, workshops and events, Herrera said. Select graduate and undergraduate courses, continuing education certificates, workshops, speaker series and networking events will be delivered throughout the week to develop leaders and "lifelong learners" throughout the city.
Along with the Institute for Innovation and Entrepreneurship, Furman's three other institutes – The Riley Institute, The Shi Institute for Sustainable Communities and The Institute for Advancement of Community Health – will offer programming. Furman's Center for Corporate and Professional Development and the Osher Lifelong Learning Institute, as well as the school's academic, alumni relations and athletics departments, will also present events.
The facility, expected to open later this year or soon after the new year, can benefit both Furman and Greenville by encouraging students to ultimately get full-time positions and stay in the city, said Herrera.
"This space will connect our students and faculty more intentionally with the business and nonprofit community for a pipeline of talent for internships, full-time jobs, research and impactful collaborations," he said. "It will further carry out Furman's mission of delivering transformative experiences for lifelong learners. We want to expand our commitment to serving the Greenville community and ensuring Greenville continues to thrive."
Another catalyst for the development is this fall's launch of the GVL Starts program, an eight-week program for aspiring entrepreneurs to network and learn skills to develop their potential startups and small businesses, he said.
The ground floor space won't be the only place to find Furman purple in the former Bank of America building. In December 2020, Furman University President Elizabeth Davis announced that the Institute for Innovation and Entrepreneurship will join the city of Greenville's economic development team in locating offices in downtown Greenville with NEXT, an entrepreneurial-support organization that operates under the Greenville Chamber Foundation, on the third floor of 101 N. Main St.
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Education > Webinar > Oral Health and COVID-19
Oral Health and COVID-19
Following the publication of Dr. Sampson's findings in the British Dental Journal in June, she will be addressing the topic of how and why there is a connection between the oral microbiome and complications arising from COVID-19.
Is there a connection between oral health and complications arising from COVID-19?
Following the publication of Dr. Sampson's findings in the British Dental Journal in June, she will be addressing the topic of how and why there is a connection between the oral microbiome and complications arising from COVID-19. She will touch on how the oral microbiome connects all of the established risk factors for developing complications from COVID-19, and how oral hygiene is paramount to reduce bacterial load and dysbiosis. She will also discuss further research that she is conducting within this field.
The following topics will be addressed:
What is SARS-COV-2 and how similar is it to other viruses we have had?
What are the established risk factors for developing complications from SARS-COV-2?
What causes a patient to have a severe case of SARS-COV-2 instead of a mild case?
Does bacteria play a role in a SARS-COV-2?
Do SARS-COV-2 patients suffer from bacterial superinfections?
Does the oral microbiome have any impact on developing SARS-COV-2 complications?
Is there a connection between periodontal disease and SARS-COV-2 complications?
Could improving oral health reduce the risk of complications from COVID-19? What improvements can be made?
download slides pdf
Dr Victoria Sampson BDS U(Lon) MFDS RCS Ed
Dr Victoria Sampson obtained her Bachelor in Dental Surgery from Barts and the London, where she was also chosen to represent the UK in a four-month training program at the renowned Karolinska Institute in Sweden. She then completed her Foundation Training in West Hampstead, ranking in the top 100 newly qualified dentists in the country. Victoria endeavours to deliver the highest standard of care to her patients through sound academic knowledge and good communication skills. She is particularly passionate about encompassing all aspects of health into achieving a healthy and and aesthetically pleasing mouth. Victoria pays particular attention to the connection between the mouth and the rest of the body, and sees the mouth as a mirror of your general health.
She is able to communicate effectively with patients of all ages and strives to form lasting relationships with all of her patients. Victoria takes a preventative approach to dentistry, attempting to make treatment as minimally invasive as possible.
Victoria has been at the forefront of change in dentistry, by undertaking research projects in multiple fields of dentistry and taking a special interest in the relationship between the mouth and the body. She has published numerous papers both in the UK and internationally, and won the national undergraduate prize for the British Society of Dental Maxillofacial Radiology, the Association of British Academic Oral and Maxillofacial Surgeons and most recently the best Young Dentist Award by the British Endodontic Society.

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From a toy drive to a Saks Fifth Avenue-endorsed show. This is Catwalk for Charity
0 0 Wednesday, October 31, 2018 Edit this post
© Judith Joseph Judith Joseph, founder of the non-profit Catwalk for Charity, with students from Ecole Nouvelle Zoranje in Port-au-Prince in July, 2018. Her charity has an annual fashion show in Miami to raise money for various organizations in Haiti, including PRODEV, which is an education nonprofit that created the school.
By Aisha Powell, Miami Herald
Judith Joseph began with a simple mission — to uplift Haitian children in Miami during the holiday season.
She billed her event as Breakfast with Santa, where hundreds of kids from Miami's Little Haiti neighborhood enjoyed a hearty breakfast at a local Marriott hotel, and hang out with Santa Claus.
But after five years of email blasts and putting up fliers trying to get Haitians to donate toys for poor kids, Joseph decided she needed another strategy to attract donations.
"It got to a point where we would just go and buy toys for each of them," said Joseph, now an event planner who lives in Boca Raton. "Like $7-$10 per toy."
Then one day in 2011, as she and her friends brainstormed ideas on how to raise funds, Joseph thought: How about holding an annual fashion show? It was a perfect fit with Miami's runway-inspired scene, said Jean-Raymond Alexandre, a friend.
"Even if it's for charity, people in Miami want to dress up," Alexandre said.
Catwalk for Charity was soon born. Joseph, who had been thinking about the children in her Haitian homeland, which the year before had been struck by a tragic earthquake, also changed the focus.
And instead of using the fashion-inspired fundraiser to benefit children in Miami, she decided that children in Haiti needed it more.
For the past seven years, the star-studded event featuring celebrity hosts, top designers and high-end department stores like Neiman Marcus and Saks Fifth Avenue, has raised over $200,000 to benefit thousands of Haitian children.
For a week in December, she and her team of Catwalk for Charity volunteers travel to Port-au-Prince, rent buses, and invite hundreds of children to the Marriott for a huge breakfast, toy giveaway and of course, a meeting with Santa.
"What matters to me is helping kids," said Joseph. "Nothing else matters."
The children are selected by schools and hospitals and come from underprivileged communities like Cite Soleil, the eight-square-mile slum in Haiti with no sewage system and barely any power.
They also come from orphanages around the Haitian capital. The team also provide toys to sick children at the State University of Haiti, also known as the General Hospital, and some 800 children at Special Olympics Haiti, which trains children and adults with different intellectual or physical disabilities.
But as she traveled more and more to Haiti, she saw that the children needed something more substantial: They needed a better education.
In 2015, a common friend introduced Joseph to Maryse Penette-Kedar, the board president of PRODEV, an educational nonprofit. Founded in 1995 by Penette-Kedar's husband Daniel Kedar, and late father, Max Penette, a professor and former mayor of Petion-Ville . PRODEV began as a small family foundation that sent children to school who otherwise couldn't afford it.
After the earthquake, Penette-Kedar took the foundation to another level She built its first school, Ecole Nouvelle Zoranje, in Port-au-Prince and launched a training program for teachers throughout the country.
"We believe that this (education) is one of the biggest problems in Haiti," Penette-Kedar the said. "We've created a model of what quality education can be."
She and Joseph instantly hit it off when they met.
"We are obsessed with PRODEV," Joseph said. "To me, it is a hidden gem in Haiti. If we had 10 PRODEVs, wow, it would make such a difference."
In addition to training teachers, PRODEV tries to provide students with a top-tier education in a country where only 61 percent of the population is literate, compared with 92 percent in other developing Latin American and Caribbean nations, according to the CIA's World Factbook.
PRODEV's students are encouraged to communicate their feelings to staff and no corporal punishment is allowed — which is unusual in Haiti, where teachers are allowed to discipline students.
Get breaking news and in-depth coverage at Daily News
Offbeat - U.S. Daily News: From a toy drive to a Saks Fifth Avenue-endorsed show. This is Catwalk for Charity
https://3.bp.blogspot.com/-O__dNuJOUrg/W9lew_Xd7NI/AAAAAAABHD0/g3vBuXRw2-szJo8DMsZvna6vw35AqUvnACEwYBhgL/s1600/3.jpg
https://3.bp.blogspot.com/-O__dNuJOUrg/W9lew_Xd7NI/AAAAAAABHD0/g3vBuXRw2-szJo8DMsZvna6vw35AqUvnACEwYBhgL/s72-c/3.jpg
https://offbeat.dailynews.us.com/2018/10/from-toy-drive-to-saks-fifth-avenue.html


