AlGaInP LED with surface structure of two-dimensional photonic crystal

Some progress in the research of GaN based LED with photonic crystal structure has been made recently. Based on the photonic crystal's photonic band gap effect and photon grating diffraction principle, the extraction efficiency of LED with photonic crystal can be improved. In this paper, the restriction on AlGaInP LED's extraction efficiency is analyzed, and the photonic crystal is introduced in to the AlGaInP LED to improve the extraction efficiency. The theoretical analyses and the experiment results show that the output luminous intensity of LED with photonic crystal is improved by 16%, which results from some effect of the GaN based LED with photonic crystal.

Tunnel Junction AlGaInP Light Emitting Diode

The n-type GaAs substrates are used and their conductive type is changed to p-type by tunnel junction for AlGaInP light emitting diodes (TJ-LED), then n-type GaP layer is used as current spreading layer. Because resistivity of the n-type GaP is lower than that of p-type, the effect of current spreading layer is enhanced and the light extraction efficiency is increased by the n-type GaP current spreading layer. For TJ-LED with 3μm n-type GaP current spreading layer, experimental results show that compared with conventional LED with p-type GaP current spreading layer, light output power is increased for 50% at 20mA and for 66.7% at 100mA.

LP-MOCVD制备AlGaInP高亮度橙横色发光二极管

利用LP-MOCVD外延生长AlGaInP DH 结构橙黄色发光二极管。引入厚层Al_(0.7)Ga_(0.3)As电流扩展层和Al_(0.5)Ga_(0.5)As-AlAs分布布拉格反射器(KBR)。20mA工作条件下，工作电压1.9V,发光波长峰值在605nm,峰值半宽为18.3nm,管芯平均亮度达到20mcd,最大29.4mcd,透明封装成视角(2θ_(1/2)15°的LED灯亮度达到1cd。

Coupled AlxGa1-xAs-AlAs distributed Bragg reflectors for high brightness AlGaInP light emitting diodes

A novel coupled distributed Bragg reflector (DBR) with double thickness periods was theoretically analyzed based on the spontaneous radiation properties of high brightness AlGaInP light emitting diodes(LED). Several important factors were considered including spontaneous radiation angle distribution, absorption and FTR of DBR. Calculation results showed that the optimum optical thickness of single layer of the DBR deviates from 1/4 lambda. AIGaInP high brightness light emitting diodes both with Al0.5Ga0.5As/AlAs coupled DBR and with conventional DBR were fabricated by metalorganic chemical vapor deposition(MOCVD). X-ray double crystal diffraction and reflection spectrum were employed to determine the thickness and reflectivity of the DBR. It was found that reflectivity of coupled DBR is less sensitive to incident angle than conventional DBR, higher external quantum efficiency of light emitting diodes with coupled DBR was obtained than that with conventional DBR.

High brightness AlGaInP orange light emitting diodes

Orange AlGaInP high brightness light emitting diodes (LEDs) were fabricated by low pressure metalorganic chemical vapor deposition(LP-MOCVD) technology. AlGaInP double heterojunction structure was used as active layer. 15 pairs of Al0.5Ga0.5As/AlAs distributed Bragg reflector and 7 mu m Al0.8Ga0.2As current spreading layer were employed to reduce the absorption of GaAs substrate and upper anode respectively. At 20mA the LEDs emitting wavelength was between 600-610nm with 18.3nm FWHM, 0.45mW radiation power and 1.7% external quantum efficiency. Brightness of the LED chips and LED lamps with 15 degrees viewing angle(2 theta(1/2)) reached 30mcd and 1000mcd respectively.

Accelerated life test of high luminosity AlGaInP LEDs

Specific tests to assess reliability of high luminosity AlInGaP LED for outdoor applications are needed. In this paper tests to propose a model involving three parameters: temperature, humidity and current have been carried out. Temperature, humidity and current accelerated model has been proposed to evaluate the reliability of this type of LED. Degradation and catastrophic failure mechanisms have been analyzed. Finally we analyze the effect of serial resistance in power luminosity degradation.

AlGaInP red-emitting light emitting diode under extremely high pulsed pumping

Efficiency of commercial 620 nm InAlGaP Golden Dragon-cased high-power LEDs has been studied under extremely high pump current density up to 4.5 kA/cm2 and pulse duration from microsecond down to sub-nanosecond range. No efficiency decrease and negligible red shift of the emission wavelength is observed in the whole range of drive currents at nanosecond-range pulses with duty cycles well below 1%. Analysis of the pulse-duration dependence of the LED efficiency and emission spectrum suggests the active region overheating to be the major mechanism of the LED efficiency reduction at higher pumping, dominating over the electron overflow and Auger recombination.

From Prosumer to Produser: Understanding User-Led Content Creation

Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course. To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.

The user-led disruption : self-(re)broadcasting at Justin.tv and elsewhere

The rise of videosharing and self-(re)broadcasting Web services is posing new threats to a television industry already struggling with the impact of filesharing networks. This paper outlines these threats, focussing especially on the DIY re-broadcasting of live sports using Websites such as Justin.tv and a range of streaming media networks built on peer-to-peer filesharing technology.

