Anodic formation of a thick three-dimensional nanoporous WO3 film and its photocatalytic property

We report an efficient solar-light-driven photocatalyst based on three-dimensional nanoporous tungsten trioxide (WO3) films. These films are obtained by anodizing W foils in fluoride-containing electrolytes at room temperature and under low applied voltages with an efficient growth rate of 2 μm h− 1. The maximum thickness of the films is ~ 3 μm that exceeds those of previously reported anodized WO3 films in fluoride-containing electrolytes. By investigating the photocatalytic properties of the films with thicknesses ranging from ~ 0.5 to ~ 3 μm, the optimum thickness of the nanoporous film is found to be ~ 1 μm, which demonstrates an impressive 120% improvement in the photocatalytic performance compared to that of a RF-sputtered nanotextured film with similar weights. We mainly ascribe this to large surface area and smaller bandgap.

Continuous production of Bi-2212 thick film on silver tape

Bi-2212 thick film on silver tapes are seen as a simple and low cost alternative to high temperature superconducting wires produced by the Powder In Thbe (PIT) technique, particularly in react and wind applications. A rig for the continuous production of Bi-2212 tapes for use in react and wind component manufacture has been developed and commissioned. The rig consists of several sections, each fully automatic, for task specific duties in the production of HTS tape. The major sections are: tape coating, sintering and annealing. High temperature superconducting tapes with engineering critical current densities of 10 kA/cm2 (77 K, self field), and lengths of up to 100 m have been produced using the rig. Properties of the finished tape are discussed and results are presented for current density versus bend radius and applied strain. Depending on tape content and thickness, irreversible strain tirrm varies between 0.04 and 0.1 %. Cyclic bending tests when applied strain does not exceed Eirrm showed negligible reduction in J c along the length of the tape.

Application of texture analysis in tear film surface assessment based on videokeratoscopy

Purpose Videokeratoscopy images can be used for the non-invasive assessment of the tear film. In this work the applicability of an image processing technique, textural-analysis, for the assessment of the tear film in Placido disc images has been investigated. Methods In the presence of tear film thinning/break-up, the reflected pattern from the videokeratoscope is disturbed in the region of tear film disruption. Thus, the Placido pattern carries information about the stability of the underlying tear film. By characterizing the pattern regularity, the tear film quality can be inferred. In this paper, a textural features approach is used to process the Placido images. This method provides a set of texture features from which an estimate of the tear film quality can be obtained. The method is tested for the detection of dry eye in a retrospective dataset from 34 subjects (22-normal and 12-dry eye), with measurements taken under suppressed blinking conditions. Results To assess the capability of each texture-feature to discriminate dry eye from normal subjects, the receiver operating curve (ROC) was calculated and the area under the curve (AUC), specificity and sensitivity extracted. For the different features examined, the AUC value ranged from 0.77 to 0.82, while the sensitivity typically showed values above 0.9 and the specificity showed values around 0.6. Overall, the estimated ROCs indicate that the proposed technique provides good discrimination performance. Conclusions Texture analysis of videokeratoscopy images is applicable to study tear film anomalies in dry eye subjects. The proposed technique appears to have demonstrated its clinical relevance and utility.

Beyond the modular film school : Australian film and television schools and their digital transitions

In this chapter we will describe the contemporary variety of practice-oriented training institutions in Australia. We will examine the different ways in which public and private providers are managing the challenges of digitization and convergence. We will consider the logics governing film education this mix of providers pulls into focus, and we will outline some of the challenges providers face in educating, (re)training, and preparing their graduates for life and work beyond the film school. These challenges highlight questions about the accountabilities and responsibilities of practice-oriented film education institutions. This chapter begins with an introductory section that outlines these logics and questions. It explores some of the tensions and dynamics within the spectrum of issues through which we can understand film schools. The chapter then goes on briefly to describe the multifaceted training landscape in Australia, before profiling the leading public provider, the Australian Film, Television and Radio School (AFTRS), as well as the other leading public providers the Victorian College of the Arts, and the Griffith Film School. It concludes with a short section on film education in primary and secondary schools as the education sector prepares for the implementation of a national curriculum in which ‘media arts’ has a new centrality.

