text:
Journal of Electrical Engineering and Technology
Pages.2343-2347
The Korean Institute of Electrical Engineers (대한전기학회)
Titanium Dioxide Sol-gel Schottky Diodes and Effect of Titanium Dioxide Nanoparticle
Maniruzzaman, Mohammad (Dept. of Mech. Eng., Inha University) ;
Zhai, Lindong (Dept. of Mech. Eng., Inha University) ;
Mun, Seongcheol (Dept. of Mech. Eng., Inha University) ;
Kim, Jaehwan (Dept. of Mech. Eng., Inha University)
https://doi.org/10.5370/JEET.2015.10.6.2343
Citation PDF KSCI KPUBS JATS XML HTML
This paper reports the effect of Titanium dioxide (TiO2) nanoparticles on a TiO2 sol-gel Schottky diode. TiO2 nanoparticles were blended with TiO2 sol-gel to fabricate the Schottky diode. TiO2 nanoparticles showed strong anatase and rutile X-ray diffraction peaks. However, the mixture of TiO2 sol-gel and TiO2 nanoparticles exhibited no anatase and rutile peaks. The forward current of the Schottky diode drastically increased as the concentration of TiO2 nanoparticles increased up to 10 wt. % and decreased after that. The possible conduction mechanism is more likely space charge limited conduction.
Schottky diode;
Nanoparticle;
Titanium dioxide;
Sol-gel
Recently metal oxides have attracted great attention due to their remarkable optical, physical, chemical, and electronic properties [1, 2]. Among the metal oxides, titanium oxide (TiO2) has a wide range of advantageous properties, such as chemical stability, photocatalytic activity, photosensitivity, and electrical conductivity and is applicable to electronic devices, chemical sensors, photocatalysts, solar cells, and photoelectrochemical cells [3-6]. These properties strongly depend on crystallite size and shape of the TiO2. TiO2 has three main crystalline structures including anatase, rutile and brookite. Each structure has unique chemical, physical, and electronic properties and leads different applications.
TiO2 thin films have been fabricated with a variety of techniques including sol-gel process, sputtering with different metallic and ceramic targets, ion beam enhanced deposition, chemical vapor deposition, and pulsed laser deposition. Sol-gel process is one of the most important techniques to synthesize various functional materials. It has advantages over conventional other techniques in terms of low temperature process, large area coating, homogeneous and multi-component metal oxide preparation and low equipment cost. Although sol-gel process has such a superior advantages, the final material performance is greatly affected by the process conditions including species of solvent, concentration of TiO2 and heating process.
In this paper, we report the fabrication of a Schottky diode made by mixing TiO2 nanoparticles and TiO2 solgel. Schottky diodes have been made with inorganic semiconducting material, conducting polymers and a combination of both materials [7-10]. The effect of TiO2 nanoparticles in the TiO2 sol-gel for the performance of Schottky diode is investigated in terms of surface field emission scanning electron microscope (FESEM) images, x-ray diffraction (XRD) patterns and current-voltage (I-V) characteristics of the fabricated Schottky diode. Three possible conduction mechanisms are explained to determine dominant conduction process in the device.
2. Experimental procedure
TiO2 nanoparticles (~30 nm) were purchased from Aldrich Co. and used without further purification. The TiO2 sol was fabricated by titanium (IV) isopropoxide (TIP, 97 %), ethanol (99.8 %), HCl (36.4 %) and deionized (DI) water. The sol was prepared as follows: 50 ml of ethanol was charged in the 100 ml of round bottom flask, and 6 g of TIP was added to the solution. Then, HCl was added to the mixture until the solution became transparent with stirring, and the solution was kept under vigorous stirring for 1 day. The aqueous TiO2 nanoparticle solution was directly mixed with TiO2 sol-solution with 1 wt% (TiO-1), 5 wt% (TiO-5), 10 wt% (TiO-10), and 15 wt% (TiO-15) TiO2 nanoparticle concentrations. The various concentrations of TiO2 nanoparticles and TiO2 sol mixtures were spin coated on a silicon wafer with 2000 rpm. The film was then heated at 300℃ for 1 h in a tube furnace under nitrogen gas purging. The silicon wafer was cleaned by a mixture of sulfuric acid and hydrogen peroxide in an ultrasonic cleaner, followed by cleaning and rinsing with de-ionized water. Finally, the wafer was washed with acetone and dried at 100℃ for 30 minutes. The film thickness was approximately 100nm after heat treatment. Al electrode was then vacuum-deposited onto the film. Fig. 1 shows the three-layered Schottky diode structure. The silicon layer was used as an electrode.
Fig. 1.Three-layered Schottky diode structure: TiO2 nanoparticle-TiO2 sol-gel acts as a semiconducting layer.
3. Results and Discussion
Fig. 2 shows surface FESEM images of (a) TiO-1, (b) TiO-5, (c) TiO-10, and (d) TiO-15. Nanoparticles were not observed on the surface of the TiO-1 film. Small individual particles were observed for the TiO-5. As the concentration of TiO2 nanoparticles increased more than 10%, aggregated particles were observed on the surface of the films as shown in Fig. 2 (d). Fig. 2(e) shows the cross sectional FESEM image of TiO-10. The thickness of the TiO2 layer is about 75 nm.
Fig. 2.FESEM surface images: (a) TiO-1; (b) TiO-5; (c) TiO-10; (d) TiO-15 and (e) FESEM cross-sectional image of TiO-10.
Anatase and rutile crystallite phases are the main structures of TiO2, which have band-gap energies of 3.2 and 3.0 eV, respectively [11, 12]. Anatase TiO2 has excellent photocatalytic activity, long-term stability and nontoxicity [13]. Sol-gel spin-coating process is a promising technique over the other conventional techniques. The prepared films are mostly amorphous phase structures [14]. Fig. 3(a) shows the XRD patterns for the TiO-1, TiO-5, TiO-10 and TiO-15. There is no clear anatase or rutile diffraction peak for the TiO-1 and TiO-5. However, very weak major anatase (101) and rutile (110) diffraction peaks were observed for the TiO-10 and TiO-15. Fig. 3(b) shows XRD pattern for the TiO2 nanoparticles. Strong anatase (101) and rutile (110) peaks are located at 25.4° and 27.5° respectively. The relative intensities of the anatase and rutile diffraction peaks are 54.7 and 45.3 %, respectively. It is clear that the TiO2 nanoparticles are composed of anatase and rutile crystal structures.
Fig. 3.XRD patterns: (a) TiO-1; TiO-5, TiO-10, and TiO- 15. (b) TiO2 nanoparticles.
Schottky diodes fabricated with mixture of TiO2 sol-gel and TiO2 nanoparticles with different concentrations were characterized by measuring their I-V characteristics. The work function of Al is low (approximately 4.1 eV) compared with TiO2 (5.1 eV for anatase structure and 4.9 eV for rutile structure) [11]. Therefore, the Al and TiO2 nanoparticles and TiO2 sol contact might be a Schottky junction due to a big difference in the work functions. Furthermore, due to the similar work function of Si (4.52 eV) and TiO2, the Si and TiO2 nanoparticles and TiO2 sol junction could be an Ohmic contact. Fig. 4 shows the result. The forward bias current was approximately 30 μA for the Schottky diode fabricated with pure TiO2 sol-gel without TiO2 nanoparticles. The forward current for the TiO-1 is approximately 130 μA, which is 4 times higher than the pure sol-gel Schottky diode. As the amount of TiO2 nanoparticles increased, the forward current drastically increased up to 10 wt. % and decreased thereafter. The maximum forward current of 2.7 mA was achieved at 10 wt. % of TiO2 nanoparticles. The improved forward current is due to the high quality crystallite nanoparticles of TiO2, which drastically increase the surface area of the active material. The reduction of the forward current for the TiO-15 might be due to the aggregation of the TiO2 nanoparticles as shown in Fig. 2 (d).
Fig. 4.I-V characteristics of Schottky diodes.
To distinguish the major conduction mechanism, various plots were employed based on the theoretical equation of each conduction mechanism. Three conduction models were employed by plotting Ln(J) versus Ln(V), Ln(J) versus E1/2 and Ln(J/V) versus E1/2 for the space charge limited conduction (SCLC), Schottky conduction (SC) and Poole-Frenkel conduction (PFC) models, respectively. Fig. 5 (a), (b) and (c) represent the plots based on the SCLC, SC and PFC models, respectively. Table 1 shows beta values of SC and PFC mechanisms in linear regime. For both cases, beta values are too big compared with the theoretical values (3.03×10-5 eV/ (V/m)1/2 for SC and 6.06×10-5 eV/(V/m)1/2 for PFC) to match these mechanisms at low electric field [15]. The plot of SCLC model shown in Fig. 5(c) shows best linear fit in the experimental range. Therefore, SCLC process could be a major conduction mechanism [16].
Fig. 5.The plots of three conduction mechanisms: (a) Ln (J) vs Ln(V) for SCLC. (b) Ln(J) vs E1/2 for SC and (c) Ln(J/V) vs E1/2 for PFC.
Table 1.Beta values of TiO2 nanoparticle doped TiO2 solgel Schottky diodes of Schottky emission and Poole-Frenkel emission. Unit: ×10-5 eV/ (V/m)1/2
The mixtures of TiO2 sol-gel and TiO2 nanoparticles with different concentrations of TiO2 nanoparticles were used as a semiconducting material for a Schottky diode fabrication. Although TiO2 nanoparticles show strong anatase and rutile XRD peaks, the mixtures of TiO2 sol-gel and TiO2 nanoparticles exhibit no characteristic anatase and rutile diffraction peak. The forward current drastically increased as the concentration of TiO2 nanoparticles increased until 10 wt. %. The forward current decreased as the TiO2 concentration further increased. SCLC mechanism might be dominant for the linear regime.
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On Breakfast First, an Empower podcast series, hosts Evan Dulaney and Andrea Book shoot the grits about advertising, creative media, inspiration and the seedy underbelly of agency life. Because there's a reason mom always told you to eat breakfast, and it's the same reason Breakfast First is one of our company values: It sets you up for success. So does learning from the best. Whether you're a marketer, agency lifer, startup or just someone who loves a good story (or a good laugh), this is one breakfast you don't want to skip.
A programmatic & search specialist turned copywriter, Evan spent two years at Empower crunching numbers and data before joining our creative team. Quite the career change, huh? He's also a published short story writer and a club swimming coach with an insatiable appetite for live music, the NBA, Cincinnati chili and, of course, podcasts.