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Tallafornia star Phil Penny says wild days are over as he prepares to become a dad
He'd once boasted that he'd bedded over 100 women
Sylvia Pownall
Tallafornia star Phil Penny on First Dates
Tallafornia star Phil Penny says his wild days are over – as he prepares to become a dad.
The Dubliner, 33, is expecting a son with his 31-year-old partner Laura, who is due to give birth to baby Cameron at the Coombe Hospital today.
Phil, who once boasted he'd bedded over 100 women, revealed his good news just days before viewers get to see him on RTE's First Dates for a second time.
Who is Phil Penny? Former Tallafornia star on First Dates Ireland
He told the Irish Sunday Mirror: "Around the time of filming I was seeing Laura on and off. Shortly after filming the show we started taking it more seriously. Then we found out she was pregnant… we're looking to get a place together.
"I think that I've matured now that I'm going to be a dad, it makes you grow up very fast."
Phil came in for some flak after his drunken appearance on the hit show last year when he told his dinner date she had "a nice hoop" and "perky set of t**s".
The cast of Tallafornia back in the day
He said: "I was very bad last year. I got a lot of negative comments. I wanted to redeem myself, to do it alcohol-free this time and show people the real me. I was embarrassed about last year's show. My mother wasn't impressed. She rang me and said I made an idiot of myself. I felt like I let her down.
"But this time I'm hoping she'll be 100% proud."
There is less of swaggering telly sensation Phil this time and his date – Rachel, 30, from Wexford – has no complaints about his table manners.
Tallafornia: Where are they now six years on?
Phil also told how he is still recognised for his days on Tallafornia and regularly gets asked for selfies even now – six years after the TV3 series ended.
He added: "It was the biggest Irish reality show back in 2012 and 2013, but I don't think Ireland was ready for how crazy it was.
"A lot of people slagged it but it was pulling in 500,000 viewers, one of the first shows to beat the Late Late."
First Dates Ireland is on RTE Two on Thursday at 9.30pm.
Tallafornia


Well my beautiful wife Bernadine came home last night around 10pm from her 7 day stay at Abbott. She is doing great except for her speech. Everyday she is saying more words and we're going to be going through a lot of notepads too as when I can't figure out what she's trying to say she writes it down, but that doesn't always work either. I've already got her scheduled for 5 speech therapy sessions here in Waconia, it's only about 1 mile from our house! Therapy will last several months at least. Her neurologist continues to think she is way ahead of the game in her recovery process. This happened one week ago today and we can see GREAT strides already. It's still a long and frustrating process, but I'm so glad to have her by my side, sometimes when she tries so hard to say something she finally just smiles and laughs. Thanks to all of you that have prayed for us during this time and continue to do so. Probably won't be too long and Bernie will be commenting on FB.
Can you help power Bernadine's site?
A $30 donation powers a site like Bernadine's for one month. Help keep CaringBridge online for them and for you.
Be the first to support Bernadine's CaringBridge Site.


This Camps Bay beachside Penthouse is situated on the Platinum mile; right behind the Bay Hotel between the 12 Apostle Mountains and the palm-lined beach in a quiet residential area only a few minutes level walk (250 metres) from the beach and the heart of Camps Bay, its trendy shops and its restaurants.The stroll to the beach is not uphill or downhill: it is an easy level walk.
The Penthouse enjoys wonderful views of Cape Town's Twelve Apostles and Camps Bay beach and offers luxurious living. We have been awarded 5 stars by the Tourism Grading Council of South Africa and Beachside has an edge on most villas in the Camps Bay rental market: its incredible location!
The Penthouse is connected to the ground floor by elevator. Tastefully decorated in attractive African Renaissance style throughout, it has 3 double bedrooms all en suite, from where you can see and hear the waves breaking.
The main bedroom has a queen bed, 2nd bedroom has twin beds and 3rd has a double bed. All have a free-standing colour satellite television and hairdryer. There are stunning views of the palm-lined beach front and ocean from the living area and all the bedrooms.
There is a fully equipped kitchen with all the modern appliances including a dishwasher. You can actually enjoy beautiful views of Table Mountain and the Cable car from one of the kitchen's windows!
The living area has a large lounge/dining room fitted with a safe, state of the art audio and TV equipment, a bar, and leads out onto a wrap around patio with heated Jacuzzi, barbecue facilities, and of course, magnificent sea views.
There are laundry and internet facilities, and there is secure garage parking for 1 car as well as off-street parking for 2 cars. The Penthouse is serviced daily, except for Sundays and Public holidays.


The Kia Niro Concept is exploring the possibility of a B-segment car, which follows up on the earlier Provoke Concept Coupe but this time not as a pure driving machine with a racing attitude but more as a sporty concept which fits in for daily use. On show as a pure 2-seater, the Niro can also be equipped with optional rear seats but the general idea is a fun vehicle for a young generation of drivers that just throw their outdoor sports gear in the back and go for a spin in the Niro. The exterior design appears very robust and simplistic with really big, muscular arches giving the Niro a very capable appearance. The wheel design in anodised aluminium merges visually with the tyres to give the vehicle a very robust stance. One dominant exterior feature is the brushed aluminium roof with a strong C-pillar but a very thin A-pillar which then runs down around the side windows to be connected again with the C-pillar to form one enclosed shape. The next dominant feature is an underlying carbon tub which sticks out of the lower body shape to form the front and rear bumpers and the side skirts. We spoke to the Niro's interior designer Leslie Lau who explained that the Niro was designed 'in Frankfurt for Frankfurt' in Kia's design centre just around the corner from the show site. Leslie's aim was to continue Kia's simplistic design language with a very reduced, driver orientated interior design. Even though the interior is definitely aimed at the driver, the driver and passenger are visually connected through the silver seat material which wraps around the transmission tunnel to make both seats appear as one single unit. Although the design appears simplistic, there is a lot detail work inside the interior and also on the exterior making the Niro really stand out from the pack of concept cars on show. Wondering what those poles are doing on the interior? They accomodate the vehicle's controls – the pole next to the driver features the gears and engine start button, the driver just shifts by twisting the pole. If the controls are not needed they can be hidden with a cover, similar to a breech lock. This Niro has a very refreshing attitude – Kia has surprised again with a compact and funky concept which will hopefully be the footprint of something that will go into production soon!


Market Commentary – June 2015 : Forstrong Global Asset Management Inc.
Wilfred J. Hahn, Chairman and co-Chief Investment Officer provides a brief overview of current instabilities in global financial markets. How are portfolios doing?
Over three decades of international investment industry experience as global strategist, portfolio manager, and analyst.


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Q: HTML 5 Custom element names? In HTML 5 specification the parser and the specification state that the element name can be everything starting with a letter and followed by alpha-numeric characters.
Now the question is what happens if I introduce additional elements not part of the specification but valid in terms of compliance to the specified syntax.
What do all those browsers do when they encounter elements with custom yet unknown name? Does those elements got treaten like any element or are they left out, stripped out or replaced?
How do for instance do HTML5 editor behave?
Is there anything in the specifications I have overlooked regarding valid element tag names?
[Update]
The specification was missleading here since it states the alpha-numerical character of the HTML element names. While reading a HTML 5 Specification, I missconcluded that this is true for all element names.
That is appearently wrong. In the parser section it states that a element name must only start with an ASCII letter and after that letter everthing except:

"tab" (U+0009)
  "LF" (U+000A)
  "FF" (U+000C)
  U+0020 SPACE
  "/" (U+002F)
  ">" (U+003E)
  U+0000 NULL
  EOF

Beside those mentioned characters which require special treatment involving errors or ending the tag name all other possible characters seam to be allowed.

Anything else
  --> Append the current input character to the current tag token's tag name.

From my field test also additional uni-code letters are allowed for the first letter by several parsers (at least they are graceful with those).
[/Update]

A:
In HTML 5 specification the parser and the specification state that
  the element name can be everything starting with a letter and followed
  by alpha-numeric characters.

Incorrect. The specification states that the element name must be one of the names explicitly listed in that document, or in another applicable specification. These include but are not limited to SVG and MathML.
The specification also includes a processing specification for consumers of HTML, such as browsers. This doesn't describe what's "allowed", it describes what those consumers should do with each character of the document regardless of whether it contains things that are allowed or not allowed.

Now the question is what happens if I introduce additional elements
  not part of the specification but valid in terms of compliance to the
  specified syntax.

The above rules are followed. The "specified syntax" is irrelevant. The specification describes what the consumer should do for any input stream of characters.

What do all those browsers do when they encounter elements with custom
  yet unknown name? Does those elements got treated like any element or
  are they left out, stripped out or replaced?

They are treated as elements in the http://www.w3.org/1999/xhtml namespace which implement the HTMLUnknownElement interface.

How for instance do HTML5 editor behave?

If they are HTML5 compliant they will behave the same way when reading in the HTML.

Is there anything in the specifications I have overlooked regarding
  valid element tag names?

