Synthesis and properties of zirconia thin films

Thin films of zirconia have been synthesized using reactive DC magnetron sputtering. It has been found that films with good optical constants, high refractive index (1.9 at 600 nm) and low extinction coefficient can be prepared al ambient temperatures. The optical constants and band gnp and hence the composition nle dependent on the deposition parameters such as target power, rate of deposition and oxygen background pressure. Thermal annealing of the films revealed that tile films showed optical and crystalline inhomogeneity and also large variations in optical constants.

Metal-organic chemical vapour deposition of thin films of cobalt on different substrates: study of microstructure

We have investigated the microstructure of thin films grown by metal-organic chemical vapour deposition using a beta-diketonate complex of cobalt, namely cobalt (11) acetylacetonate. Films were deposited on three different substrates: Si(100), thermally oxidised silicon [SiO2/Si(100)] and glass at the same time. As-grown films were characterised by X-ray diffraction, scanning electron microscopy, scanning tunnelling microscopy, atomic force microscopy and secondary ion mass spectrometry. Electrical resistivity was measured for all the films as a function of temperature. We found that films have very fine grains, resulting in high electrical resistivity Further, film microstructure has a strong dependence on the nature of the substrate and there is diffusion of silicon and oxygen into cobalt from the substrate. (C) 2002 Elsevier Science B.V. All rights reserved.

A estética documental no cinema ficcional de horror

O presente trabalho tem como proposta estudar o uso de estruturas documentais no cinema ficcional de horror, tipo de narrativa que ficou conhecida popularmente como found footage. Esses filmes fazem uso de uma linguagem propositalmente híbrida, associando a forma do documentário ao conteúdo da ficção e, hoje, encontram-se tão em voga que já possuem até mesmo clichês e estereótipos. A intenção é entender de que forma o gênero do horror se apropria douso de uma estética associada a registros documentais para favorecer as reações de medo no espectador. Para tanto, privilegiamos recortes na história do cinema e conceitos que possam contribuir para o desenvolvimento de nosso estudo, tanto no que diz respeito ao cinema documental, quanto no que diz respeito ao gênero de horror. Como objeto de análise mais detalhada, trazemos a trilogia inicial de da franquia Atividade Paranormal

Old Tom, new Tom

This presentation will Involve a discussion of Canadian fringe artist Mike Hoolboom's experimental narrative Tom (2002 75 minutes, Digital Video) The presentation will Include a short excerpt and stills from the film Tom is a biography of experimental filmmaker Tom Chomont who tells of his struggle with HIV and Parkinson's disease and disarmingly recounts confronting memories of infanticide, incest, fetishism and death It is how these revelations are innovatively processed through excerpts of Chomont's films, home movies, photos, Images lifted straight form Video Busters, archival and found footage that is so telling it is as If the surface of cinema itself is the body that is being marked and reconstituted and "the personal" forever changed by the Infection of this material Into our psyche.

This work is offered as exemplary evidence of the strong link between an experimental non-narrative cinema that flourishes In North America and new media art

The presentation will touch on the following areas:

> The Innovative marking out of the self In terms relevant to a new media practice.
> The correspondence between this film and media theorist Arthur Kroker's Ideas about panic bodies and excremental culture.
> An examination of erasure and loss In non-narrative forms.
> The historical context of Hoolboom's work as part of a North American experimental tradition and as a shared non-narrative tradition With New Media.

The presentation Will conclude With some comments about the relationship between experimental film and new media In this country and how the failure to Identify this relationship constructively here may have contributed to the current "death of the new" The concept of new media and New Australian Will be contrasted to attain some Insight Into the Ideological underpinnings of "Creative Nation".

Documentary display : re-viewing nonfiction film and video

Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches as they occur within the process of 'documentary display' - a practice which emphasises the visual attractions of documentary representation. Works of documentary display explore modes of exhibitionistic 'showing' in which sensation is frequently the vehicle of cognition and knowledge. Such a display is analysed within the popular and prominent forms of found-footage film, 'rockumentary', the city film, nonfiction surf film and video, and certain views of natural science topics. This accessible and informed study - with its focus on entertaining, popular, spectacular and sensational froms of nonfiction representation - makes an important contribution to theoretical analyses of documentary film and video

Retinex reflux

Over the last 30 years Melbourne-based film-maker, writer and academic Dirk de Bruyn has made numerous experimental, documentary and animation films and videos. In his first visit to Wellington he presents Retinex Reflux; a live film performance that uses multiple 16mm film projectors in an explosion of light, colour and sound. Described as "explosively anarchic" De Bruyns films are cut-up collages that draw on animation, found footage and fragments of dialogue.