A designer at Empower, Andrea brings her artistic touch to print, social, digital, experiential and influencer marketing. She's the proud fur mom of Moose the standard poodle and avid runner. Outside of work, Andrea paints watercolors, hunts for the best meal in town, and binge listens to true crime podcasts.
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text:
For Le Guin
Ursula K. Le Guin was my hero. Urusla K. Le Guin is my hero still. She is gone from this world, and only her words are left to us. Those words are marvels.
I remember driving to a college interview with a copy of The Dispossessed on the passenger seat beside me, in case I arrived too early. My first computer password, at the beginning of college, was an anagram of her name. I remember reading The Dispossessed again when I moved to California, to console myself to the strangeness of the new planet where I found myself. And The Dispossessed is on my bedside table again, tonight.
For the last two falls I have been teaching my graduate students The Left Hand of Darkness. Last fall, I realized their edition had a typo, a crucial, meaning-changing typo, on the novel's last page. I went through my house looking for other editions to compare. It turns out I had five.
I have blogged in the past about the debts I owe to Le Guin as a writer, and those debts have only matured as I have:
I no longer know how many times I have read The Language of the Night. [I]t was my first example of how to write an essay about a piece of fiction. More importantly, it was my first model of an essayist's prose, and I could not have had a better. Le Guin's prose, lucid and evocative, as clear and as complex as running water, still gives me my sense of what a paragraph or a sentence ought to be.
I was all too slow to be aware of it, but this is the truth: I am trying to write like Ursula K. Le Guin. I am always trying to write like Ursula K. Le Guin. This is no less so because I do it without thinking of it; it is only more so. .... She is the essayist I wanted to be when I grew up, and she is the stylist whom I, having grown up, would like to be. ... In the middle of my life, better late than never, I am obliged and honored to acknowledge her as my master.
She was a late bloomer, who published her first novel the year she turned 37, and her first undeniable masterpiece, The Left Hand, the year she turned forty. That has always been a lesson to me.
She was an American Taoist, a real one, in a country where many who profess Taoism are deceiving themselves. She had no space for self-deception; the Tao, after all, is about dispensing with illusions. Her perspective was unblinking and undeceived, looking straight at truths most shy from. Many would call such a perspective cold but, precisely because she was so free of illusions, her viewpoint was astonishing warm. She wrote fantasy, but never trafficked in or tolerated the everyday lies and fantasies that our society breathes. Her novels took you to another planet, where you found yourself facing the truths of human nature that you shied away from every day.
She was fearless. She could not be intimidated. And her craft was profound.
I am thinking of her husband tonight, Charles, to whom she was married for decades, and who clearly served as helpmeet to her in a way that men of his generation expected of their wives and not themselves. Le Guin wrote, again and again, of deep monogamous bonds, the pairing for life, in a way that has to be, in part, a profound tribute to her own partner.
I would take, gladly, another year or two or five of her words, of whatever she was able and willing to share. But she had already written her last novel, and knew it. When she no longer had the physical stamina to write a novel, she faced that truth. Her accomplishment is complete tonight. She has already achieved more than anyone could ask.
Ursula Le Guin did not believe in heaven. She found the idea of an afterlife suspect. So all that remains of her tonight are her words. They will always be there if you want them. Let me say what a comfort they can be.
cross-posted from Dagblog, where all comments are welcome
Labels: books, Books Worth Loving, feminism, science fiction, writing
As everyone has already noticed, a president who boasts about his deal-making skills, author of The Art of the Deal, has been unable to strike a deal to keep his own government funded. Worse, he actually blew up a deal in the making, and now negotiations from the White House side seem to have all but stopped. This is because the word "deal" doesn't mean what Donald Trump thinks it means. He doesn't want a deal. He wants a "win," which he defines as the other side losing. And that makes deal-making impossible.
Now, all the blame does not fall on Trump. We have years of legislative brinksmanship and hostage-taking to thank for this, all of it pioneered by the Republicans in Congress with their government shutdowns and debt-ceiling hijinks. McConnell and Ryan bear heavy loads of blame, as do the House Freedom Caucus, who often defy their own leadership, and the so-called "Hastert Rule" which allows Republican hard-liners to keep popular bills off the House floor. And White House Chief of Staff John Kelly, who is supposed to be keeping chaos at bay, seems to have actually been sowing chaos.
But Trump has also messed this up, torpedoing deals in progress. The infamous "shithole" meeting wasn't just a moment where the President singled out black-skinned immigrants as undesirable. It's also a meeting where the President unilaterally destroyed a bipartisan immigration deal that would have moved the funding bill forward. The White House has been disputing the particular foul word the President used, but not his refusal to accept African and Haitian immigrants or his sudden decision to rip up a deal that was close to being made.
If you want to know why the government shut down, that meeting is the key. The President of the United States ripped up a deal and offered nothing in its place. That's when the wheels came off.
John Kelly is also to blame for sabotaging that deal. Senators Graham and Durbin were scheduled for a meeting with the President about the deal they'd been working out, and walked into a room unexpectedly filled with anti-immigration figures who had no real reason to be there, like Tom Cotton. That only happens if the Chief of Staff permits it, or causes it.
None of this should be a surprise. Trump's business career is littered with examples of him changing deals or tearing them up after the fact. Think of the many building contractors he's stiffed, waiting until they'd done the contracted work and then not living up to his half of the contract. And think of his multiple bankruptcies, in which he borrowed vast sums of money, didn't pay it back, and then tried to renegotiate his debts so that he wouldn't have to pay in full. (Now, bankruptcies happen and we have bankruptcy laws for a reason, but the sheer number of Trump's is revealing.) This is why Trump hasn't actually put up a building in a couple of decades, as opposed to entering agreements to put his name on buildings other people create; Trump can't get the funding for his own building projects, because he's known for not sticking to his deals.
The many stories about stiffing contractors suggests that Trump doesn't see business in the both-sides-win, let's-get-to-yes way that most successful businessmen and dealmakers do. He sees business as a zero-sum, I win-you-lose proposition about dominating the other party and making them accept his terms. That is much closer to the mindset of swindlers and racketeers, ho look to extract everything they can without contributing anything to the deal. It's pretty clear that Trump sees business as about beating the other guy. But that mindset encourages people not to deal with you. In fact, it makes it irrational to deal with you. Why give concessions to someone who won't give any back?
This mindset is also clear from the way Trump talks about virtually every treaty or trade agreement the United States has, complaining that they are "terrible deals" and talking about blowing them up. He doesn't think about what America gets back from those deals. He just threatens to blow them up, hoping to extract extra concessions without giving up anything in exchange. No foreign government is actually going to do that, of course. But Trump's whole career has been about trying to get something for nothing.
Trump the deal-breaker has been on display for the last week. First he blows up the close-to-finished deal that Durbin and Graham were trying to finalize. Then, in the opposite of normal negotiating behavior, he kept demanding more and more without giving anything in return.
The way it's supposed to work when you get close to a deal is that each side trades a little bit more until they have a bargain. It's what you do when you buy a house, or a used car. And usually what you do in that situation is offer small concessions in order to get other concessions back. You do the sidewalk repairs the city inspector wants and I'll throw you some money toward closing costs. You come up a little on price and I'll throw in the washer and dryer. What you never do is increase your demands when you're close to a deal. If we're five hundred bucks apart on price, I don't suddenly increase my ask by another thousand dollars. I don't suddenly demand that you pay my closing costs AND throw in your washer and dryer. Of course not. But Trump does.
There was a deal in process and, two days before the deadline, Trump blew it up, apparently expecting to get more. That wasn't just moving the goalposts. It was increasing the ask. The Democrats were willing to trade some things in order to keep 800,000 kids from being deported, including other immigration concessions. Then Trump said that wasn't enough, and essentially that he wanted Dem votes to avoid a shutdown without giving them anything on the Dreamers. Oddly, the Democrats were not eager to go along with a deal where they were getting less.
Trump even threatened to reduce his offer even more, tweeting his opinion that CHIP should be taken out of the bill. Fortunately, that did not happen. But it sure would not have helped. Then Trump spends ninety minutes personally negotiating with Chuck Schumer and got an offer of funding for his ridiculous border wall in exchange for not deporting the Dreamers. Then John Kelly calls Schumer to retract the offer. This is not getting to yes. This is actively, doggedly, moving toward no at every opportunity.