See the first paragraph above. Also the Custom Elements spec which makes any element name starting with an ASCII letter and containing a hyphen to be considered valid. It is unclear whether that specification is currently an "HTML5 applicable specification" but if not, it will very probably be one soon.

redpajama_set_name: RedPajamaStackExchange


Thanks for sharing this! I'd seen you reference My Peak Challenge, but really thought it was about exercise. This is really inspiring. I have some goals for myself this year – this has gotten me thinking about them, and whether MPC might help me, too. Plus…ComiCon…ooohhh….!
I heartily encourage you to check it out. It's so helpful to do this as a group.


Campbell House is a group of independent practitioners dedicated to serving children, adults, and families with a variety of services to aid in meeting emotional and behavioral challenges. This includes the traditional services we are known for, such as the evaluation and treatment of autism spectrum disorders, plus a broader array of services for anxiety, mood, and PTSD.
Located in the heart of downtown Schenectady in the historic (1762) Daniel Campbell Mansion, we are proud to be part of the revitalization of this area where we have located our practice.
We are planning groups for children and adolescents in October. These groups utilize evidence based models including DBT for mood disorders and PEERS model for Autism Spectrum. Much more to come! To sign-up for a group, click here.
We provide diagnostic evaluations for Autism Spectrum Disorders. CDPHP insurance accepted.
Use the form below to contact us regarding your needs. We will respond as soon as possible.
Please leave us a message regarding which of our services yare interested in.
Campbell House is a group of independent practitioners practicing at 101 State Street in Schenectady New York..


As expected there were numerous changes to the City starting line-up for this Buildbase FA Trophy Quarter Final tie at Boreham Wood.
On a breezy, damp and chilly afternoon, the Imps dominated the opening stages with the hosts camped in their own half for the first quarter of an hour; Joe Ward coming the closest to breaking the deadlock with his 12th minute volley being superbly kept out by home 'keeper Grant Smith.
City had a let off in the 24th minute when the home side's first real attack saw Angelo Balanta strike the foot of the post whilst at the other end Whitehouse had a long-range effort kept out by Smith before a Boreham Wood attack saw Morgan Ferrier and Anthony Jeffrey combine before the latter fired wide.
After the break Elliott Whitehouse blazed over but in the 62nd minute Ward produced a splendid finish, cutting in from the right before drilling home left-footed to put the Imps in front.
Alan Power replaced Billy Knott for his 250th City appearance and Josh Ginnelly came on for Terry Hawkridge as the Imps looked for a second and it duly arrived in the 73rd minute when a Sam Habergham corner was inadvertently headed into his own net by Matt Paine.
The two-goal cushion saw City dominate the closing stages with Dayle Southwell, on in place of Jack Muldoon for the last 10 minutes, capitalising on a Smith slip before teeing up Ginnelly who saw his goalbound drive tipped behind by the recovering keeper.
The result was never in doubt as the Imps extended their winning run to seven matches in all competitions. Next up in this competition is a two-legged semi-final with the games to be played on Tuesday 14th and Saturday 18th March 2017.


La Palina Nicaragua Oscuro Toro Cigar Review – This 6×50 stick features a dark brown oily firmly packed wrapper with a slight tooth, minimal veins, tight invisible seams, large double cap and rich peppery sweet earth aroma. First light reveals a perfect draw with plentiful thick medium bodied smoke showing a sweet chocolate, dry dusty cocoa and earth going in to the finish. The first third burns well with good smoke with flavors shifting to a very dry musty cocoa on the draw quickly joined by a deep smooth earth through the long finish. Hitting the 1/2 way point at 35 minutes the 2nd third just drops the mustiness keeping the rest of the profile unchanged. Ash holds over an inch at time and burn is razor sharp. Ending at 1 hour the last third kept the same flavor profile just adding a touch of strength at the end.


Thenue is a Registered Social Landlord which means we are a "not for profit" landlord providing affordable housing to rent. We are registered with the Scottish Housing Regulator.
We own and manage housing in a number of communities across Glasgow: Bridgeton; Calton; Cranhill; Castlemilk; Dalmarnock and Blackhill and have some further properties scattered in other parts of Glasgow and the west of Scotland. Our stock is a mixture of new build houses and flats, (we have no multi-storey stock),built between the late 1970's and the present day, Victorian sandstone tenements including a few listed buildings and 1930's 'interwar' flats.
We now own and/or manage over 3,500 properties: 2,826 self-contained houses and flats to rent, 23 hostels and supported housing projects providing 175 bedspaces, around 80 shared ownership dwellings and we factor almost 600 additional units.
Our registered office is at 423 London Road, Glasgow. We employ over 60 staff and have a turnover of around £15 1/2 million.


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Los Chico crecen may refer to:

 Los Chicos crecen (1942 film)
Los Chicos crecen (1976 film)

redpajama_set_name: RedPajamaWikipedia


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It's Always The Man In The Arena
I just returned from performing in my son's puppet show. He's involved with a group that has a talent show every December. We go every year, and it's always fantastic. I'm amazed at the maturity level of the kids involved. And the courage. There was a little girl who was going to sing a song. She was clearly terrified to be on stage, but she stood there for two full minutes while they worked on getting her microphone to work. Then she walked off the stage when the waiting got to be too much for her. I was, and still am, amazed at her courage. Yes, she didn't sing the song, but she still went up and tried. There were other kids who were also scared that performed. Getting up and doing something, even when you're scared to do so, comes pretty close to my definition of courage. And those kids have it.
I have a few good friends and former students who were on reality tv survival shows this past year. I'm proud of them for what they accomplished, and disappointed, although not surprised, by the mean, stupid, and pointless comments they receive as a result. Unlike their anonymous critics, they used their real names and put themselves out there. (I'm a fan of using real names when commenting; anonymity facilitates trolling).
To paraphrase Theodore Roosevelt and go a step further, I'll say it's always the person in the arena or on stage who counts; it's never the critic. Those kids on stage today, and my friends who were on television this past year, got up and did their best under sometimes challenging circumstances. And they gladly brought the rest of us along for the ride, challenges and all.
Critics, both on and offline, come with the territory if you go on tv, get on stage, or stand up and put yourself out there. While I wish they'd just go away, I realize it's wishful thinking. The point of this post isn't to silence the critics, but rather to embolden and inspire the creators; those people who put themselves out there, whether it's on a tv survival show or that little girl I watched stand under the lights terrified. You're the ones who count, not the ones who criticize. Keep up the good work of getting up and doing your best.
Tim Smith Dec 2, 2015 Blog
Patty Wilson
I am the grandmother of that little girl, and I appreciate your comments!
Thank you Patty!
Shayne White
Well said Tim, courage is a good way to describe it. Not everyone has it.
Thanks Shayne.
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Die Immersionslithografie ist eine Technik im Produktionsprozess der Mikroelektronik zur schärferen Abbildung bei der fotolithografischen Strukturierung. Die Technik nutzt dabei dasselbe Prinzip wie die Immersionsmikroskopie, sie dient aber nicht der Betrachtung eines Objekts, sondern der verkleinerten Projektion einer auf einer Fotomaske vorhandenen Struktur in eine Fotolackschicht, vgl. Fotolithografie (Halbleitertechnik). Es handelt sich dabei um eine Verbesserung der Projektionsbelichtung, bei der die Luft im Spalt zwischen der letzten Linse und der Wafer-Oberfläche durch eine Immersionsflüssigkeit (transparente Flüssigkeit mit möglichst hohem Brechungsindex) ersetzt wird. Dies erlaubt im Vergleich zu bauähnlichen Anlagen ohne Immersionsmedium die Herstellung von kleineren Strukturen, da eine größere numerische Apertur (NA) und Abbildungstiefe (engl. , DOF) erreicht werden.

Die Einführung der Immersionslithografie ermöglichte es, bestehende Lithografiesysteme (Kombination aus Linsensystem, Fotomasken, Fotolacke usw.) auf Basis von ArF-Excimerlasern – nach deren Wellenlänge auch 193-nm-Lithografie genannt – weiterhin zu nutzen und dennoch kleinere Strukturen zu fertigen. Damit konnte die Einführung kostenintensiver und noch nicht für die industrielle Massenproduktion tauglicher Alternativen, wie die EUV- oder Elektronenstrahllithografie, vorerst weiter verschoben werden. In der Evolution der Lithografiesysteme ist es nach derzeitigem Wissen das letzte, das auf Brechung basiert.

Die Immersionslithografie ist die gängigste Technik, um integrierte Schaltkreise mit Strukturgrößen von 28 nm bis zu 10 nm in der industriellen Massenproduktion zu fertigen und stellt damit eine Schlüsseltechnik für die Herstellung von Produkten der Mikroelektronik wie Hauptprozessoren von Computern, System-on-a-Chip von Smartphones usw. dar.