Hexagon platinum Schottky contact with ZnO thin film for hydrogen sensing

This paper reports on the study of the effect on adding total peripheries and sharp edges to the Schottky contact as a hydrogen sensor. Schottky contact was successfully designed and fabricated as hexagon-shape. The contact was integrated together with zinc oxide thin film and tested towards 1% hydrogen gas. Simulations of the design were conducted using COMSOL Multiphysics to observe the electric field characteristic at the contact layer. The simulation results show higher electric field induced at sharp edges with 4.18×104 V/m. Current-voltage characteristic shows 0.27 V voltage shift at 40 μA biased current.

Making orchids – Gardening an intersex experience on videotape [In German - Orchideen Züchten. Eine inter Erfahrung auf Film]

In 2004, my thirtieth year of life, I began to develop and produce a documentary about the lived experience of being intersex. At the time, I didn’t ever expect the film would be autobiographical in nature. I’d known I was intersex since I was 17, and aware of my difference for many years prior, and I’d been making and presenting documentaries for almost as long, yet the idea to expose myself so publicly was frightening to me. However, I realised I couldn’t expect others to step in front of the lens when I didn’t have the courage to do so myself. The final result was Orchids: My Intersex Adventure, which maps my intersex journey from shame, stigma and secrecy to self‐acceptance. The film has now been broadcast on television sets around the world. It has also won many awards and appeared in numerous film festivals....

QUT Architecture Film Studio (Aus)

Research Statement: An urban film produced by Luke Harrison Mitchell Benham, Sharlene Anderson, Tristan Clark. RIVE NOIR explores the film noir tradition, shot on location in a dark urban space between high-rises and the river, sheltered by a highway. With an original score and striking cinematography, Rive Noir radically transforms the abandoned river’s edge through the production of an amplified reality ordinarily unseen in the Northbank. The work produced under my supervision was selected to appear in the Expanded Architecture Research Group’s International Architecture Film Festival and Panel Discussion in Sydney: The University of Sydney and Carriageworks Performance Space, 06 November 2011. QUT School of Design research submission was selected alongside exhibits by AA School of Architecture, London; The Bartlett School of Architecture, London; University of The Arts, London; Arrhaus School of Architecture, Denmark; Dublin as a Cinematic City, Ireland; Design Lab Screen Studio, Australia; and Sona Cinecity, The University of Melbourne. The exhibit included not only the screening of the film but the design project that derived from and extended the aesthetics of the urban film. The urban proposal and architectural intervention that followed the film was subsequently published in the Brisbane Times, after the urban proposal won first place in The Future of Brisbane architecture competition, which demonstrates the impact of the research project as a whole. EXPANDED ARCHITECTURE 2011 - 6th November Architecture Film Night + Panel Discussion @ Performance Space CarriageWorks was Sydney's first International Architectural Film Festival. With over 40 architectural films by local and international artists, film makers and architects. It was followed by Panel Discussion of esteemed academics and artists working in the field of architectural film.

The Brisbane Northbank Urban Film Studio : screening of shortlisted films

Research Statement: In this research project film groups of 4-5 students under my direction produced a 3-5 minute urban film that explored the Brisbane Northbank, and which would become the basis for an urban proposal and design of a small film studio for independent filmmakers in the site. The theoretical premise was that a film studio does not simply produce movies, it creates urban effects all around it and acts as a vortex of cultural activity and social life. For this modest facility where the cinema goes out into the street, the city itself becomes the studio. Students were called to observe the historical problematics of technique, image and effect that arise in the cinema, and to apply these to their own urban-film practice. A panel of judges working in film and architecture shortlisted the 12 best films in 2010 and a major public film screening event took place at the Tribal Cinema. The Shortlisted films today form a permanent "exhibit" in YouTube. The research project was funded by the Queensland University of Technology, School of Design and received accolades from film faculty in the Creative Industries Faculty. The diverse body of work that emanated from the screening contributed a unique analysis of the Northbank to Brisbane.

Do look now : re-imagining and re-purposing audiovisual creative practice

The appropriation and elaborate re-working of mediated images and sound stand in a fluid relationship with established notions such as creativity, originality and artistic freedom. The evocative, recontextualised montage works of the eminent video artists Christian Marclay (The Clock) and Tracey Moffatt (Other; Love) may be viewed critically in the light of several theorists’ work, such as Walter Benjamin’s ideas on the crisis of reproduction and reactivation. The ironic pastiche, Do Look Now, a recent video installation work, is presented here as a similar dialogical intervention, representing a subversive deconstruction and critique of filmic codes and conventions, as well as being a new work crafted out of old film clips. (The films quoted in the work are listed here in an Appendix). These practical provocations are framed within a renewed, ‘queering’ investigation of creative works. Such an exploration is, arguably, both illuminating and liberating for particular practitioners and researchers engaged with the unpredictable intersections of creative meaning-making in a heavily legalised, mediated and digitised world.