Now the Republicans say they refuse to negotiate about the Dreamers at all until the Dems cave on the continuing resolution. So they're saying the Democrats have to give concessions before even asking for things. Demanding the other side cave is not negotiation.
I have no idea how long this shutdown lasts. It could be over Monday afternoon. It could stretch into February. It may end in a compromise. It may end with the Democrats caving. It may end with the Republicans melting down. I really don't know, and I'd be a fool to make a prediction. But there are two real possibilities that should go into the mix.
It would not surprise me if Senate and House eventually make a deal without Trump and send it to him to sign. He isn't helping negotiations. They might hash this through without him.
It would also not surprise me if Trump increases his demands at some point, either demanding more concessions from the Democrats or taking back part of the offer already on the table. That would be a mistake, but it would be one of Trump's favorite kinds of mistake.
cross-posted from Dagblog; all comments welcome there, rather than here
Labels: GOP, politics, The Mess We're In, The Post-Conservative Mind, Trump
Your Public Domain Report for 2018
Hey gang! It's time for Public Domain Day again, where we list all of the music, film, books, and other pieces of art leaving copyright today. And here's that list again, just like last year:
Nothing. Nothing at all.
Although the Framers of the Constitution only gave Congress power to grant copyrights and patents "for a limited time," repeated extensions have made sure that nothing has entered the public domain in the United States since January 1, 1979. Today makes nearly forty years since that happened.
Copyright in this country had a 28-year maximum back during the George Washington administration. By the 20th century that had become a very reasonable 6 years. Then the 1976 Copyright Act and the 1998 Digital Millennium Copyright Act ensured that big media company's like Disney and Sony got to keep their intellectual property out of the public domain forever.
The big news is that the public domain clock is due to unfreeze in exactly one year, on January 1, 2019, unless Congress extends copyright terms again. Left to their own devices, Congress will certainly do that. But they haven't written that law yet, and there's time to lobby. Call your senators and representatives this year, and tell them not to extend copyright any more.
In the meantime, as every year, I have to write a post about what would be entering public domain today. What are we missing?
If Not for the Digital Millennium Copyright Act:
Today is the day Casablanca should enter the public domain. Actually, under the law when it was made, it should have become public domain in 1999. The 1976 extension delayed that until today, but that apparently was still not enough. We'll always have Paris, if by "always" we mean "never."
This is also the day the public would get the rights to Bambi, Flying Tigers with John Wayne, Now, Voyager, The Palm Beach Story, Across the Pacific, Andy Hardy's Double Life, The Courtship of Andy Hardy, noir classic The Glass Key and horror favorite Cat People, musical For Me and My Gal, In Which We Serve, the original live-action The Jungle Book, Mrs. Miniver, Orson Welles's Magnificent Ambersons, Lon Chaney in The Mummy's Tomb, My Sister Eileen, My Favorite Blonde, The Pride of the Yankees, The Road to Morocco, Saboteur, The Talk of the Town, This Gun's for Hire, To Be or Not to Be, Tortilla Flat, Woman of the Year with Tracy and Hepburn, and James Cagney in Yankee Doodle Dandy. Ronald Reagan's finest work as an actor, Kings Row, would become public domain today. So would George Gershwin's classic Christmas musical Holiday Inn (which I will spend part of this New Year's Day watching, as usual), and all the songs in it, including "White Christmas."
Unlike the last few New Year's Days, today would not see many major cartoon characters enter the public domain, mostly because those classic characters would be in the public domain already. The big exception is Tweety Bird. Thought you say a puddy tat? Not for another twenty years.
Most of the great Golden Age comic-book heroes would also be in the public domain already, but today they would be joined by various classic sidekicks (like Wonder Woman's pal Etta Candy, villains (such as Two-Face and Shade), and minor colleagues: Guardian, Metallo, Mr. Terrific, Kid Eternity, Mary Marvel, Robotman, and Wildcat.
But on the science fiction front, Asimov's Three Laws of Robotics would become free to use today.
In literature, Albert Camus's The Stranger should become public domain today, as should his Myth of Sisyphus. C.S. Lewis also has a fiction/non-fiction double-header, with his Preface to Paradise Lost and his classic Screwtape Letters. Raymond Chandler's The High Window and Ellery Queen's Calamity Town should leave copyright today. So should Heinlein's Beyond This Horizon, Steinbeck's The Moon is Down, O'Neill's A Touch of the Poet and Jean Anouilh's Antigone. We could also look forward to Eliot's Little Gidding, Wallace Stevens's Parts of the World, and Langston Hughes's Shakespeare in Harlem.
In the world of music, "White Christmas" is the big headline. But Duke Ellington classics "C-Jam Blues" and "Don't Get Around Much Anymore" would enter public domain, too, as would Cole Porter's "You'd Be So Nice to Come Home To." Other ontributions to the great American songbook by Johhny Mercer, Irving Berlin, George Gershwin, Frank Loesser, Johnny Mercer, Jerome Kern, Mack Gordon, and Johnny Burke would become free for all to use. And there would be plenty of classical music, too: Copland's Fanfare for the Common Man and works by Britten, Barber, Schoenberg, Kachuturian, and those crazy Russians Stravinsky, Shostakovich, and Prokofiev.
Not the richest year overall, since most of the West was pretty busy doing other things in 1942, but still a pretty respectable haul. Still, we'll have to wait until 2038 for those works, and longer if Congress passes another extension in the next 12 months.
If not for the 1976 Copyright Act:
A mother lode of classic movies were scheduled to enter public domain today, under the law at the time they were made: West Side Story, Breakfast at Tiffany's, La Dolce Vita, Judgement at Nuremberg, The Children's Hour, Last Year at Marienbad and The Hustler. Copyright was also originally set to expire on One Hundred and One Dalmatians, The Absent-Minded Professor, The Guns of Navarone, Elvis Presley in Blue Hawaii, Splendor in the Grass, The Parent Trap, Babes in Toyland, Divorce Italian Style, El Cid with Charlton Heston, Five Minutes to Live, Flower Drum Song, Gidget Goes Hawaiian, King of Kings, The Misfits, Mysterious Island, The Roman Spring of Mrs. Stone, Raisin in the Sun, Town Without Pity, Voyage to the Bottom of the Sea, and last but not least, Kurosawa's Yojimbo.
Joseph Heller's classic novel Catch-22 should enter public domain today, as should fiction by
Kurt Vonnegut, Gabriel Garcia Marquez, Agatha Christie, Stanislaw Lem, J.G. Ballard, Patricia Highsmith, Poul Anderson, Brian Aldiss, Margaret Lawrence, H.P. Lovecraft, August Derleth, Theodore Sturgeon, Iris Murdoch, Evelyn Waugh, and Harold Robbins. Let's not forget Walker Percy's The Moviegoer, Muriel Spark's Prime of Miss Jean Brodie, Nobel laureate V.S. Naipaul's A House for Mister Biswas, John Le Carre's fiction debut A Call for the Dead, and, oh yes, J.D. Salinger's Franny and Zooey.
James and the Giant Peach should enter public domain today, but what would happen if a beloved children's story became public domain? So should Beckett's Happy Days, Genet's The Screens, and Tennessee Williams's Night of the Iguana. And let's not leave out three important and influential non-fiction works: Fanon's Wretched of the Earth, Marshall McLuhan's Gutenberg Galaxy, and Janes Jacobs's classic The Death and Life of Great American Cities.
It should be a great year music, with tunes by Sinatra, Elvis, Judy Collins, John Coltrane, Chuck Berry, Judy Garland, Roy Orbison, Dizzy Gillespie, Johnny Cash, Count Basie, Sun Ra (and his Arkestra), Patsy Cline, Rachmaninoff, Miles Davis, Dave Brubeck, Johnny Mercer, Henry Mancini, and Willie Nelson becoming publicly available.
But all of those works will stay firmly in the hands of Sony, Disney, Time Warner, etc., until at least 2057. Someone needs another 39 years of royalties from Moon River, apparently.
What will become public a year from today:
But let's keep our eye on the prize. The current law is not changed (and you should expect Congress and the lobbying industry to try), works first publishes in 1923 will become public domain in the US next January 1. The public-domain clock, which has been stuck in place since January 1, 1979, is set to come unstuck. (Yes, this means that everything published in 1922 is public domain but nothing published in 1923 is, and it has been that way for 39 years now.)
If we can keep the lobbyists at bay, Robert Frost's "Stopping by the Woods on a Snowy Evening," the one that ends "And miles to go before I sleep," will leave copyright next New Year's Day. So will Wallace Stevens's "Thirteen Ways of Looking at a Blackbird" and "Emperor of Ice-Cream." Likewise, Yeats's collection The Cat and the Moon, and various poems by Cummings, Djuna Barnes, St. Vincent Millay, Edward Arlington Robinson, Vachel Lindsay, and William Carlos Williams.
Jean Toomer's Cane is due to become public, and Hemingway's first chapbook Three Stories and Ten Poems. Willa Cather's A Lost Lady; Tarzan and the Golden Lion; Kahlil Gibran's The Prophet; Brecht's In the Jungle of Cities; Agatha Christie's Murder on the Links. Works by Joseph Conrad, H.G. Wells, P.G. Wodehouse, D.H. Lawrence, Virginia Woolf, Jean Cocteau. Beloved Czech classic the Good Soldier Svejk. Classic silent films by Harold Lloyd, Buster Keaton, and Charlie Chaplin. Works that are classic, and already almost a century old; works that are forgotten, but cannot be republished and rediscovered because it's been so long that the copyright owners can no longer be found and so there's an, ahem, Catch-22: you can't republish the work without paying for permission, but you can't find the person you need to pay.
We can begin a return to copyright sanity in one short year, if we just keep our lawmakers from being crazy.
Whose woods these are I think I know:
They'll likely keep them private, though.
cross-posted from Dagblog (all comments welcome there, not here)
Labels: public domain reports