Geschichte
Die Verbesserung der Auflösung optischer Systeme durch den Einsatz von Immersionsflüssigkeiten ist seit langer Zeit aus dem Bereich der Mikroskopie bekannt, vgl. Immersion (Mikroskopie). Der im Vergleich zu Luft größere Brechungsindex (n > nLuft ≈ 1) bewirkt eine Vergrößerung der numerischen Apertur von optischen Systemen und somit größere Abbildungstiefe sowie eine Verbesserung des Auflösungsvermögens. Der Einsatz von Immersionstechniken in der Fotolithografie wurde erstmals im Jahre 1981 von Hitachi zum Patent angemeldet, Ende der 1980er Jahre weiter erwogen und an einem Immersionsmikroskop gezeigt, Ende der 1990er für moderne Lacksysteme demonstriert und seit Anfang der 2000er Jahre dessen technische Umsetzung stärker verfolgt. Ausgangspunkt war die Erkenntnis, dass die konventionellen "trockenen" Lithografiesysteme, das heißt konventionelle Systeme ohne Immersionsmedium, in absehbarer Zeit nicht mehr in der Lage sein werden, die benötigten Auflösungen bereitzustellen. In diesem Zusammenhang war die Immersionslithografie ein aussichtsreicher Kandidat, um auch weiterhin die Skalierung von mikroelektronischen Schaltkreisen fortzuführen.

Erste Demonstrationsversuche mit der Immersionslithografie wurden in den folgenden Jahren (2003/2004) für HeCd-, Nd:YAG- und ArF-Lasersysteme (entsprechend den Wellenlängen 442 nm, 213 nm bzw. 193 nm) vorgestellt. Zum damaligen Zeitpunkt wurden "trockene" ArF-Scanner mit 193 nm Wellenlänge (193-nm-Lithografie) bereits in der industriellen Produktion eingesetzt und auch die Entwicklung von Immersions-ArF-Scannern (auch 193i-Lithografie genannt) kam schnell voran. Dazu trugen unter anderem die relativ geringen technischen Anpassungen bei, die notwendig waren, um bestehende "trockene" Systeme in Immersionssysteme umzubauen. Dies erforderte zwar eine Teilneukonstruktion entsprechender Anlagen, der Aufwand war jedoch deutlich geringer als die Einführung von Fluor-Excimerlasersystemen (157 nm Wellenlänge) oder alternativer Verfahren wie der EUV-, Röntgen- oder Elektronenstrahllithografie, da bei diesen die bisher verwendeten Fotolacke und Laseroptiken nicht mehr genutzt werden können. So wurde bereits 2004 der erste für die Massenproduktion taugliche 193i-Scanner (ASML AT1150i, NA = 0,75) an das Albany NanoTech geliefert. Der Einsatz der Immersionsscanner, bereits mit der für Wasser praktisch maximal erreichbaren NA von 1,3–1,35, begann mit der Einführung des 55-nm-Technologieknotens durch mehrere Hersteller von Flash-Speichern. Die Kosten für industrielle Immersionslithografiesysteme sind stark abhängig vom Hersteller, sie betrugen 2010 ca. 30 Mio. USD für Nikons NSR-S620D-Anlagen und 55 Mio. USD für ASMLs TwinScan-NXT:1950i-Anlagen.

Alternative: 157-nm-Fotolithografie
Lange Zeit war die Umstellung der Fotolithografie auf Systeme mit immer kürzeren Wellenlänge ein wesentlicher Faktor um die Abbildungsauflösung zu verbessern. Daher wurde vor der Einführung der 193-nm-Immersionslithografie auch über "trockene" Systeme mit einer Wellenlänge kürzer der bereits eingesetzten ArF-Excimerlaser (Wellenlängen 193 nm) geforscht. Ein Kandidat hierfür war der F2-Excimerlaser mit einer Wellenlänge von 157,67 nm. Mit diesem System hätten höhere Auflösungen auch ohne die in einem Immersionssystem notwendigen starkbrechenden Materialien möglich werden können. Die Umstellung der 157-nm-Lithografie, die bis 2003er Jahre noch als wirklicher Kandidat für den Ersatz/Nachfolger damaliger trockener 193-nm-Anlagen angesehen wurde, gestaltete sich jedoch schwieriger als gedacht. Die 193-nm-Immersionslithografie machte hingegen entscheidende Fortschritte. Mit der Entscheidung Intels (damals wie heute einer der Technologietreiber in der Halbleitertechnik) und weiterer Halbleiter- und Anlagenhersteller für die 193-nm-Immersionslithografie mit hochreinem Wasser und gegen die Belichtung mit 157 nm wurde die Entwicklung der 157-nm-Fotolithografie deutlich verlangsamt und spätestens mit der ITRS-Ausgabe im Jahr 2005 galt diese Technik nicht länger als Alternative oder Nachfolger für die 193-nm-(Immersions-)Fotolithografie.

Wesentliche Herausforderungen bei der Technologieentwicklung der 157-nm-Fotolithografie waren unter anderem die Suche nach neuen Fotolacken und Linsenmaterialien. Dabei wurde die Suche nach neuen und für die 157-nm-Technik passenden Fotolacken vor allem durch das Absorptionsverhalten typischerweise eingesetzter organischer Moleküle behindert. So absorbieren Phenol- und Carbonsäuregruppen sehr gut Ultraviolett mit einer Wellenlänge von 157 nm, sodass die Strahlung nicht ausreichend tief in die Fotolackschicht eindringen kann. Das Problem zu hoher Absorption besteht auch bei (starkbrechenden) Materialien für Linsen und Immersionsflüssigkeiten. So liegt die Wellenlänge der 157-nm-UV-Strahlung am Rand des Transmissionsfensters von typischerweise verwendetem speziellem Quarzglas (Suprasil 3301/3302). Dies hat unter anderem eine stärkere Erwärmung im Betrieb zur Folge, was sich wiederum negativ auf das optische System und die Abbildungsgenauigkeit auswirkt. Ausreichende Transmission bei 157 nm zeigen CaF2-Kristalle. Die aufwendige Herstellung und Bearbeitung großformatiger Kristalle führt jedoch zu geringen Ausbeuten und vergleichsweise hohen Kosten. Bei hochbrechenden Immersionsflüssigkeiten wirkt sich der steigende Absorptionskoeffizient noch stärker aus. So steigt beispielsweise für die oft präferierten Perfluorpolyether (PFPE) – PFPE sind ausreichend chemisch inert, nicht giftig, nicht korrodierend und weitgehend reinraumtauglich – der Absorptionskoeffizient von 0,1–0,6 cm−1 bei 193 nm auf 6–19 cm−1 bei 157 nm. Einige wenige PFPE bieten jedoch einen ausreichend geringen Absorptionskoeffizient von unter 1 cm−1 bei 157 nm. Jedoch steigt bei diesen PFPE der Absorptionskoeffizient nach höheren Strahlungsdosen deutlich an, das heißt, sie sind nicht widerstandsfähig genug gegenüber der Laserstrahlung. Daher gilt bislang, dass für den industriellen Einsatz bisher keine passenden Materialien zur Verfügung stehen.

Hintergrund und Funktionsweise

Um die Funktionsweise einer Immersionslithografieanlage zu verstehen, sind zunächst ein paar Grundlagen für die Bestimmung des Auflösungsvermögens eines optischen Systems notwendig. Die minimal erreichbare Auflösung  eines optischen Systems kann durch folgende Gleichung beschrieben werden:

mit dem Auflösungskoeffizient  (eine Prozesskonstante), der Vakuum-Wellenlänge des für die Belichtung genutzten Laserlichts , dem Brechungsindex des einfallenden Mediums  und dem Öffnungswinkel der Linse . Das Produkt  wird auch als numerische Apertur (NA) der Abbildungslinse bezeichnet.

Der Koeffizient  ist abhängig vom genutzten Belichtungsprozess und wird über die Belichtungsbedingungen, die Maskentechnik und die Eigenschaften des Fotolacks bestimmt. Dieser Wert konnte durch zahlreiche Verbesserungen (Lackchemie usw.) in den letzten Jahrzehnten von ca. 0,8 bis auf 0,38 gesenkt und damit das Auflösungsvermögen der Fotolithografieanlagen verbessert werden. Darüber hinaus wurden in der Vergangenheit die minimale Auflösung durch die Reduzierung der Belichtungswellenlänge (von den Emissionslinien h und i einer Quecksilberdampflampe über KrF-Excimerlaser zu ArF-Excimerlasern, also von 434 nm, 365 nm, 248 nm bis hin zu 193 nm), der Verbesserung der Fotolackeigenschaften oder den Einsatz neuer Belichtungstechniken, z. B. Schrägbelichtung, erreicht. Dieser Trend konnte nach der Einführung der ArF-Excimerlaser nicht mehr fortgesetzt werden, da eine weitere Reduzierung der Wellenlänge (F2-Excimerlaser, 157 nm) an neue Grenzen stößt. Haupthindernis ist, dass in diesem Spektralbereich viele der bisher verwendeten Materialien (Linsen, Fotolacke, Fotomaske, Pellikel usw.) nicht mehr ausreichend transparent sind. Die Entwicklung einer 157-nm-Fotolithografie verlangt daher nach der Suche und Einführung neuer Materialien mit hinreichend guten Eigenschaften. Diese Suche sowie die verhältnismäßig umfangreichen Änderungen an den bestehenden Anlagenkonzepten sind jedoch aufwendig und daher kostenintensiv. Aus diesem Grund wurde nach alternativen Verfahren, z. B. Elektronenstrahllithografie, sowie weiteren "technischen Tricks" gesucht, mit denen ein besseres Auflösungsvermögen im industriellen Maßstab erzielt werden kann.