Dancing the Thesis : Potentials and Pitfalls in Practice-led Research

Practice-led or multi modal theses (describing examinable outcomes of postgraduate study which comprise the practice of dancing/choreography with an accompanying exegesis) are an emerging strength of dance scholarship; a form of enquiry that has been gaining momentum for over a decade, particularly in Australia and the United Kingdom. It has been strongly argued that, in this form of research, legitimate claims to new knowledge are embodied predominantly within the practice itself (Pakes, 2003) and that these findings are emergent, contingent and often interstitial, contained within both the material form of the practice and in the symbolic languages surrounding the form. In a recent study on ‘dancing’ theses Phillips, Stock, Vincs (2009) found that there was general agreement from academics and artists that ‘there could be more flexibility in matching written language with conceptual thought expressed in practice’. The authors discuss how the seemingly intangible nature of danced / embodied research, reliant on what Melrose (2003) terms ‘performance mastery’ by the ‘expert practitioner’ (2006, Point 4) involving ‘expert’ intuition (2006, Point 5), might be accessed, articulated and validated in terms of alternative ways of knowing through exploring an ongoing dialogue in which the danced practice develops emergent theory. They also propose ways in which the danced thesis can be ‘converted’ into the required ‘durable’ artefact which the ephemerality of live performance denies, drawing on the work of Rye’s ‘multi-view’ digital record (2003) and Stapleton’s ‘multi-voiced audio visual document’(2006, 82). Building on a two-year research project (2007-2008) Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, which examined such issues in relation to assessment in an Australian context, the three researchers have further explored issues around interdisciplinarity, cultural differences and documentation through engaging with the following questions:  How do we represent research in which understandings, meanings and findings are situated within the body of the dancer/choreographer?  Do these need a form of ‘translating’ into textual form in order to be accessed as research?  What kind of language structures can be developed to effect this translation: metaphor, allusion, symbol?  How important is contextualising the creative practice?  How do we incorporate differing cultural inflections and practices into our reading and evaluation?  What kind of layered documentation can assist in producing a ‘durable’ research artefact from a non-reproduce-able live event?

The effective and the evocative : reflecting on practice-led research approaches in art and design

Early in the practice-led research debate, Steven Scrivener (2000, 2002) identified some general differences in the approach of artists and designers undertaking postgraduate research. His distinctions centered on the role of the artefact in problem-based research (associated with design) and creative-production research (associated with artistic practice). Nonetheless, in broader discussions on practice-led research, 'art and design' often continues to be conflated within a single term. In particular, marked differences between art and design methodologies, theoretical framing, research goals and research claims have been underestimated. This paper revisits Scrivener's work and establishes further distinctions between art and design research. It is informed by our own experiences of postgraduate supervision and research methods training, and an empirical study of over sixty postgraduate, practice-led projects completed at the Creative Industries Faculty of QUT between 2002 and 2008. Our reflections have led us to propose that artists and designers work with differing research goals (the evocative and the effective, respectively), which are played out in the questions asked, the creative process, the role of the artefact and the way new knowledge is evidenced. Of course, research projects will have their own idiosyncrasies but, we argue, marking out the poles at each end of the spectrum of art and design provides useful insights for postgraduate candidates, supervisors and methodologists alike.

Content, structure and orientations of the practice-led exegesis

The emergent field of practice-led research is a unique research paradigm that situates creative practice as both a driver and outcome of the research process. The exegesis that accompanies the creative practice in higher research degrees remains open to experimentation and discussion around what content should be included, how it should be structured, and its orientations. This paper contributes to this discussion by reporting on a content analysis of a large, local sample of exegeses. We have observed a broad pattern in contents and structure within this sample. Besides the introduction and conclusion, it has three main parts: situating concepts (conceptual definitions and theories), practical contexts (precedents in related practices), and new creations (the creative process, the artifacts produced and their value as research). This model appears to combine earlier approaches to the exegesis, which oscillated between academic objectivity in providing a context for the practice and personal reflection or commentary upon the creative practice. We argue that this hybrid or connective model assumes both orientations and so allows the researcher to effectively frame the practice as a research contribution to a wider field while doing justice to its invested poetics.

Sustaining the sustainable? Developing a practice and problem-led new media praxis

In this chapter I introduce an ecological-philosophical approach to artmaking that has guided my work over the past 16 years. I call this ‘Ecosophical praxis’. To illustrate how this infuses and directs my research methodologies, I draw upon a case study called Knowmore (House of Commons), an emerging interactive installation due for first showings in late 2008. This allows me to tease out the complex interrelationships between research and practice within my work, and describe how they comment upon and model these eco-cultural theories. I conclude with my intentions and hopes for the continued emergence of a contemporary eco-political modality of new media praxis that self-reflexively questions how we might re-focus future practices upon ‘sustaining the sustainable’.