redpajama_set_name: RedPajamaCommonCrawl


Photography can be one of the hardest art forms to master as it requires a great deal of work to get good. You don't have to be a natural photographer, but you've got to learn some techniques and try methods that work for you.When trying to take a good photograph, keep your technique simple. Often, you can create a magnificent photo without having to play with different color settings and motion settings.Keep things simple when trying for a great shot. Often the best pictures are the ones that you take naturally, without worrying about all the extras.
Framing is very important when composing your shot. Zoom in on your subject and eliminate any surrounding distractions. This helps your photo remain clutter-free without distracting elements.
Try new things, and don't fear trying new techniques. When you take photographs, you should be working to develop your own personal style. You want to show the photographed item through your point of view. Do not take pictures that people have seen over and over again. Experiment with new angles, and be creative.
A good photograph needs a great subject. You can have the very best equipment and be extremely talented, but without the right subject you will not get quality pictures. Carefully choose objects that inspire you, or find a model who will pose for you.
The built-in flash on a digital camera is usually set to activate automatically when it senses dim light. This is wonderful for taking a quick photo, though if you want your pictures to look more professional, try investing in a type of external flash unit that will give you a broad range of light. Try to get a camera with what is known as a "hot shoe" that can take an external flash, and make sure to ask a professional camera shop if it will sync with the camera.
Anyone can become an excellent photographer with time and efforts. Do not stop taking pictures. With each image that you capture, you gain experience. You don't need to feel you have to preserve every photo you take, especially with digital cameras being so prolific. You can take lots and lots of pictures and view your results easily without the expense of purchasing or developing film.
There is no special formula that automatically produces a skilled photographer. Experience and persistence are both necessary. With digital formats, you don't need to develop your own pictures, nor do you have to keep them all. You will get better and better as time goes on, taking shots of everything and judging them later on to evaluate how you might have gotten a better photo.
Because you now have all of this knowledge of photography, you should have the ability to impress everyone with your new-found skills in photography Who knows, you might even get so good that you consider becoming a professional and want to create pictures for a living!
Chromatic aberration might sound very abstract, but it is quite easy, really. Imperfections in the camera lenses create the fringes, that are seen as magenta and blue-green fringes. It comes in two varieties: 1. The different colors do not focus on the same sensor plane. 2. The individual colors produce images of different size. In the following article we will look in depth at the phenomena of chromatic aberration and how to avoid or solve it.Chromatic aberration is caused by the refractive index of glass, so let us first look at what refractive index is. When light passes through a medium, for example the glass of the lenses, the angle of the light changes. For example light may hit the lens at a 90 degree angle, but leave the lens at an 80 degree angle. The problem is that the different wavelengths of light have different refractive indexes. Red might leave the lens at 81 degrees, while blue leaves at 79 degrees. This produces what is known as longitudinal chromatic aberration where you get thin magenta fringes. The sensor focuses on the green channel and chromatic aberration causes the blue and red to be slightly out of focus, which creates the combined magenta fringes.
Transverse chromatic aberration arises when light does not reach the lens at 90 degrees, but from a different angle. In this case the different colors focus evenly, but not at the same spot. This causes the red image to be larger than the green and blue, and the blue the smallest of them all.This also produces colored fringes, but now both a magenta and a blue-green one. Chromatic aberration is hard to avoid, since it is in the nature of light, but of course lens manufacturers do their best to eliminate it.
You get different kinds of fringes for each kind of chromatic aberration. Longitudinal aberration shows as magenta fringes around objects and is distributed uniformly throughout the image. Transverse aberration is absent at the center of the image, but grows in intensity towards the corners. Longitudinal chromatic aberration is most pronounced in wide aperture lenses. It can be reduced by using a small aperture. Transverse chromatic aberration is most pronounced in telephoto lenses. However, lenses can be designed in many ways. The so called achromatic lenses are by far the most popular with minimal chromatic aberration. More rare are the superachromatic and apochromatic lenses, that virtually eliminate chromatic aberration. Digital images tend to show more chromatic aberration than film for some reason. This may be because the sensors are more sensitive to ultraviolet and infrared light, which are at the outer edge of the spectrum where aberration is most pronounced.
Software can fix cromatic aberration. Longitudinal chromatic aberration is somewhat corrected by sharpening the red and blue channels; the green channel is used to focus the image and is sharp. Transverse chromatic aberration is satisfactorily corrected by radially enlarging the blue channel image and radially reducing the red channel image.
Purple finging is a different kind of chromatic error. It appears along hard contrast edges when photographing something against a hard back light, or when photographing a light source against a dark background.The purple fringe invades the dark area. Purple fringes are sensor errors, whilst chromatic aberrations are lens errors. Purple fringing is not a simple geometric error like transverse chromatic aberration, but is an overflow of light from the brightly illuminated sensor to its neighbors; hence it is very difficult to correct with software. Also the real color is usually lost. Software can reduce the color of the purple fringe to a grayish tone. At best the local color is not completely eradicated by the purple fringe and can be reconstructed.
When retouching pictures you should first address white balance and contrast. White balance is usually what you ought to consider first, then contrast.This order is important, because you can not set color contrast properly if the image has a color cast.White balance is concerned with the color of the light within the image and sets white as an ideal. White balance applications attempt to retouch the tint of the illumination to neutral and in order to do that, the program needs some whites or grays in the picture to calculate the correct correction tint from. There are dedicated white cards, but one can also do with a sheet of white paper or a white wall. Gray cards are manufactured for the purpose of adding a neutral gray to the photo.White balance software usually has both a manual and an automatic mode. Manual correction comes as a temperature slider, which is fine for incandescent light, but not for fluorescent light or mixed light. When opening RAW images, one normally has a temperature slider. Some RAW converters also have three color sliders for red, green and blue. Fluorescent and mixed light can be somewhat corrected with color sliders, but unfortunately color sliders usually tone the blacks and whites in an undesirable way. For automatic corrections, the software normally needs neutrals in the image, like a gray card and/or a white card. Some programs can dispense with that, but usually neutrals are needed.
There are three kinds of contrast: hue, saturation and brightness. Very few applications have more than a single slider for contrast, that addresses all three kinds of contrast at once. It is not ideal with a single slider for all three, since the result usually suffers from over saturation and colorfulness. At best the software will have a control for luminance contrast and for color contrast.
The usual way to manipulate contrast is simply by altering the difference between the individual red, green and blue values and the average value (128); like this: R= (R-128) * contrast + 128; and likewise for green and blue. This method is only suitable for images that cover the entire brightness range. What if the image is very pale or very dark? In that case you need to change the algorithm to use the average values of the image's R, G and B channels, like this: R=(R-RAverage)*contrast + RAverage. And so on for G and B. The algorithms are essentially the same since a full brightness range image will have 128 as an average value.
If the darkest and brightest areas are not black and white a different situation arises. If that is the case, one should also be able to expand the brightness range to reach black and white. This is essentially what levels adjustment does. If one's software does not offer the option to expand brightness range, one can do it with Photoshop's levels adjustment like this: First convert the image to Lab mode, select the L channel only and run auto levels on that. Then convert back to RGB mode.