Untitled : live cinema performance

Over the last 30 years Melbourne-based film-maker, writer and academic Dirk de Bruyn has made numerous experimental, documentary and animation films and videos, continuing to maintain a no-budget, independent, self-funded focus for much of his work. De Bruyns distinctive style entails cut-up collages that draw on animation, found footage and fragments of dialogue - dyeing, painting, incising and stencilling the film strip. Live De Bruyn’s anarchic multi projection performances can involve performance, freeform vocal workouts and De Bruyn, ‘bent over and mouthing into a microphone like a demented seagull, totally involved in the relentlessly unravelling collage of home-processed footage’.Penny Webb. Ian Helliwell provided a live electronic soundtrack.

No photography please

Rather than represent the world merely by photographic means, handmade moving-image artists seek to create new ways of seeing by staging a variety of interventions into the material makeup of celluloid. Handmade artists tattoo film’s skin not only with scratches and paint, but also with blood, dirt, paper, candy, sand, nail polish remover, and seawater. Seeking media not normally found in a filmmaker or artist’s studio, they mine their own bodies and backyards for things to make into moving images.

This program highlights rarely-seen works of artisanal film production from the Coop’s collection. Some of the works are wonderfully constructive, building up the visual surface of the film by combining found footage with painterly abstraction. Others are destructive, subjecting film to a variety of elemental and material stresses. Taken together, these films not only exhibit the diversity of handmade practices and concerns, they also provide a framework for rethinking how cinema can be made through its unmaking.

In other words, handmade cinema—in concept, material, and execution—is counter-cinema.

Effect of the microwave oven on structural, morphological and electrical properties of SrBi4Ti4O15 thin films grown on Pt/Ti/SiO2/Si substrates by a soft chemical method

Thin films of SrBi4Ti4O15 (SBTi), a prototype of the Bi-layered-ferroelectric oxide family, were obtained by a soft chemical method and crystallized in a domestic microwave oven. For comparison, films were also crystallized in a conventional method at 700 degrees C for 2 h. Structural and morphological characterization of the SBTi thin films were investigated by Xray diffraction (XRD) and atomic force microscopy (AFM), respectively. Using platinum coated silicon substrates, the ferroelectric properties of the films were determined. Remanent polarization P-r and a coercive field E-c values of 5.1 mu C/cm(2) and 135 kV/cm for the film thermally treated in the microwave oven and 5.4 mu C/cm(2) and 85 kv/cm for the film thermally treated in conventional furnace were found. The films thermally treated in the conventional furnace exhibited excellent fatigue-free characteristics up to 10(10) switching cycles indicating that SBTi thin films are a promising material for use in non-volatile memories. (C) 2007 Elsevier B.V. All rights reserved.

Influence of Mechanical and Thermal Boundary Conditions on Stabilizing/Destabilizing Mechanisms in Evaporating Liquid Films

Liquid films, evaporating or non-evaporating, are ubiquitous in nature and technology. The dynamics of evaporating liquid films is a study applicable in several industries such as water recovery, heat exchangers, crystal growth, drug design etc. The theory describing the dynamics of liquid films crosses several fields such as engineering, mathematics, material science, biophysics and volcanology to name a few. Interfacial instabilities typically manifest by the undulation of an interface from a presumed flat state or by the onset of a secondary flow state from a primary quiescent state or both. To study the instabilities affecting liquid films, an evaporating/non-evaporating Newtonian liquid film is subject to a perturbation. Numerical analysis is conducted on configurations of such liquid films being heated on solid surfaces in order to examine the various stabilizing and destabilizing mechanisms that can cause the formation of different convective structures. These convective structures have implications towards heat transfer that occurs via this process. Certain aspects of this research topic have not received attention, as will be obvious from the literature review. Static, horizontal liquid films on solid surfaces are examined for their resistance to long wave type instabilities via linear stability analysis, method of normal modes and finite difference methods. The spatiotemporal evolution equation, available in literature, describing the time evolution of a liquid film heated on a solid surface, is utilized to analyze various stabilizing/destabilizing mechanisms affecting evaporating and non-evaporating liquid films. The impact of these mechanisms on the film stability and structure for both buoyant and non-buoyant films will be examined by the variation of mechanical and thermal boundary conditions. Films evaporating in zero gravity are studied using the evolution equation. It is found that films that are stable to long wave type instabilities in terrestrial gravity are prone to destabilization via long wave instabilities in zero gravity.

