Synthesis of broadband anti-reflection coatings for spaceflight infrared optics

A synthesis method is outlined for the design of broadband anti-reflection coatings for use in spaceborne infrared optics. The Golden Section optimisation routine is used to make a search, using designated non-absorptive dielectric thin film combinations, for the coating design which fulfils the required spectral requirements using the least number of layers and different materials. Three examples are given of coatings designed by this method : (I) 1µm to 12µm anti-reflection coating on Zinc Sulphide using Zinc Sulphide and Yttrium Fluoride thin film materials. (ii) 2µm to 14µm anti-reflection coating on Germanium using Germanium and Ytterbium Fluoride thin film materials. (iii) 6µm to 17µm anti-reflection coating on Germanium using Lead Telluride, Zinc Selenide and Barium Fluoride. The measured spectral performance of the manufactured 6µm to 17µm coating on Germanium is given. This is the anti-reflection coating for the germanium optics in the NASA Cassini Orbiter CIRS instrument.

In the intersection of the angles of a table, there is more truth than in all the tangle of muscles: Futurism as anti-humanist critique

The recent celebrations of the centenary of the publication of the Futurist manifesto led to a renewed discussion of the ideas and artworks of the Italian artists’ group. Jacques Rancière related the Futurist ethos with the modernist project of liberating art from representation. Franco ‘Bifo’ Berardi, in his post-Futurist manifesto, also identified a historical irony at play in the emptying out of Futurism’s promise: a liberated mechanical humanity did indeed materialize, in a global economic system premised on financial servitude to the future via debt. However, these models continue to assess Futurism against an unchallenged humanism, finding it either supporting ideals of freedom and human rights despite itself, or else lacking in these areas. But Futurism is potentially more relevant than ever not in spite of its anti-humanist agenda, precisely because of it. Tom McCarthy annexes not Futurist art but Futurist writing to an emerging object oriented ontology that seeks to challenge the primacy of the human. If Futurism is to be repurposed as a critical concept, it can only do so by countering the humanist myth the liberal subject that underlies the current cultural and political hegemony of neo-liberalism.