I am just letting you know right this moment that the sole method to generally be truly wonderful in any arena out there is to start committing to the hard work. If you cannot sit back and put in the work every day of your life then there is just absolutely no way in the world that you will be capable of getting the long term outcomes you want. This is very true in relation to digital photography. You must follow and practice specific things to become truly great. For anyone who is among the many handful that are really prepared to do the work then believe me there is merely no way that you are not going to be able to see great successes in a very short while from now.The biggest thing you need to do is actually concentrate on the items that really make a difference. You will need to start paying attention on a regular basis because that's the key to actually being willing to capture all those specific moments on camera. It is important to begin working on your ability to be attentive to your environment. The only way that I've found to help me obtain the long run results I would like is by really taking the time to eradicate the many disturbances that are around. Consequently it will definitely be in your interest to eliminate that tv now.The next thing you're going to desire to look closely at is the digital camera you are genuinely working with. So trust me, you really need to truly take out the time to get the most desirable digicam that you can afford currently! Though it might cost you a chunk of income to get, it will certainly be worthwhile in the end. You can expect to learn to observe a terrific advancement in the photos which you take once you get a very good digicam.
The following thing you have to do is start to try things out a lot. It is important to go out and start to experiment by taking a selection of different photographs. Try to capture a variety of distinct photographs, landscape, portrait and perhaps black and white. It is the best method to find your specific niche market and sort of digital photography that you might love to do everyday. If you obtain the specialized niche that you're going to wish to work at for the rest of your daily life, you must get started with practicing it every single day.
Trust me, if you're able to abide by these rules then there's just no chance that you are not going to be capable of become a terrific digital photographer very quickly. Remember that there isn't any magic technique, just effort and hard work.
There's no question that the individuals who perform the most comprehensive study are the very types that discover the best camera at the end. So get out there and read everything.
Almost everyone enjoys looking at photographs that remind them of special times in their lives. Some think it is impossible to get quality prints unless they invest in complicated equipment that costs a small fortune. Luckily, there is the Nikon Coolpix S8000 which delivers perfect images at a very affordable price.
There are a wide range of automatic adjustment and preference settings on this device. With a simple flip of a switch, lighting and movement issues are under control. It is amazing how many useful and creative features are integrated into this camera that is so small and so slim that it sits comfortably in the palm of a hand.
Though one of them slimmest cameras available, it delivers in true Nikon fashion. Weighing in at just 6.5 ounces and measuring less than five inches, it is easily carried in a pocket for quick access. It is truly unbelievable that something so tiny can produce such high quality photographs.
Photos are taken at an incredible 14.2 megapixels and can be printed in large sizes up to 16×20 without losing their quality. This amazing device even has macro shooting capabilities that allow clear images to be produced from as close as a single centimeter away from the subject. Consistently great pictures will be captured using the auto-focus and other specialized settings available.
There are four different anti-blur settings on this device that make it easy to get perfect shots of moving objects. The ISO 3200 Light Sensitivity works with the vibration reduction function to reduce the smudging of subjects in motion when in low lighting conditions. The Advanced Motion Detection is great for snapping action pictures of sporting events because it compensates for jiggling of the camera to stabilize the image.
Another function that ensures the user will always get the absolute best photo possible is the Best Shot Selector (BSS) feature. What this does is sets the camera to take up to ten pictures in quick succession. With this many split-second images, the one with the highest quality is saved and there is no worry of missing a great opportunity due to bad settings.
This device also comes with a 10x optical Zoom-NIKKOR ED glass lens. This amazing feature goes from the standard 30mm range to an incredible 300mm telephoto for extreme close-ups. The most impressive thing about this particular type of lens is that while it concentrates on zeroing in on the subject, it keeps the wide angle on the area around it. Images are sharp and rich with detail and high quality color.
Video with stereo sound is taken up to 30fps at 720p for outstanding resolution. The camera is equipped with HDMI playback so that is may be hooked to a PC or HD television for large screen review. Previews may be done on the device using the 3″ VGA LCD which has an anti-glare coating so that images are easily seen even when the light is bright.
The most innovative feature on the Nikon Coolpix S8000 just may be the Creative Slider. This function permits the user to review their images and edit them right from the LCD screen with a simple touch. Results are displayed right away so it is easy to see when the quality has reached the level desired by the operator.
Let the Nikon Coolpix s8000 help relive the most amazing moments with easy to use features. Take your photography to a whole new level of detail with a few free Macro Photography Tips just by browsing our website.
The Reuters Olympic Photographers desribe their experiences….
Chris Smith is a legendary sports photographer in the UK whose career has stretched over five decades. He started working for his local newspaper, The Hartlepool Daily Mail, using a pre-war Zeiss Ikon quarter plate camera. He recalls that he was often expected to take one shot for each event he covered, go back to the office, develop and print his pictures before going out to cover more flower shows and Women's Institute cake sales or a soccer match. His career in sports photography started at the Observer newspaper in 1970. Six years later he joined the The Sunday Times, where he worked for over thirty years. During that time he won The UK Sports Photographer of the Year four times – and Individual Sports Picture of the Year twice. His book 'Sport in Focus' shows his extensive coverage of sport and many of his award winning photos, though I think his pictures of Muhammad Ali over the years are exceptional.
I worked with Chris at The Sunday Times and my overriding memory of him, apart from his exceptional skill as a photographer, is that he is an absolute gentleman who is liked and admired throughout his industry. He can instantly put subjects at their ease and makes them his friends. His live photography skills are based on his ability to anticipate the action as it moves into frame and hit the shutter at just the right moment. That is no mean feat these days and comes, I think, partly from his early days in local papers. I remember, when the live soccer was close enough to the office – at Arsenal or Spurs perhaps – we would pick up the photographer's film at half time and develop it at the office. Other photographers would send back three or four rolls, as they had hurriedly hosed down everything that had happened in front of them. I would have to look at over a hundred frames, most of them soft and meaningless, to find something useable. From Chris I always got a single roll, often with only a dozen frames, yet each one was pin sharp and a cracking shot. That's class.
My first Olympics games was Munich in 1972 for The Observer newspaper in London. Obviously now it is remembered for much more than the sport. I was at the rowing event a few miles away from the village when the hostage crisis broke. I remember seeing the security monitors at the lake out of the corner of my eye and actually thinking the security guys were watching some second rate thriller, instead of doing their job. With hindsight, we should all have got back to the Olympic village as quickly as we could, but we had no idea how long the crisis would take, or what the outcome would be and there was no transport available. We were told that we wouldn't be allowed anywhere near the Olympic Village, but security was still so lax that my sports editor managed to get in by wearing a track suit and pretending to be one of the athletes. Security had been intentionally relaxed throughout the games, even though a few teams had expressed worries about it beforehand. However, we were constantly being told that the crisis would be over quickly and so we stayed at the lake, watching it all unfold on TV like everyone else. When the tragic gunfight was over and we discovered that the israeli athletes were all dead, there was a strong feeling amongst everyone that the rest of the games should be cancelled, but the Olympic Committee decided to carry on – rightly I think.
My best memory is of watching Mary Peters taking gold for Great Britain for the women's pentathlon. She narrowly beat her great rival Germany's Heide Rosendahl, and set a new world record in the process.
I was using the Nikon F at the time. Zoom lenses were in their infancy and not great quality. We used prime lenses and my favourite was always my Nikon 400mm. Usually were we quite a distance from the action and so everything had to be blown up quite significantly. Funnily enough, we didn't wire from Munich. We usually sent the film back by plane courier. However, these had administrative had delays at each end and, if the film was urgent, we often just asked a passenger to carry it back for us and it was collected by bike at Heathrow airport. They were innocent days when people were happy to help.