Einer dieser "technischen Tricks" ist die Änderung der numerischen Apertur des Systems – weitere sind beispielsweise die Mehrfachstrukturierungen –, denn die Fähigkeit eines optischen Systems, Strukturen abzubilden, ist indirekt proportional zur numerischen Apertur der bildgebenden Geräte (vergleiche Formel oben). Die NA beträgt bei "trockenen" Fotolithografiesystemen maximal 1 – theoretischer Grenzwert durch die Brechzahl von Luft, reale Spitzenwerte liegen bei ca. 0,95. Da es unmöglich ist, eine Auflösung durch stärkere Brechung (an der Linse) weiter zu erhöhen, kann eine Erhöhung der NA nur durch den Austausch des Kopplungsmediums, der Luft (nLuft ≈ 1), zwischen der letzten Linse (derzeit meist aus Quarz) und dem mit Fotolack beschichteten Wafer durch ein Immersionsmedium mit höherem Brechungsindex erreicht werden. Diese Änderung hat einen sehr wirkungsvollen Effekt auf das Auflösungsvermögen, da die Wellenlänge des Lasers (im Vakuum 193 nm) in Wasser bei ca. 134 nm liegt.

Ein weiterer wichtiger Parameter in der Fotolithografie ist die Abbildungstiefe (engl. , DOF). Sie kennzeichnet den Bereich (in Richtung der optischen Achse des Belichtungssystems), in dem der Fokus für eine scharfe Abbildung ausreichend ist. Da eine erfolgreiche Belichtung über die gesamte Dicke der Fotolackschicht erfolgen soll, muss die Abbildungstiefe daher ausreichend groß für die verwendete Fotolackschichtdicke und Unebenheiten der Waferoberfläche sein. Andernfalls kommt es zu Abbildungsproblemen, beispielsweise dass ober- oder unterhalb der Bildebene die entwickelten Strukturen deutlich kleiner sind und somit eine Art "Überhang" bzw. eine nicht richtig geöffnete Maske die Folge wäre.

Ähnlich wie das Auflösungsvermögen ist auch die Abbildungstiefe abhängig von der verwendeten Wellenlänge, der eingesetzten numerischen Apertur und dem Medium zwischen Linse und Fotolack. Für ein Projektionssystem  lässt sich die Abbildungstiefe allgemein berechnen durch (siehe hierzu auch ):

Für kleine Winkel  kann dies vereinfacht werden zu:

Es lässt sich erkennen, dass bei gleicher Wellenlänge und gleichem Medium die Abbildungstiefe mit steigender numerischer Apertur sinkt. Das war bei bisherigen Anpassungen der Lithografiesysteme über die eingesetzte Wellenlänge ein notwendiger Kompromiss. Physikalisch kann dieser Effekt vereinfacht so erklärt werden, dass mit zunehmender NA die Komponenten der Ortsfrequenz in z-Richtung schnell aus der Phase kommen und somit verschmieren, wenn man sich von der Fokusebene entfernt.

Zusammenfassend kann man sagen, dass der Einsatz eines Immersionsmediums die Abbildungseigenschaften im Vergleich zu einem gleichartigen trockenen System deutlich verbessert. So kann bereits mit hochreinem Wasser (Brechungsindex von 1,47 bei einer Wellenlänge von 193 nm) als Immersionsmedium, eine Verbesserung der Auflösung um ca. 30–40 % (je nach verwendeten Materialien) erreicht werden. Im Vergleich dazu würde ein Umstieg von ArF- auf F2-Excimerlaser eine Verbesserung von nur knapp 19 % ermöglichen. Neben der Auflösung verbessert sich auch die Abbildungstiefe bzw. Toleranz in der Ebenheit der Wafer-Topographie ungefähr um den Faktor 2 (für Systeme mit gleicher NA). Dennoch ist die optische Abbildung der Strukturen auf einer Fotomaske in eine Fotolackschicht immer ein Kompromiss aus Auflösungsvermögen und Abbildungstiefe, sodass beide Vorteile der Immersionslithografie nie gleichzeitig ausgenutzt werden können.

Technischer Aufbau

Der technische Aufbau moderner Immersionslithografieanlagen entspricht im Wesentlichen dem trockener Fotolithografiesysteme auf Basis von ArF-Excimerlasern (193 nm). Dazu gehören die Laserquelle, ein Kondensorlinsensystem, Maskenhalterung, die Fokussierungsoptik sowie der Probentisch, auf dem der Wafer platziert wird. Im Unterschied muss jedoch eine Immersionsflüssigkeit zwischen Wafer und der letzten Linse des Linsensystems gehalten werden. Dafür gibt es zwei grundlegende Ansätze:
die Benetzung des gesamten Wafers (engl. , also das Eintauchen des Wafers in die Flüssigkeit, oder )
die lokale Benetzung mit der Immersionsflüssigkeit (engl. ).

Heutige Anlagen nutzen ausschließlich die lokale Benetzung, da sie aufgrund kürzerer Benetzungs- und Entfernungszeiten deutlich schneller arbeiten können. Dazu wird in der Regel ein Wasserreservoir in der Umgebung der Linse aufgebaut. Der zugehörige Adapter (im Englischen oft als , dt. 'Duschkopf', bezeichnet), der nur wenige Mikrometer über dem Wafer schwebt, hält dieses Reservoir während der Belichtung stabil und ermöglicht sowohl eine schnelle Benetzung als auch eine schnelle Entfernung der Flüssigkeit. Damit die Flüssigkeit nicht seitlich abfließen kann oder mit der Waferbewegung auf dem Wafer verbleibt, wird am Rand des Adapters ein feiner Luftschleier (engl. ) aufgebaut.

Für die Stabilität des Flüssigkeitsreservoirs sind weiterhin die Scan-Geschwindigkeit (Relativgeschwindigkeit Wafer/Linse) und die dynamischen Kontaktwinkel (Be- und Entnetzungswinkel, auch Fortschreit- und Rückzugsrandwinkel genannt) wichtig. Sie beeinflussen unter anderem den möglichen Flüssigkeitsverlust durch Wegziehen des Flüssigkeitsfilms oder Instabilitäten bei der Benetzung. Bei Flüssigkeitsverlusten durch einen weggezogenen Tropfen handelt es sich um Verluste durch einen dünnen Flüssigkeitsfilm hinter dem Immersionsadapter. Sie werden häufig bei niedrigen Geschwindigkeiten und Systemen mit sehr niedrigem Entnetzungswinkel beobachtet, das heißt im Fall von Wasser bei hydrophilen Oberflächen. Im anderen Fall treten Flüssigkeitsverluste auf, wenn die Oberflächenspannung nicht ausreicht, um die Trägheitskräfte (aufgrund des zurückweichenden Meniskus) zu überwinden. Diese Fehler treten vor allem bei hohen Geschwindigkeiten und höheren Benetzungswinkeln auf, im Fall von Wasser bei hydrophoberen Oberflächen. Für typische Scan-Geschwindigkeiten von 500 mm/s – für bis zu 150 Wafer pro Stunde und Anlage – sollte der Entnetzungswinkel im Bereich 70° und höher liegen. Typische, für trockene Lithografie entwickelte 193-nm-Fotolacke haben Entnetzungswinkel von 43–53°. Aus diesen und anderen Gründen, z. B. Schutz der Fotolackschicht vor chemischen Angriffen (vgl. unten), werden entweder andere Fotolacke oder hydrophobere Schutzschichten auf der Fotolackoberseite genutzt.