A comparison of surface doses for very small field size x-ray beams : Monte Carlo calculations and radiochromic film measurements

Stereotactic radiosurgery treatments involve the delivery of very high doses for a small number of fractions. To date, there is limited data in terms of the skin dose for the very small field sizes used in these treatments. In this work, we determine relative surface doses for small size circular collimators as used in stereotactic radiosurgery treatments. Monte Carlo calculations were performed using the BEAMnrc code with a model of the Novalis 15 Trilogy linear accelerator and the BrainLab circular collimators. The surface doses were calculated at the ICRU skin dose depth of 70 m all using the 6 MV SRS x-ray beam. The calculated surface doses varied between 15 – 12% with decreasing values as the field size increased from 4 to 30 mm. In comparison, surface doses were measured using Gafchromic EBT3 film positioned at the surface of a Virtual Water phantom. The absolute agreement between calculated and measured surface doses was better than 2.5% which is well within the 20 uncertainties of the Monte Carlo calculations and the film measurements. Based on these results, we have shown that the Gafchromic EBT3 film is suitable for surface dose estimates in very small size fields as used in SRS.

Dino De Laurentiis and Australia: Creating a film industry on the Gold Coast

When Dino De Laurentiis died in October 2010, most media outlets, including Australian based publications and services reported the news and most newspapers carried obituaries. Obituarists described Dino’s many failures in great detail; as film historian David Thomson wrote in The Guardian ‘there were enough bombs from Dino to level a large city’ (Thomson 2010). But Dino was also responsible in no small way for the building of new media cities in Rome, in North Carolina, and in Queensland. In this article, we draw on some of our research for that book to outline in more detail the importance of Dino De Laurentiis’s involvement to the Gold Coast studios and to film and television production in Queensland.

Partial rectification of the plasmon-induced electrical tunnel current in discontinuous thin gold film at optical frequency

The effect of plasmonoscillations, induced by pulsed laserirradiation, on the DC tunnel current between islands in a discontinuous thin goldfilm is studied. The tunnel current is found to be strongly enhanced by partial rectification of the plasmon-induced AC tunnel currents flowing between adjacent gold islands. The DC tunnel current enhancement is found to increase approximately linearly with the laser intensity and the applied DC bias voltage. The experimental data can be well described by an electron tunnelling model which takes the plasmon-induced AC voltage into account. Thermal heating seems not to contribute to the tunnel current enhancement.

Demonstration of nonlinear absorption in Au semi-continuous film by electrical measurement

We have demonstrated the nonlinear absorption at 532 nm wavelength in an Au semi-continuous film (SF) resulting from smearing of the Fermi distribution and diffusion of conduction electrons into the substrate. The Au SF was irradiated by a pulsed laser with 8 ns pulse width at 532 nm in near resonance with the interband transition of the Au. We determined the temperature increase in the SF for different intensities by electrical measurement. We calculated the temperature increase by using a 1D heat transport equation; comparing the results of the calculation with measured values for the temperature increase, revealed the nonlinear absorption in the Au SF. We employed this deviation from linear behaviour to determine the nonlinear absorption coefficient.

Visible photoluminescence from plasma-synthesized SiO 2-buffered SiN x films : effect of film thickness and annealing temperature

The effect of the film thickness and postannealing temperature on visible photoluminescence (PL) from Si Nx films synthesized by plasma-assisted radio frequency magnetron sputtering on Si O2 buffer layers is investigated. It is shown that strong visible PL is achieved at annealing temperatures above 650 °C. The optimum annealing temperature for the maximum PL yield strongly depends on the film thickness and varies from 800 to 1200°C. A comparative composition-structure-property analysis reveals that the PL intensity is directly related to the content of the Si-O and Si-N bonds in the Si Nx films. Therefore, sufficient oxidation and moderate nitridation of Si Nx Si O2 films during the plasma-based growth process are crucial for a strong PL yield. Excessively high annealing temperatures lead to weakened Si-N bonds in thinner Si Nx films, which eventually results in a lower PL intensity.