Naturally the security at the Montreal games was much tighter, though an american photographer still managed to operate for nearly a week with his ID pass showing a picture of Yogi Bear. Although the sport was fantastic, with Nadia Comaneci scoring a perfect 10 and David Wilkie winning the Breaststroke for Britain, Montreal seemed to be dogged with problems. The stadium was still being built when we arrived, and there were still builders around when the Queen opened the Games. The Olympic flame went out and an official got into trouble for re-lighting it with his cigarette lighter. For me one of the highlights was seeing the great Cuban runner Alberto Juantorena, who was nicknamed ' The Horse ', smashing the world records for the 800M and 400M. Our great track hope was Brendan Foster , who managed to get a Bronze in the 10,000M. Shooting on a Nikon F2, Montreal was one of the few times I was happy to use my 24mm wide angle lens for the games to catch a panoramic view of the athletes and the stadium.
By now I was at The Sunday Times, though still shooting a Nikon F2. There doesn't seem to have been a modern olympics that didn't have some controversy, and the Moscow Olympics, taking place just after the Russians invaded Afghanistan, was no exception. Security was quite tight, with the added menace of the soviet political machine. At least you could move around fairly easily. The track had a moat (empty of water!) that ran along the outside for photographers, so you could get really close to the action. I really enjoyed it as I was able to use my 85mm to full effect. I loved that lense and took some of my best pics with it – particularly some shots of Muhammad Ali in the Gym a few years before. Although the U.S. team were absent for political reasons, it was still a very competitive games, with the flying Scotsman Alan Wells, winning a gold medal in the 100M. and a silver in the 200. He beat Cuban Silvio Leonard to become the first Briton since 1924 to win the Olympic 100M. It was the closest 100M race at the Olympics in 28 years, ending in a photo finish in which both runners timed at 10.25 seconds. And of course the great duo of Seb Coe and Steve Ovett winning gold medals in the 1500M. and the 800M. respectively. Of course in situations like this, all the press pack tend to stick together. It can be cheek by jowl sometimes but there is always a great feeling of excitement and expectation, at least before fatigue kicks in. Sometimes memories just come out of the blue. I remember my Sunday Times colleague, Dudley Doust, interviewing the wonderful Russian gymnast Nelli Kim and asking her what the studs she wore in her ears were made from. 'The bones of my lovers 'came back the reply.
Being able to shoot from trackside was a great bonus for all the photographers in Moscow. It brought us so much closer to the action and we really felt like the conduit between the athletes and the crowd. One day I was called over by a group of Russians fans who handed me their camera, wanting me to photograph them together. I was just about to when it was grabbed out of my hands by a soldier, who was there for security. He took it back to the Russians, chastising them loudly. They, realising that they could be in big trouble shrank back into the crowd. the soldier turned to me and shouted 'Niet" and walked away. Suddenly the UK seemed very far away…..
In those days the Olympics was really subject to the time zones. There was no 24hr TV coverage, and many people got their Olympic news from the radio. Consequently the papers weren't afraid of running pictures that were a day or two old if they were good enough. This was a huge relief, because it could easily take 45 minutes to dev, print and wire a single picture into the office and sometimes you could be miles from the media centre. With LA eight hours behind London time, it became difficult to remember which events could meet our deadlines.
Seoul in 88 brought great controversy with Canadian sprinter Ben Johnson 'winning ' the 100M from his great rival Carl Lewis and our own Linford Christie. That is until Johnsons positive dope test. Of course, with hindsight, it was obvious that Johnson had been taking something. A canadian photographer told us that only a year before he had been just a good college athlete. Certainly, if you compare pictures of his muscular frame in Seoul with earlier shots, there could have been no doubt. I remember reading that when he got back to Canada, Johnson was in a restaurant with his car parked outside and some guy smashed his windscreen and ran away – a poor escape plan. It always made me laugh because even though he was disgraced he was still the fastest man on the planet. Needless to say Johnson caught the guy almost immediately. The opening ceremony was stunning – they all are in their own different ways- though it will probably be remembered as to one where the doves of peace were incinerated by the olympic flame.
The sprint final was held on a Saturday and so was of huge importance to to me working for the next days Sunday paper – it would be the first showing of the event, which was the most eagerly awaited of the games as Carl Lewis was probably the most famous sportsman in the world at the time. With Seoul 7 hours ahead of us, it was relatively easy to send the pictures in to the office on time. However, we still had to get the picture! I had shot the Moscow final from side on from just in front of the starting blocks, but this wasn't an option here, so most of us knew we would have to shoot long down the track (with my trusty 400mm!) and get them as they crossed the line. To make sure I got one of the best positions I got there extra early. Three of us sneaked into the Olympic stadium by a side door at 5 am. Inside the stadium was deserted save for a couple of security men We worked out our preferred positions to cover the finish and set up our cameras and tripods. For me it was 50M beyond the finishing line, slightly elevated and looking straight down the track. I had my F3 and 400mm on a monopod and, as back up, another body with my 180mm set up on a tripod, focussed on the finish line and operated with a pedal. After setting up we had something like 5 hours to kill before events started so what to do ? I made a suggestion to the other photographers and so we all vaulted over onto the track and had our own race around a totally empty stadium with the Olympic flame pulsating brightly against a midnight blue sky. The music in my head as we ran was of course the theme tune from Chariots of Fire by Vangellis. Fantastic –what a memory , if you tried it today you would probably get shot.
Because we had the time zones in our favor I was able to take my time sending the Johnson picture back to the office. I devved the film and sent the picture, using my nikon transmitter, in two halves to be joined back together at the office, to try to get the best quality possible. Color in newspapers was still in it's infancy and so I was still shooting BW. It seems strange now, but the presses dictated when we would change up from monochrome. I think this was the games when the difference in coverage between TV and the printed press became apparent. The time zones really favored TV and the papers looked a bit drab by comparison.
Barcelona in 92 provided a wonderful opening ceremony which reflected the city's nautical inheritance. The flame was ignited by Paralympic archer Antonio Rebollo, who shot his arrow over the cauldron. it all looked very dramatic as it burst into life, though of course some technical guy really flicked a switch. I was using the Nikon F4 by then. This was the first Olympics I shot entirely in color, and the first night time opening ceremony. It wasn't too difficult, but the color film was less forgiving at 800 and 1600 ASA which I needed to use for most of the track and field events. The time zones were so close that the editors in London could watch events live and then start asking for things they had seen on the TV. Of course the TV companies had dozens of cameras all around the stadium – there was only one of me! This was also the Olympics were the large agencies started to pump out hundreds of pictures a day which put even more pressure on the newspaper photographers.
Audi Cathedral providing a spectacular backdrop.
I will always remember Atlanta for it's opening ceremony – and the heat! Unlike some openers which had thousands of synchronised performers, which was difficult to capture in a still, Atlanta was designed to be seen through a tv screen and that helped us too. The shadowgraph of athletes in silouette against a white background had echoes of a Grecian freeze was really striking .
But the biggest surprise for me was the appearance of the great Muhammad Ali to light the Olympic flame. I had photographed him a few times – the last time when he lost the Larry Holmes fight in Vegas in 1980 – and it was so poignent to see him again carrying his illness with such dignity.
I never used digital at any of the Olympics I covered. They still weren't good enough quality, especially in the skin tones. Looking back now at some of my used pictures, shot on 800 or 1600 ASA, they look really poor quality, especially if they were cropped, but I think they also represented the fact that these were live events and their graininess in some way adds to the drama. I did notice that the games got progressively harder to cover, as we had more restrictions imposed upon us by the host authorities – usually in favour of their sponsors or TV companies.