Immersionsmedium
Hochreines Wasser (nWasser, 193 nm ≈ 1,47) ist seit Beginn der Forschung die hauptsächlich verwendete Immersionsflüssigkeit. Es ist auch das bislang einzige Immersionsmedium, das in der industriellen Produktion zum Einsatz kommt. Neben Wasser (1. Generation) sind derzeit auch noch weitere Flüssigkeiten mit höherem Brechungsindex (1,65–1,8) in der Erforschung. Zu diesen Immersionsflüssigkeiten der zweiten Generation gehören homogene organische Flüssigkeiten, beispielsweise Perfluorpolyether (PFPE) oder Cycloalkane. Ein Brechungsindex im Bereich um 1,65, entspräche nochmals einer Steigerung des Auflösungsvermögens gegenüber Wasser von ca. 14 %. Ähnlich wie bei den Linsenmaterialien ist auch bei den Immersionsflüssigkeiten eine niedrige Temperaturabhängigkeit des Brechungsindexes (auch als thermo-optischer Koeffizient dn/dT bezeichnet) und ein niedriger Absorptionskoeffizient (α < 0,15 cm−1) im UV-Bereich wichtig. Andernfalls kommt es zu Intensitätsunterschieden zwischen den Strahlanteilen in Abhängigkeit von der Wegstrecke im Immersionsmedium sowie zu größeren Änderungen im Fokus bei längerem Betrieb aufgrund von Temperatur- und den damit verbundenen Brechzahländerungen. Zusätzlich können Absorptionen durch das Immersionsmedium auch zu Strahlenschäden (Zersetzung, chemische Reaktionen mit dem Fotolack bis hin zur Blasenbildung) desselben führen. Diese Effekte wirken sich negativ auf den Gesamtprozess aus und sind nur in gewissen Grenzen korrigierbar. Weitere wichtige Eigenschaften sind daher auch eine hohe Wärmekapazität und eine gute Wärmeleitfähigkeit. Viele organische Flüssigkeiten weisen jedoch durch ungebundene Elektronen oder Elektronen in π-Molekülorbitalen hohe Absorptionskoeffizienten bei einer Wellenlänge von 193 und 157 nm auf. Die Suche nach passenden Materialien gestaltet sich daher schwierig.

Um noch höhere Brechungsindizes zu erzielen und so zu möglichen Materialien für hochbrechende Linsen wie Lutetium-Aluminium-Granat (LuAG, Brechungsindex 2,14 bei 193 nm) aufzuschließen, müssen andere Lösungen gefunden werden, denn es sind keine homogenen Flüssigkeiten mit Brechungsindizes über 1,8 bekannt. Daher erforscht man derzeit die dritte Generation von Immersionsflüssigkeiten, bei denen es sich um Suspensionen von Nanopartikeln (z. B. aus 5 nm großen sphärischen Partikeln aus LuAG oder Zirconium(IV)-oxid) von hochbrechenden Materialien in organischen Flüssigkeiten handelt.
Insgesamt ist der Gewinn hinsichtlich der Erhöhung der numerischen Apertur durch hochbrechende Immersionsflüssigkeiten (2. und 3. Generation) verhältnismäßig gering und die Forschung war bereits im Jahr 2008 hinter den eigentlichen Zeitplan der Industrie zurückgefallen. Ihr industrieller Einsatz ist daher ungewiss.

Probleme beim Einsatz in der Massenproduktion
Generell wird in der Halbleitertechnik eine neue Technik nur dann in der Fertigung eingesetzt, wenn die Defektdichte ein Niveau erreicht hat, das vergleichbar mit ähnlichen Techniken ist, in diesem Fall der "trockenen" Lithographie. Daher zählten Defekte und anderen möglichen Quellen für eine verringerte Ausbeute () von Mikrochips auf einem Wafer als größte Hindernisse für die Nutzung der Immersionslithografie in der Massenproduktion. Frühe Studien konzentrierten sich auf die Beseitigung von Blasen, Temperatur- und Druckschwankungen in der Immersionsflüssigkeit sowie die Absorption der Flüssigkeit durch den Fotolack. Immanente Defekte der Immersionslithografie und die Partikelerzeugung durch die Wasserausgabeeinheit (eine häufige Defektquelle) wurden identifiziert.

Des Weiteren hat sich gezeigt, dass Wasser sowohl Teile des Fotoinitiators – ein fotoaktiver Stoff, der bei der Belichtung eine Fotosäure bildet (engl. , PAGs) – als auch die Fotosäure selbst – in der Regel eine Carbonsäure, die die Entwicklungsrate um 1 bis 2 Größenordnungen erhöht – aus dem Fotolack extrahiert. Dieser Übergang der beiden Stoffe aus dem Fotolack in das Immersionsmedium Wasser muss verhindert werden, da zum einen eine Schädigung der Objektivlinse durch die Säure oder durch Verunreinigungen vermieden werden muss und zum anderen die Ausdiffusion einen negativen Einfluss auf die Fotolackentwicklung hat.

Bei UV-Bestrahlung mit 193 nm wird Wasser ionisiert. Bei dieser Ionisation entstehen solvatisierte Elektronen, die sich im Fotolack ausbreiten, mit diesem reagieren und so die Auflösungsleistung negativ beeinflussen.

Die oben genannten Bedenken hinsichtlich möglicher Defekte haben zu Überlegungen über den Einsatz einer Deckschicht direkt auf dem Fotolack geführt. Diese Deckschicht verhindert die Diffusion von Wasser und PAG zwischen dem flüssigen Medium und dem Fotolack. Darüber hinaus wurde die Grenzfläche zwischen der Flüssigkeit und der Deckschicht hinsichtlich der Reduzierung von Wasserzeichen optimiert. Beim Einsatz einer Deckschicht muss natürlich eine mögliche Defekterzeugung durch die Deckschicht ausgeschlossen oder zumindest dieser vorgebeugt werden.

Bei Scan-Geschwindigkeiten moderner Scanner in der Hochvolumenproduktion von ungefähr 500 mm/s ist die tatsächliche Fotolack-Wasser-Kontaktzeit im Bereich der Belichtung minimal. Daraus ergeben sich folgende Hauptprobleme: zum einen Defekte durch Wasserreste (Bildung von Wasserzeichen) und zum anderen ein Verlust der Fotolack-Wasser-Haftung (Bildung eines Luftspalts). Dabei sind die Hydrophobie der Oberfläche und die Art der Wasserzuführung bzw. -abführung die wichtigsten Aspekte, die bei der technischen Umsetzung beachtet werden müssen. Ein weiterer Bereich, in dem Defekte verstärkt auftreten können, ist der Scheibenrand, wo das Wasser eine "Kehrtwende" (Rücklauf) macht und dabei Defekte (Partikel) vom Waferrand und der Waferrückseite aufnehmen kann.

Aktueller und zukünftiger Einsatz

ASML (mit Optiken der Carl Zeiss SMT GmbH), Nikon und Canon sind derzeit die einzigen kommerziellen Anbieter von Immersionslithografiesystemen für die Produktion. Seit 2007 werden die Systeme von größeren Halbleiterunternehmen in der Fertigung von Produkten 45-nm-Technik und darunter eingesetzt, wie IBM, Globalfoundries (die ehemalige Fertigungssparte von AMD), UMC, Toshiba und Texas Instruments. Entsprechende Produkte sind beispielsweise bei AMD Athlon II und Fusion. Intel begann hingegen erst im Jahr 2009, die Immersionslithografie für seine Produkte in 32-nm-Technik einzusetzen, beispielsweise Intel Core i7 (Westmere). Auch die Fertigung von 22-nm-Produkten und darunter wird mit hoher Wahrscheinlichkeit noch mittels Immersionslithografie für die kritischen Ebenen im Middle-of-Line erfolgen. Dies ist allerdings davon abhängig, wie schnell sich alternative Verfahren wie die EUV- oder Elektronenstrahllithografie hinsichtlich ihrer industriellen Einsetzbarkeit entwickeln bzw. ob diese überhaupt bereitstehen.

Derzeit wird untersucht, welche Verbesserungen notwendig sind, damit die Technik auch nach dem 32-nm-Knoten eingesetzt werden kann. Dazu gehören unter anderem der Einsatz von Materialien mit einem höheren Brechungsindex als die der derzeit eingesetzten Materialien. Dies betrifft zum einen die letzte Linse (Objektivlinse), bei der über den Einsatz von Lutetium-Aluminium-Granat (LuAG, Brechungsindex von 2,14 bei 193 nm) statt Siliciumdioxid nachgedacht wird, und zum anderen die Immersionsflüssigkeit (Ersatz von Wasser) sowie den Fotolack selbst. Der Grund hierfür ist, dass der niedrigste Brechungsindex dieser drei Komponenten die numerische Apertur des Abbildungssystems maßgeblich bestimmt. Dabei kann mit höher brechenden Materialien eine höhere numerische Apertur und somit eine bessere Auflösung kleiner Strukturierung erreicht werden. Diese neuen Entwicklungen erlauben eine optische Auflösung von ungefähr 30 nm. Es ist jedoch zu erwarten, dass unterhalb von 40 nm aktuelle Fotolacke eine weitere Skalierung behindern. Weitere Probleme sind Polarisationseffekte, Doppelbrechung und temperaturabhängige Dispersion im optischen System.

