23 research outputs found
Phase-Transfer-Catalyzed Enantioselective α-Hydroxylation of Acyclic and Cyclic Ketones with Oxygen
No full textChemInform Abstract: Enantioselective Organocatalytic Fluorination Using Organofluoro Nucleophiles
No full textChemInform Abstract: Catalytic Enantioselective Amination of Alcohols by the Use of Borrowing Hydrogen Methodology: Cooperative Catalysis by Iridium and a Chiral Phosphoric Acid.
No full textPhase-Transfer-Catalyzed Enantioselective α‑Hydroxylation of Acyclic and Cyclic Ketones with Oxygen
No full textAn efficient and enantioselective
α-hydroxylation of acyclic
as well as cyclic ketones using molecular oxygen has been developed.
This simple catalytic procedure uses a readily available phase-transfer
catalyst and produces a wide range of valuable tertiary α-hydroxy
ketones in good to excellent enantiopurity
Phonon-assisted laser operation of III-V semiconductor quantum well heterostructures
No full textData are presented demonstrating that the control of the edge-to-edge resonator Q across a cleaved rectangular sample is essential in identifying unambiguously photopumped phonon-assisted laser operation of Al\sb{\rm x}Ga\sb{\rm 1-x}As-GaAs quantum well heterostructures (QWHs), strained-layer Al\sb{\rm y}Ga\sb{\rm 1-y}As-GaAs-In\sb{\rm x}Ga\sb{\rm 1-x}As (x 0.15) QWHs, and Al\sb{0.5}(In\sb{\rm x}Ga\sb{\rm 1-x})\sb{0.5}P (x 0.2) QWHs. If the QWH sample is heat sunk in metal under a sapphire window, with reflecting metal folded upward along the cleaved edges, the resonator Q across the sample is high, and laser operation across the sample on confined-particle states and along the sample on a phonon sideband is observed. If the sample edges across the sample are left uncoated (weakly reflecting, low Q), only phonon-assisted laser operation is observed. Comparison of the high-Q and the low-Q photo-excitation configurations, as well as the abrupt turn-on of laser operation in a narrow spectral range one phonon energy below the lowest confined-particle state, leads to unambiguous identification of phonon-assisted laser operation of Al\sb{\rm x}Ga\sb{\rm 1-x}As-GaAs QWHs, strained layer Al\sb{\rm y}Ga\sb{\rm 1-y}As-GaAs-In\sb{\rm x}Ga\sb{\rm 1-x}As (x 0.5) QWHs, and Al\sb{0.5}(In\sb{\rm x}Ga\sb{\rm 1-x})\sb{0.5}P (x 0.2) QWHs.Made available in DSpace on 2011-05-07T13:14:25Z (GMT). No. of bitstreams: 2
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Enantioselective organocatalytic fluorination using organofluoro nucleophiles
No full text10.1039/c1ob05840aOrganic and Biomolecular Chemistry103479-48
Northern Industrial Scratch: The History and Contexts of a Visual Music Practice
No full textThe critical commentary presents and contextualizes a film and video making practice
spanning three decades. It locates a contemporary visual music practice within current
and emerging critical and theoretical contexts and tracks back the history of this
practice to the artist’s initial screenings of work as part of the 1980’s British Scratch
video art movement.
At the heart of the body of work presented here is an exploration and examination of
methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can
operate on, in a transsensorial fusion, and political and cultural applications of such
encounters, whilst examining the epistemological regimes such work operates in.
A combination of factors has meant that work such as this, arising in the UK
provinces, can fall below the historicizing and critical radar – these include the
ephemeral and transitory nature of live performance work; the difficulties of
documenting such work; the fragility and degeneration of emerging and quickly
obsolescent formats; and a predominance of a London–centric focus on curating,
screening and historicizing of experimental film and video art practices.
My film and video practice has been screened nationally and internationally over
three decades, and has been recognized as exemplary practice both in the early 1980s
at the inception of the Scratch movement and in more recent retrospectives. The
critical commentary argues that this work contributes new knowledge of the history,
contexts and practices of film and video art and audiovisual and visual music
practices
Explaining Regional and Local Government: An Empirical Test of the Decentralization Theorem
No full textDecentralization of policy provision is omnipresent yet we are not able to sufficiently account for the extent of this phenomenon. The decentralization theorem explains the decentralization of policy provision as a trade–off between heterogeneous preferences, inter–jurisdictional spillovers (externalities) and economies of scale. Empirical tests of the theorem have been hampered by a measurement problem on the independent as well as on the dependent variable. This article tackles these problems by using a new dataset which combines a measure of externalities and scale effects of policies obtained from an expert survey with the actual provision of policies across governmental tiers in 40 countries. The analyses show that decentralization of policy provision is not solely determined by functional characteristics of policies but that heterogeneous preferences and other country specific variables such as democracy, economic development and European subsidies, also play a significant role. Hence, this article provides an empirical test of the decentralization theorem
Reconstructing Beethoven: Mauricio Kagel’s Ludwig van
No full textThe subject of this dissertation is Ludwig van, Mauricio Kagel’s tribute to Beethoven on the occasion of the 200th anniversary of the latter’s birth, which consists of three separate, but closely related, versions: a film, a musical score and a recording. The main aim of this project is to analyse the performance problems that musicians have to face when realising the score Ludwig van, which is an entirely indeterminate collage of Beethoven’s music, and to suggest ways of tackling them. For this purpose, all three versions of the work are studied in this thesis. The film is examined in terms of the issues it raises concerning Beethoven’s reception and of the function of its music, which consists of unusual performances of Beethoven’s works. The score is analysed from the perspective of postmodern theory and 20th-century art movements, while the roles of the composer and the performer are discussed and redefined. The recording is studied as a sample of how Kagel himself chose to realise his own score. Finally, the difficulties I encountered in my own attempts to realise Ludwig van are discussed, and the ways in which I dealt with them are presented. The conclusion at which this dissertation arrives is that, in works of such indeterminacy as Ludwig van, the performers are required to step outside their conventional role and act partly as composers. Compared to works that are considered challenging to the performer in the conventional sense, of requiring technical virtuosity, this work presents a more fundamental challenge, which has to do with overcoming personal boundaries: it asks the performer not to execute a pre-composed work, but to create their own version of Ludwig van. Since very little has been written about Ludwig van by performers with an academic background, this thesis can offer valuable assistance to prospective performers of the work in their attempt to balance between the highly charged conceptual aspect of the composition and the practical need to achieve its successful performance