Born and raised in Malaysia, Susanne Hashim built and oversaw three comprehensive development programs at Pacific Northwest College of Art, Planned Parenthood Columbia Willamette, and Pitzer College. She has designed and managed campaigns, secured large grants and gifts from individuals, foundations, corporations and government, worked closely with a variety of constituents, and hired managed and mentored staff. She holds a bachelor's in environmental studies from Pitzer College and a master's in cultural anthropology from the University of New Mexico. She is a member of the Council for Advancement and Support of Education and the Association of Fundraising Professionals.


text:
var chai = require('chai');
var should = chai.should();
var Item = require("./../../../../lib/paymaya/model/checkout/Item");
var ItemAmount = require("./../../../../lib/paymaya/model/checkout/ItemAmount");
var ItemAmountDetails = require("./../../../../lib/paymaya/model/checkout/ItemAmountDetails");

describe('Item', function() {

	var item;

	var itemAmountDetailsOptions = {
		shippingFee: "14.00",
		tax: "5.00",
		subTotal: "50.00"
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	var itemAmountOptions = {
		currency: "PHP",
		value: "69.00"
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	var itemOptions = {
		name: "Leather Belt",
		code: "pm_belt",
		description: "Medium-sv"
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		var itemAmountDetails = new ItemAmountDetails();
		itemAmountDetails.shippingFee = itemAmountDetailsOptions.shippingFee;
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		itemAmountOptions.details = itemAmountDetails;

		var itemAmount = new ItemAmount();
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		itemAmount.value = itemAmountOptions.value;
		itemAmount.details = itemAmountOptions.details;
		itemOptions.amount = itemAmount;
		itemOptions.totalAmount = itemAmount;

		item = new Item();
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	});

	it('should have totalAmount property', function(done) {
		item.should.have.property('totalAmount');
		done();
	});

	it('should return correct name value', function(done) {
		item.name.should.equal(itemOptions.name);
		done();
	});

	it('should return correct code value', function(done) {
		item.code.should.equal(itemOptions.code);
		done();
	});

	it('should return correct description value', function(done) {
		item.description.should.equal(itemOptions.description);
		done();
	});

	it('should return correct amount value', function(done) {
		item.amount.should.equal(itemOptions.amount);
		done();
	});

	it('should return correct totalAmount value', function(done) {
		item.totalAmount.should.equal(itemOptions.totalAmount);
		done();
	});
});

redpajama_set_name: RedPajamaGithub


text:
Monkseaton
Woman 'suffers chest injuries' in West Monkseaton crash that left police car on its side
The driver of a Nissan Juke and police officers were taken to Newcastle's Royal Victoria Infirmary for treatment after the smash on Tuesday night
Police car smashes into vehicle when heading to Whitley Bay 999 call out
A woman suffered suspected chest injuries in a late night crash that left a badly damaged police car perched precariously on its side atop a barrier in the centre of a major Tyneside road.
Neighbours rushed to help after hearing "a loud rumble, like thunder" and seeing "smoke rising into the air" following the smash, on Earsdon Road in West Monkseaton, on Tuesday night.
"We ran upstairs and saw from our upstairs window that a police car was on its side," a mum-of-one, who lives nearby, said.
"Within seconds, other police cars turned up as well as two fire engines and ambulances."
A police car on its way to a 999 call out in Whitley Bay had collided with a white Nissan Juke near to the traffic lights at the entrance into West Park.
The police car landed on its side on top of a barrier in the centre of the four lane carriageway.
A doctor from a nearby estate, who did not wish to be named, went to help at the scene.
"I saw two cars, one was a police car, which was almost hanging in the air," he said. "It was balancing on a barrier.
"The driver of the police car was being helped by a colleague.
The scene where a police car smashed into vehicle when heading near South Wellfield
"I then went to the other car, which was white in colour. There were already a number of firefighters trying to release the female driver.
"They put an oxygen mask on her face. She was crying in pain. I helped by holding the mask on her face.
"I checked her pulse and checked that her breathing was all right. She told me she was ok.
"She did however appear to have some injuries to her chest.
"In the meantime, an ambulance crew arrived and started first aid.
"It appeared to be quite a bad crash. The fronts of both cars were severely damaged."
The female driver of the Nissan Juke and the police officers were taken to Newcastle's Royal Victoria Infirmary for treatment.
A section of Earsdon Road was closed while investigations were carried out but has since reopened.
Anyone who witnessed the crash should contact police on 101, ext 69191, quoting reference number 1104 18/08/15.
Royal Victoria Infirmary Newcastle
EnvironmentSome UK cities want to ban cars to cut pollution - so why isn't Newcastle being tougher on drivers?As part of our #Do1Thing initiative, we're looking at the issue of climate change here in the North East
Environment'Keep protesting' - Jamie Driscoll on the North East's climate emergency and becoming the UK's greenest regionNorth of Tyne mayor Jamie Driscoll spoke to ChronicleLive about climate change as part of our #Do1Thing initiative


text:
Le musée d'Art d'Indianapolis (Indianapolis Museum of Art) est un musée situé dans la ville d'Indianapolis, dans l'État de l'Indiana, aux États-Unis. Depuis 2017, il est intégré au campus Newfields qui comprend aussi le parc Fairbanks, le jardin botanique The Garden et le domaine Oldfields.

Historique
Le musée d'Art d'Indianapolis est fondé en 1883 par la Art Association of Indianapolis, une association dirigée par la suffragette May Wright Sewall, afin de sensibiliser la population de la ville à l'art et de faciliter la diffusion de l'éducation artistique. À sa mort en 1895, le millionnaire John Herron lègue à l'association une somme importante à la condition expresse que l'argent serve à la mise en place d'une galerie d'art, doublée d'une école portant son nom. Le John Herron Art Institute est inauguré en 1902, puis connaît plusieurs agrandissements entre 1905 et 1910.

Des années 1930 jusqu'aux années 1950, le John Herron Art Institute voit ses collections s'enrichir de façon notable. Caroline Marmon Fesler, présidente de l'Art Association of Indianapolis, lègue notamment dans les années 1940 plusieurs tableaux postimpressionnistes de Paul Cézanne, Vincent Van Gogh et Georges Seurat.

En 1966, l'école des Baux-Arts est intégrée à l'université de l'Indiana. La même année, il est décidé que la galerie d'art doit être déplacée dans un lieu plus grand et mieux aménagé. En , le Pavillon Krannert ouvre ses portes, tout juste une année après que le musée est rebaptisé de son nom actuel.

En 1972, le pavillon Clowes, destiné à l'exposition permanente des œuvres des Vieux Maîtres, est achevé et ouvert au public. S'ajoutent l'année suivante les pavillons Showalter et la fontaine Sutphin. En 1986, l'architecte américain Edward Larrabee Barnes est choisi pour dessiner les plans du pavillon Hulman. Inaugurée en 1990, cette nouvelle aile du musée de 7,400 mètres carrés est consacrée à l'exposition de la collection d'art africain et du Pacifique Sud. À cette occasion, l'ensemble des collections est redéployé afin de permettre une visite qui respecte mieux un parcours chronologique des œuvres.

En 2008, l'entrée principale du musée est relocalisée au 1200 West 38th Street.

Collection permanente
La collection permanente du musée est riche de plus de 54,000 tableaux, sculptures et objets d'art. Sont particulièrement bien représentées la peinture et la sculpture européennes et américaines. Le musée possède notamment une remarquable collection de tableaux postimpressionnistes.

L'art moderne est également bien représenté avec des toiles des peintres européens Pablo Picasso, Marc Chagall et Henri Matisse, ainsi que des œuvres des peintres américains Edward Hopper et Georgia O'Keefe.

La collection d'art asiatique compte plusieurs chefs-d'œuvre.