Auf der anderen Seite ermöglichen Techniken wie die Einhaltung von Layoutregeln zur besseren Herstellbarkeit (engl.  bzw. design for manufacturability, kurz DFM) sowie Double-Exposure- oder das Double-Patterning-Verfahren (Doppelstrukturierung) eine Verkleinerung der Half-Pitch-Auflösung um einen Faktor von 2. Dadurch könnte die Immersionslithografie auch über die 32-nm-Technologie hinaus genutzt werden, möglicherweise bis zum 16-nm-Technologieknoten. Während das Double-Patterning-Verfahren die Pitch-Auflösung verbessert, liegt es an nicht-lithographischen Methoden, tatsächlich eine Reduzierung der Strukturgröße zu erreichen. Problematisch wird bei solch geringen Strukturgrößen (unterhalb von 32 nm) hingegen der Einsatz von Methoden der  (OPC, deutsch etwa: 'optische Nahbereichskorrektur'). Denn für größere Zusatzstrukturen zur Verbesserung der Abbildungsqualität, wie  (dt. 'Hammerköpfe'), ist schlicht nicht mehr genug Platz auf der Fotomaske.

Literatur

Weblinks
 Kent Snodgrass: Box 1: Immersions Lithography. (vereinfachte graphische Darstellung eines Immersionslithografiesystems aus dem Artikel von ).

Einzelnachweise

Lithografie (Halbleitertechnik)


Today's cute layout comes from Case This Sketch #265!
Number of Years Stamp Set; Whisper White, Dapper Denim, Tangerine Tango & Smoky Slate CS; Dapper Denim, Smoky Slate & Tangerine Tango Inks; Large Numbers, Layering Circles & Circles Collection (retired) Framelits; Myths & Magic Washi Tape; Lucky Stars EF (retired); #CTS265.
Man Cards 2018 Class April 12 & 14!
It's time once again to stamp our hearts out for those special guys in our lives, and we have a fabulous range of new goodies to do it with! These five cards will be adaptable to all occasions, with options for Father's Day as needed or desired - so come stand by your man! Class costs $25, and includes all supplies (bring your own snips and adhesive) snacks and drinks, and a special gift from me. This class can also be FREE with your purchase of $30 or more! Class is on for Thursday, April 12 at 630 pm, or Saturday, April 14 at 3 pm. RSVP today to hold your spot! See you there!


text:
El Campillo – gmina w Hiszpanii, w prowincji Huelva, w Andaluzji.
 El Campillo – gmina w Hiszpanii, w prowincji Valladolid, w Kastylii i León.
 El Campillo de la Jara – gmina w Hiszpanii, w prowincji Toledo, w Kastylii-La Mancha.


text:
Odd Bits
Volume 11, 1900, various pages
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from the monthly "Books" section, where a few pages were given to reviews and recommendations about recently published books, Page 266
The Classics for the Million, by H. Grey (Swan, Sonnenschein & Co. 316)
This is the sort of little book we do not like. It is, as the writer says, a series of epitomes; the author ranges over the whole field of the Greek and Latin classics, and the reader who gets to the end will have pat information about Pindar and Plato, Aristotle and Ovid, and all their works and ways, but he will have that, and nothing more. He will not have acquired the slightest feeling for classic literature. He will not know "there were giants in the land in those days," nor that we do not for the most part think our own thoughts but the thoughts that have become the world's common property since the great thinkers of old uttered them. The reader who wishes to become acquainted with foreign classics through an English medium would do well to get his first introduction through Messrs. Blackwood's Foreign Classics for English Readers, each the work of a scholar who has made a special study of the author he treats of.
PHYSICAL FADS from the monthly HEALTH NOTES column by H. Laing Gordon, M.D. pg 328-330
There are some persons for whom anything in the nature of a new system has overpowering attractions; there are others who cannot resist whatever is dubbed a reform; while there are again others who, while scorning to run after advertised goods which may make no higher pretensions than that they are worth a guinea a box, will yet eagerly peruse the quasi-scientific literature with which some cunning advertiser puffs his wares, and end up becoming purchasers in the belief that here at last is something both scientific and useful. To the onlooker this power of the advertiser sometimes appears to contain an element of hypnotism, whereby the suggestion is vigorously and decidedly made that a certain article is good and must be bought, and it is bought without further ado! Witness the recent sale of a much and skillfully advertised encyclopaedia; the public were commanded to buy it and bought it--all ranks of them--although if they had taken the trouble to turn to the article on Africa, they would have found that it concluded by recording that as they went to press the authors regretted to have to announce the lamented death of Dr. Livingstone, and would thus have been able to gather some impression of the value of the volumes as an up-to-date work of reference.
The modern parent is surrounded and indeed assaulted by faddists if he or she be on the outlook for the best of everything for either their young or grown-up children. There are several fads which at present are talked of or are fashionable, and one or two may be mentioned by way of example.
There is a craze in certain parts of the metropolis at present for gymnastic systems, and some parents not only march their children off to gymnasiums, but actually join classes themselves; it is said that any day rows of fashionable matrons may be seen in appropriate garb lying on the floor of a west-end gymnasium with their toes in the air under the command of an autocratic instructor, who is reaping a harvest while the fashion lasts. The system is followed the more readily because it is said to have medical and scientific approval, the impression being that a medical opinion must necessarily also always be scientific. As a matter of fact, these gymnastic systems are introduced from abroad, where the public do not indulge in the out-of-door exercises to the extent we do, and therefore often require them. Gymnastic exercises are very poor substitutes for out-of-door recreation, but are admirable as adjuncts to games, for use in wet weather, or for the treatment of physical faults, for which they are often properly prescribed. Happily, however, many of the deformities which are cured by gymnastics are now prevented by the abolition of the faults which cause them, and it is to be hoped the time is not far distant when it will be generally recognized that practically no children ought to require gymnastics. As to adults--if some persons think gymnastics and systems of "physical culture" a short cut to physical health, well and good: nobody will trouble to undeceive them; but ordinary people will always prefer tennis, cycling and such exercises. There will always be persons who are short-sighted in this, as in other directions, and think themselves scientific and in advance of the age. There are actually some who will confidently assert of a morning that the wind is in the east, not because they have observed it to be so, but because the newspaper forecast says it ought to be so.
There is another little craze amongst well-intentioned persons--that for anatomical boots and other kinds of "scientific" articles of clothing. Now anatomical boots are all very well for those who wish to make their feet look hideous, or for those who have some deformity which requires them. But to say that we all ought to wear these peculiarly ugly boots is going a little too far in the "scientific" direction. Boots of the ordinary shape, neat and useful, need never produce deformed feet, if properly made and fitted; many persons have perfectly normal feet within boots and shoes with toes so pointed as to make the faddist weep to look upon them. If some persons make martyrs of themselves because they are not courageous enough to see that their bootmaker provides them with suitable boots, that is no reason why the rest of us should be made martyrs at the bidding of the faddist. Anatomical boots are, like gymnastics, chiefly for therapeutic use, and to be seen in them is in itself a confession of infirmity.
Faddist. Anatomical boots are, like gymnastics, chiefly for therapeutic use, and to be seen in them is in itself a confession of infirmity.
Then, again, we hear a little about the absurdity of ladies riding side-saddle, when it is so much more "rational" to ride cross-saddle. This is a reform for which there have been spasmodic outcries in the last ten years or more; but, happily, it never seems likely to become established. As a matter of fact, there is not very much in the majority of the objections urged against cross-saddle riding for ladies, and, no doubt, the bulk of womankind might ride astride without any harm. Indeed, women who have traveled much, and required to be for long in the saddle, have generally adopted the man's position, with gain in comfort. But for ordinary riding in this country the women will generally prefer to ride as her sisters do, and in the manner which time and custom have proved to be the best and the most elegant for the ordinary use of her sex. If the rival methods are practically equal in efficacy and safety for common use the average woman will, it is hoped, always be guided by the natural female instinct, to adopt the one in which she looks the best, and certainly no man will blame her!
Quite another reform has been suggested by the headmaster of a well-known Scottish school, who stated in the Spectator that he found collars impeded the breathing of the boys under his care, and gave us to understand that he prohibited their use. There is not the slightest doubt that collars and all articles of clothing upon the upper part of the trunk limit the freedom of the respiratory act, but only to a practically inappreciable extent insufficient to check the development of the healthy youth. Tight collars and tight clothing generally must, of course, be avoided at any time, but there is no necessity to discard collars altogether because a faddist has discovered, what everyone else knew before, that they slightly impede respiration. By common consent collars are not worn when hard physical exercise, requiring free breathing, in undergone. But he would be a bold schoolmaster, indeed, who would march his boys collarless to church of a Sunday, and his logic might land him in trouble, for it would certainly lead him to discard all clothing for his growing boys, which might be rational, but would certainly be retrogressive.
From the monthly "P.N.E.U. Notes" section of regional comments; a wedding announcement.
Volume 11, 1900, pg 861
Edited by Miss Frances Blogg. Sec.,26, Victoria Street, S.W.
To who all Hon. Local Secs. are requested to send reports of all matters of interest connected with their branches, also 30 copies of any prospectuses or other papers they may print. N.B.Kindly write on one side of the paper only.
Miss Blogg is resigning her Secretaryship of the P.N.E.U. at the end of the year. Her place will be taken by Miss J.M. Russell. Miss Blogg is going abroad for three or four months, and will be married shortly after her return to Mr. Gilbert Chesterton.


