958 resultados para Landscape photography -- Utah -- Great Salt Lake


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Title from cover.

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No more published.

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Report year irregular.

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Porous InP layers were formed electrochemically on (100) oriented n-InP substrates in various concentrations of aqueous KOH under dark conditions. In KOH concentrations from 2 mol dm-3 to 5 mol dm-3, a porous layer is obtained underneath a dense near-surface layer. The pores within the porous layer appear to propagate from holes through the near-surface layer. Transmission electron microscopy studies of the porous layers formed under both potentiodynamic and potentiostatic conditions show that both the thickness of the porous layer and the mean pore diameter decrease with increasing KOH concentration. The degree of porosity, estimated to be 65%, was found to remain relatively constant for all the porous layers studied.

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The observation of current oscillations under potential sweep conditions when an n-InP electrode is anodized in a KOH electrolyte is reported and compared to the oscillatory behavior noted during anodization in an (NH4)2S electrolyte. In both cases oscillations are observed above 1.7 V (SCE). The charge per cycle was found to increase linearly with potential for the InP/KOH system but was observed to be independent of potential for the InP/(NH4)2S system. The period of the oscillations in the InP/KOH was found to increase with applied potential. In this case the oscillations are asymmetrical and the rising and falling segments have a different dependence on potential. Although the exact mechanism is not yet know for either system, transmission electron microscopy studies show that in both cases, the electrode is covered by a thick porous film in the oscillatory region.

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The anodic behavior of InP in 1 mol dm-3 KOH was investigated and compared with its behavior at higher concentrations of KOH. At concentrations of 2 mol dm-3 KOH or greater, selective etching of InP occurs leading to thick porous InP layers near the surface of the sustrate. In contrast, in 1 mol dm-3 KOH, no such porous layers are formed but a thin surface film is formed at potentials in the range 0.6 V to 1.3 V. The thickness of this film was determined by spectroscopic ellipsometry as a function of the upper potential and the measured film thickness corresponds to the charge passed up to a potential of 1.0 V. Anodization to potentials above 1.5 V in 1 mol dm- 3 KOH results in the growth of thick, porous oxide films (~ 1.2 µm). These films are observed to crack, ex-situ, due to shrinkage after drying in ambient air. Comparisons between the charge density and film thickness measurements indicate a porosity of approximately 77% for such films.

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This exhibition was a research presentation of works made at Center for Land Use Interpretation [CLUI]base in Wendover, Utah, USA between 2008-2010. The project was commissioned by the Centre For Land Interpretation in USA and funded by The Henry Moore Foundation in the UK. Documentation of research conducted in the field as made available as video and installation. An experimental discourse on the preservation of land art was put with GPS drawings and research information displayed as maps and documents. In examining physical sites in Utah, USA, the project connected to contemporary discourse centred on archives in relation to land art and land use. Using experimental processes conceived in relation to key concepts such as event structures and entropy, conceptual frameworks developed by Robert Smithson (USA) and John Latham (UK), the 'death drive' of the archive was examined in the context of a cultural impulse to preserve iconic works. The work took items from Lathams archive and placed them at the canonical 'Spiral Jetty', Smithson land art work at Rozel Point north of Salt Lake City. This became a focus for the project that also highlighted the role of the Getty Foundation in documenting major public artworks and CLUI in creating an American Land Museum. Work was created in the field at extreme remote locations using GPS technologies and visual tools were developed to articulate the concepts of the artists discussed, to engage the exhibition audience in ideas of transformation and entropy in art. Audiences were encouraged to sign a petition to be used in future preservation of spiral jetty currently facing development challenges.