Principales œuvres de la  collection permanente
 Charles Angrand, Chemin de campagne, vers 1886
 Frank W. Benson, Sunlight, 1909
 Émile Bernard, Femmes bretonnes devant un mur, 1892
 Isabel Bishop, Tidying Up, 1941
 Émile Bouneau, La Concorde
 Alfred Thompson Bricher, , 1878
 Jean-Baptiste Carpeaux, , 1868
 Paul Cézanne, Maison en Provence, vers 1885
 William Merritt Chase, Dorothy, 1902
 Jean-Baptiste-Camille Corot, Ville d'Avray, sentier boisé près d'un étang, 1872
 John Sell Cotman, Blasting St. Vincent's Rock, Clifton, vers 1830
 Lucas Cranach l'Ancien, La Crucifixion, 1532
 Albert Cuyp, The Valkhof at Nijmegen, vers 1652-1654
 Arthur Dove, Reflections, 1935
 Jean Dubuffet, Courre Merlan (Whiting Chase), 1925
 Albrecht Dürer, The Holy Family with the Dragonfly, vers 1495
 Anthony van Dyck, Entry of Christ into Jerusalem, vers 1617
 Jean-Honoré Fragonard, Les Joies de la maternité, vers 1752
 Johann Heinrich Füssli, Galinthias Outwits Eileithyia by Announcing the Birth of Heracles (recto), Portrait de madame Füssli (verso), 1791
 Paul Gauguin, Le Joueur de flageolet sur la falaise, dit aussi Above the Sea, 1889
 Paul Gauguin, Nature morte au profil de Laval, 1886
 Vincent van Gogh, Paysage de Saint-Rémi, dit aussi Champ enclos avec un paysan, 1889
 Francisco de Goya, Portrait de Félix Colón de Larriátegui, 1794
 Le Greco, Saint Luc, Saint Matthieu et Saint Simon
 Alexandre Charles Guillemot, Mars et Vénus surpris par Vulcain, 1827
 John Haberle, U.S.A., vers 1889
 Childe Hassam, Cliff Rock - Appledore, 1903
 Katsushika Hokusai, Fine Wind, Clear Morning, 1829-1833
 Winslow Homer, The Boat Builders, 1873
 Edward Hopper, Hotel Lobby, 1943
 Robert Indiana, LOVE, sculpture, 1970
 Robert Indiana, LOVE, peinture, 1966
 George Inness, The Rainbow, vers 1878-1879
 Robert Irwin, Sans titre, 1968-1969
 Donald Judd, Sans titre, 1967
 Willem Kalf, Nature morte au vase chinois, 1669
 Georges Lacombe, Vorhor, the Green Wave, vers 1896-1897
 Neroccio di Bartolomeo de' Landi, Vierge à l'Enfant avec saint Jean Baptiste et sainte Marie Madeleine, vers 1495
 Jacob Lawrence, Sans titre (The Birth), 1938
 Fernand Léger, Homme et femme, 1921
 Georges Lemmen, Les Deux Sœurs, dit aussi Les sœurs Serruys, 1894
 Claude Gellée dit Le Lorrain, La Fuite en Égypte, vers 1635
 Paul Manship, The Flight of Europa, 1925
 Carlo Maratta, Rébecca et Eliezer au puits, vers 1655-1657
 John Marin, Hurricane, 1944
 Richard E. Miller, Afternoon Tea, 1910
 Jean-François Millet, Le Paysan rentrant du fumier, 1848-1852
 Barnaba da Modena, Crucifixion, 1375
 Amedeo Modigliani, Le Garçon, 1919
 Jan Miense Molenaer, Battle Between Carnival and Lent, vers 1633-1634
 Claude Monet, Charing Cross Bridge, vers 1900
 Charles-Joseph Natoire, Borée et Orithyie, vers 1741
 Giovanni Francesco Bezzi dit il Nosadella, La Sainte Famille avec saint Jean Baptiste, vers 1550-1560
 Georgia O'Keeffe, Jimson Weed, 1936
 Giovanni Paolo Panini, Caprice romain: le Panthéon et autres monuments, 1735
 Pablo Picasso, Ma Jolie, 1913-1914
 Camille Pissarro, Les Berges de l'Oise près de Pontoise, 1873
 Camille Pissarro, La Maison de la Sourde et Le Clocher d'Éragny, 1886
 Odilon Redon, La Voile jaune, vers 1905
 Rembrandt van Rijn, Autoportrait, vers 1629
 Pierre-Auguste Renoir, Bouquet dans un vase, 1878
 Pierre-Auguste Renoir, Printemps à Essoyes, vers 1900
 José de Ribera, Aristote, 1637
 Norman Rockwell, The Love Song, 1926
 Pierre Paul Rubens, L'Entrée triomphale de Constantin dans Rome, vers 1621
 Jacob van Ruisdael, Paysage à la cascade, vers 1670-1675
 Karl Schmidt-Rottluff, Mutter (Mère), 1916
 Paul Sérusier, Barrage devant un champ de blé, vers 1890
 Georges Seurat, Le Canal de Gravelines à Petit Fort Philippe, 1890
 John Sloane, Red Kimono on the Roof, 1912

 George Henry Smillie, Working on the Thames River, 1884.
 Edmund Charles Tarbell, Préparation pour la Matinée, 1907
 David Teniers le Jeune, Les Archers, vers 1645-1650
 Le Titien, Portait d'un gentilhomme, vers 1508-1510
 Jan Toorop, Broek in Waterland, 1889
 Henri de Toulouse-Lautrec, Moulin Rouge: La Goulue, 1891
 Joseph Mallord William Turner, La Cinquième Plaie d'Égypte, 1800
 James Turrell, Acton, 1976
 Bill Viola, The Quintet of the Silent, 2000
 Édouard Vuillard, Couturière, 1893
 Jean-Antoine Watteau, La Danse champêtre, vers 1706-1710

Galerie

Références

Liens externes

Art Indianapolis
Indianapolis
Art à Indianapolis
Bâtiment à Indianapolis

redpajama_set_name: RedPajamaWikipedia


text:
Was Steve Bannon's appointment to the National Security Council done by mistake?
On the podcast Pod Save America, an Obama aide claimed that the appointment of Steve Bannon to the National Security Council was a mistake. They said Trump was upset because he found out Bannon was on the council, insinuating (rather explicitly) that the president was signing stuff and not really paying attention. I have found no evidence of this anywhere, is this just a rumor?
donald-trump security
Andrew Grimm
Do we have a link and transcript of the claim? Was the aide named or on the show, or just anonymously cited? – Oddthinking♦ Feb 9 '17 at 1:04
Surely if he didn't want Bannon in the job he would just fire him? – RedSonja Feb 9 '17 at 14:11
@RedSonja I'm sure it's not as simple as that. If this is true, and its totally unverified so I would take it with only the largest grain of salt, then firing Brannon would only be an admission of incompetence. – Anon Feb 10 '17 at 20:02
Various news organizations are reporting about Trump not being fully briefed about the order, among them Fox News, The Independend, or the New York Mag.
The original source for the claim seems to be the New York Times:
[F]or the moment, Mr. Bannon remains the president's dominant adviser, despite Mr. Trump's anger that he was not fully briefed on details of the executive order he signed giving his chief strategist a seat on the National Security Council, a greater source of frustration to the president than the fallout from the travel ban.
The report seems to be based on insider information, and obviously doesn't name those sources.
When I first read this story, I noted the gap between 'not fully briefed' and 'unaware he was appointing Bannon' or even 'didn't read what he was signing'. There were several articles in the days following about how unusual the arrangement was, and I wonder if those articles are what surprised/annoyed Trump, even if he was completely aware of the contents of the document (if this story is true). – Oddthinking♦ Feb 9 '17 at 1:07
I'm not sure a bunch of articles in the media, ALL of which seem to repring claims from ONE article in ONE media that's known to be extremely hostile to Trump, with absolutely zero corroborating evidence or proof that "insider" information is actually legit, would be a good evidentiary support for the claim. – user5341 Feb 9 '17 at 1:38
This answer should mention that Trump has specifically denied this claim. – Avery Feb 9 '17 at 3:51
@Avery I don't think that that is relevant, but if you have a source I will consider including it. – tim Feb 9 '17 at 9:03
@tim : Given that the evidence for Trump having done this is basically "one anonymous source said he did", why is his statement irrelevant? – Christian Nov 11 '18 at 9:41
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