text:
Q: SSRS 2008 not passing multiple values to report run from button click I have a simple query that I am running within a report on SSRS 2008, this query simply takes a date from the user of the report and a user code which is a simple md5 hashed code based on their local user id.
and this filters down the report to a subset of data relative to the period and the user selected. This report takes the below parameters:
 select * from
 ops
 where [Late Flag] = 'Late Start'
 and [Planned Session Start Time] >= @start
 and [Planned Session Start Time] < @end
 and [Hashed Surgeon 1 Code] IN (@UserCode)

The problem starts to appear when this data-set is filtered down using these parameters and then the user wishes to see the charts, which again is a simple button click, the action of which runs another report showing the charts for the same period.
I am passing the session ID's of all of the sessions relating to the user as a parameter to the charts report. The charts report is only based on the below:
 select * from
 ops
 where  [Session ID] in (@SessionID)

I expect to see multiple sessions here if a user has more than one in the period. but the report is only displaying one of these even though I have allow multiple values checked and I am using an IN as can be seen above.
Question is, has anyone had this problem before if so what can I do about it, I need to see all sessions in the same period selected for that particular user. It is very frustrating I have thought of everything I can am I missing something?

A: After reviewing the suggested approaches kindly provided by @Lukasz Szozda I realised that the best approach for me in this situation would be to create a max and min of each session date that could be passed to the charts report.
This removed the need to parameterise the IN statement. Obviously not a solution for everyone where passing multi values to multi values is required but worked nicely for me.
I must also state that this will only work for passing a single userCode in my setup, if I wanted to see more than one UserCode activity for the same period then I would need to follow the suggested approach and commit to parameterising the IN statement.


text:
Victoria University of Technology. Public Sector Research Unit / http://id.loc.gov/authorities/names/no97015576 : Public sector management / [editors, Colin Clark, Karen Manning.] 1997 1
Victoria University of Technology. St Albans Campus. Professional Writing and Editing / http://id.loc.gov/authorities/names/no97015576 : From Ararat to Zeally Bay / exciting writing from new Victorian authors 1996 1
Victoria University of Technology. Work place Studies Centre -- See Victoria University of Technology. Workplace Studies Centre
Victoria University of Technology. Workplace Studies Centre. 2
Victoria University of Wellington -- 6 Related Authors (Last Name First) 6
Victoria University of Wellington. 21
Victoria University of Wellington. Adam Art Gallery -- See Adam Art Gallery
Victoria University of Wellington. Centre for Building Performance Research. 2
Victoria University of Wellington. Centre for Strategic Studies -- See Centre for Strategic Studies New Zealand
Victoria University of Wellington. Department of Accountancy / http://id.loc.gov/authorities/names/n80085288 : The 1970's : what will the next decade demand of accountants? : proceedings of 16th Advanced Accountancy Seminar, Victoria University of Wellington, 1967 1967 1
Victoria University of Wellington. Department of Education. / http://id.loc.gov/authorities/names/n97104114 : New Zealand annual review of education = Te Arotake a tau ao te matauranga i Aotearoa c1992- 1
Victoria University of Wellington. Department of Geography. / http://id.loc.gov/authorities/names/no97057776 : Pacific viewpoint 1995 1
Victoria University of Wellington. Department of Linguistics -- See Also the later heading Victoria University of Wellington. School of Linguistics and Applied Language Studies
Victoria University of Wellington. Department of Nursing and Midwifery. 2
Victoria University of Wellington. Department of Nursing Studies -- See Also the later heading Victoria University of Wellington. Department of Nursing and Midwifery
Victoria University of Wellington. Department of Politics -- See Also the later heading Victoria University of Wellington. School of Political Science and International Relations
Victoria University of Wellington. Department of Politics. -- 3 entries 3
Victoria University of Wellington. Department of Russian -- See Also the later heading Victoria University of Wellington. School of European Languages. Russian Section
Victoria University of Wellington. Department of Russian. / http://id.loc.gov/authorities/names/n85087082 : New Zealand Slavonic journal 1
Victoria University of Wellington. English Language Institute -- See Also the later heading Victoria University of Wellington. School of Linguistics and Applied Language Studies
Victoria University of Wellington. Faculty of Architecture and Design -- See Also Victoria University of Wellington. School of Architecture
Victoria University of Wellington. Faculty of Commerce and Administration. Graduate School of Business and Government Management -- See Victoria University of Wellington. Graduate School of Business and Government Management
Victoria University of Wellington. Faculty of Commerce and Administration. School of Information Management -- See Victoria University of Wellington. School of Information Management
Victoria University of Wellington. Faculty of Education -- See Also the earlier heading Victoria University of Wellington. Department of Education
Victoria University of Wellington. Graduate School of Business and Government Management. 2
Victoria University of Wellington. Graduate School of Nursing & Midwifery -- See Also the earlier heading Victoria University of Wellington. Department of Nursing and Midwifery
Victoria University of Wellington. Industrial Relations Centre. 4
Victoria University of Wellington. Institute for Governance and Policy Studies -- See Also the earlier heading Victoria University of Wellington. Institute of Policy Studies
Victoria University of Wellington. Institute of Criminology. 2
Victoria University of Wellington. Institute of Policy Studies. 47
Victoria University of Wellington. Kura Tātari Reo, Te -- See Victoria University of Wellington. School of Linguistics and Applied Language Studies
Victoria University of Wellington. Kura Tiaki, Whakawhiti Kōrero, Te -- See Victoria University of Wellington. School of Information Management
Victoria University of Wellington. Law Faculty. 9
Victoria University of Wellington. Law Faculty. New Zealand Centre for Public Law -- See New Zealand Centre for Public Law
Victoria University of Wellington. Law Faculty. New Zealand Centre of International Economic Law -- See New Zealand Centre of International Economic Law
Victoria University of Wellington. New Zealand Centre for Public Law -- See New Zealand Centre for Public Law
Victoria University of Wellington. New Zealand Centre of International Economic Law -- See New Zealand Centre of International Economic Law
Victoria University of Wellington. New Zealand Dictionary Centre -- See New Zealand Dictionary Centre
Victoria University of Wellington. Political Science & International Relations : Africana a journal of ideas on Africa and the African diaspora 1
Victoria University of Wellington. Russian Section -- See Victoria University of Wellington. School of European Languages. Russian Section
Victoria University of Wellington. Russian Section of the School of European Languages -- See Victoria University of Wellington. School of European Languages. Russian Section
Victoria University of Wellington. School of Architecture. 2
Victoria University of Wellington. School of Architecture. Centre for Building Performance Research -- See Victoria University of Wellington. Centre for Building Performance Research
Victoria University of Wellington. School of Art History, Classics and Religious Studies. / http://id.loc.gov/authorities/names/n2005014864 : Human rights research / Victoria University of Wellington 2003- 1
Victoria University of Wellington. School of Asian & European Languages & Cultures. / http://id.loc.gov/authorities/names/no2008044462 : New Zealand Slavonic journal 1
Victoria University of Wellington. School of Communications and Information Management -- See Also the later heading Victoria University of Wellington. School of Information Management
Victoria University of Wellington. School of Earth Sciences -- See Also the earlier heading Victoria University of Wellington. Department of Geography
Victoria University of Wellington. School of European Languages -- See Also Victoria University of Wellington. School of European Languages. Russian Section
Victoria University of Wellington. School of European Languages. Russian Section. / http://id.loc.gov/authorities/names/no2008044486 : New Zealand Slavonic journal 1
Victoria University of Wellington. School of Government. Institute of Policy Studies -- See Victoria University of Wellington. Institute of Policy Studies


As Director of Marketing Innovation and Digital cinema in the Eutelsat's Commercial Department, Michel Chabrol is responsible for the promotion, marketing and development of new technologies like 3D and Ultra HD. He is Board Director of DSAT Cinema, a joint venture company of Eutelsat and dcinex, that offers to cinemas electronic delivery of contents ("DCP": Digital Cinema Package), and live retransmissions of key events. He is also in charge of the 3D & Ultra HD Group of the French HD Forum.


Drama is vibrant at the College, and the last few years have seen quite a few Old Columbans continue drama in adult life, with several becoming professional actors. Yesterday's Observer has a review of the National Youth Theatre's London production of White Boy, by Tanika Gupta. In it Timi Fadipe (right), who left the College in 2004, is praised for his 'harrowing' performance as a Sudanese refugee. An article and more pictures also in the Curtain Rising 'virtual magazine'.