Material damage: 4 projector film performance

Dirk de Bruyn’s expanded cinema performances engage the æsthetics of process at a number of levels. At the core of these performances are several of three- or four-screen, essentially abstract films of the same duration which comment upon and echo each other in a constant interplay of flicker-like positive and negative imagery. The soundtrack of the films works in a related way: the same or similar words and sound fragments are overlayed, or are repeated in an absurd call-and-answer pattern running from one speaker to another. This overall design or formal system is then set into play and relativised in the live event through a number of treatment-techniques. Reels are placed out of order or interspliced with other short films or fragments of found footage or tests, the bulb of one or more projectors can be occasionally turned off while the soundtrack continues, or the projector can be stopped altogether, extending, stretching out or disrupting completely the apparent synchrony between each screen and soundtrack. The light beam of each projector is filtered, distorted, split and multiplied using hand-held colour gels, plastic bottles, prisms and mirrors, or else silhouetted or blocked completely with the artist’s own hands and body. The projectors themselves can be inverted, turned around or physically transported across the space, mixing and overlaying the imagery, animating different areas of the performance environment and transforming the body of the audience itself into a screen medium.

(Pro)Motion Pictures: Len Lye in the Thirties

This article examines Len Lye’s film-making in the 1930s within a broader visual arts context, seeking to clarify the nature and extent of his involvement in British documentary film culture at this time. In particular, it demonstrates how Lye's method of fusing 'live action', found footage, and animation techniques created the possibility of a radical documentary practice that could reconcile promotional advertising and commercial art with avant-garde abstraction and kinaesthetic experimentation. In particular, the article focusses on Lye's N. or N.W. (1937, 35mm, b&w, 10 mns), arguing that his work from this period should be regarded as central - and not marginal - to any serious reassessment of Britain's “Documentary Movement” of the inter-war era, and its relations to any history of the cinema and visual culture.

Framed Memories of Berlin:Film, Remembrance and Architecture

In The City of Collective Memory, urban historian Christina Boyer (1994) defines the image of a city as an abstracted concept, an imaginary (re)constructed form. This urban image is created from many aspects, one of which is the framed and edited views and experiences found in films situated in or about a particular city. In this study, to explore the collective memory of the city of Berlin from an architectural point of view, one film from each of the major historical periods of Berlin since the invention of cinema is examined: pre-WWI, interwar period, the Nazi period, post-WWII, Berlin Wall/Cold War, and the reunification period. Memory-making in the city is studied following the footsteps of the protagonists in the films, concluding that film-making and memory-making make use of similar processes, the editing of fragmented pieces of so-called reality, to create its own reality.

3000 / futuristische Phantasmen und aktuelle Fantasien der Technokultur

Die Kernthese dieser Arbeit ist eine Leerstelle. Ihre Formulierung beruht auf einer Beobachtung, wie sie von William Gibson stammen könnte: kulturell avantgardistische Gruppen der Gesellschaft internalisieren für ihre technologisch gestützten Praktiken futuristische Phantasmen geschichtlicher Vorläufer, die in Literatur und Mediengeschichte detektivisch aufspürbar sind. Werden diese Verinnerlichungen in aktuelle Fantasien umgewandelt, entsteht eine hybride Mischung vielfältigster Beschäftigungen, Reflexionen und Entwürfe von Technokultur. Bringt man diese Kopplungen auf das Jahr 3000, die nächste epochale zukünftige Zäsur, wird die Absurdität des Projekts, Technokultur überhaupt zu thematisieren deutlich. Technokultur ist im dynamischen Wandel sozio-ikonografisch untersuchbar, wird aber durch Unschärferelation zum object trouvé und Triebmoment für eine in es selbst hinein assimilierbare Analyse. Der daraus folgenden Vermessenheit kann durch instrumentelle Serendipity begegnet werden, die hier nicht Effekt wäre, stattdessen als Methode Verwendung findet: Finden statt Suchen. Das verhältnismäßig neue Schreib/Lese-Medium Hypertext bietet sich dafür als geradezu prädestiniert an. Hypertext ist prinzipiell unabgeschlossen, er folgt hier Arbeitsprinzipien wie sie seit den frühen 1990ern in Online-Tagebüchern und seit den frühen 2000er Jahren in Weblogs (World Wide Web Logbooks) auszumachen sind: Notizen, Found Text (analog zu Found Footage), Zitate, Fragmente, die kurze Form, kurz: wissenschaftliche Alltagstextproduktion wird nach Ordnungskriterien a-systematisiert und verwoben - weniger archiviert denn gesammelt. Eine Art Second Hand Theorie entsteht.