287 research outputs found
Construction and evaluation of an ultrahigh-vacuum-compatible sputter deposition source
No full textA sputter deposition source for the use in ultrahigh vacuum (UHV) is described, and some properties of the source are analyzed. The operating principle is based on the design developed by Mayr et al. [Rev. Sci. Instrum. 84, 094103 (2013)], where electrons emitted from a filament ionize argon gas and the Ar+ ions are accelerated to the target. In contrast to the original design, two grids are used to direct a large fraction of the Ar+ ions to the target, and the source has a housing cooled by liquid nitrogen to reduce contaminations. The source has been used for the deposition of zirconium, a material that is difficult to evaporate in standard UHV evaporators. At an Ar pressure of 9×10-6 mbar in the UHV chamber and moderate emission current, a highly reproducible deposition rate of ≈1 ML in 250 s was achieved at the substrate (at a distance of ≈50 mm from the target). Higher deposition rates are easily possible. X-ray photoelectron spectroscopy shows a high purity of the deposited films. Depending on the grid voltages, the substrate gets mildly sputtered by Ar+ ions; in addition, the substrate is also reached by electrons from the negatively biased sputter target. © 2017 Author(s)1
Replication Data for: Analyzing the Rhetoric of Supreme Court Confirmation Hearings
No full textThe below data and code replicates the main and appendix materials for "Analyzing the Rhetorical Behaviors of Supreme Court Confirmation Hearings." An important note for these materials: The author's preference for software packages and programming languages to complete different layers of the research design constitutes the incorporation of Microsoft Excel (data collection), STATA (data analysis), and Python (sentiment classification). All replication materials (including STATA do-files and .py files are included below). The author is happy to discuss any data limitations, as well as the procedure for classifying rhetoric using supervised machine learning processes like the one incorporated in this work (Naive Bayes).
Motivation(s): Analyses of Supreme Court confirmation hearings routinely contend with hostility and political overtones becoming ingrained in the process. Accounts from political scientists, normative observers, and participants in these hearings themselves, often point to distinctive moments in the recent history of these hearings as the source of these developments. Chief among them is the contention that the rejection of Robert Bork in 1987 instigated a decades-long collection of grievances that plagued every subsequent hearing. Some observers have continued to support this framing by asserting that even more recent events like the infamous Thomas and Kavanaugh hearings, as well as the Republican Senate's refusal to grant Merrick Garland a hearing, built-from and expand-upon the grievances emanating from Bork. However, more recent literature exploring the contextual substance of interactions between committee members and nominees have questioned these contentions in favor of viewing rhetorical behaviors as a reflection of party dynamics and the balance of interbranch political power.
Approach: I apply supervised machine learning using Naive Bayes to analyze the rhetorical behaviors of committee members during hearings spanning 1970 to 2020.
Findings: My results ultimately suggest two core empirical findings. First, I find little evidence to support the contention that certain key events, Bork or otherwise, significantly impacted rhetorical behaviors. Any layer of analysis, regardless of how many of these aforementioned events are included in the research design, fails to discern any definitive moment where these events might explain longitudinal variation. Second, while the notion that grievances emanating from key events is the primary culprit fails to provide intuitive answers, I do find support for a conjoined influence of strategic party goals and the balance of interbranch political power. That is, rhetorical behaviors are often the result a committee member's position as an in (i.e., sharing the president's political party) or out-party member, as well as whether the hearing exists in unified (i.e., the Senate majority shares the party of the appointing president) or divided government. I find that the behaviors of in-party members alters significantly when they are in the minority. Under these circumstances, they become increasingly more probable to incorporate negative rhetoric, likely as a reflection of the out-party's position as the Senate majority now bearing the weight of real obstructionist consequences. I conclude this work by noting how these conditions and behaviors can produce negative consequences for the Court's institutional support
Poiesis and Obstruction in Art Practice
No full textThis PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting
Sap1 dependent replication fork barriers guide integration of LTR retrotransposons in S. pombe
No full textLong Terminal Repeat retrotransposable elements (LTR-TEs) are a large group of eukaryotic Transposable Elements characterized by flanking repeats in tandem orientation - the LTRs. The LTRs of these elements contain sequences that recruit proteins involved in their expression, replication, silencing, organization, and stability. A successful transposable element must maximize its reproductive amplification without jeopardizing its host, and several characterized LTR-TEs appear to accomplish this through the selection of integration sites away from protein coding sequences. However, despite their high relatedness, a universal mechanism that explains how these parasitic elements avoid coding sequences has not been established. Through sequencing of de novo integration sites of the LTR-TE Tf1 from the fission yeast Schizosaccharomyces pombe, we found a strong integration preference for locations near the binding site of Sap1. Sap1 has been previously shown to be a DNA-binding protein that controls the directionality of DNA replication by causing polar fork arrest. Sap1 mutations that mildly affect binding but strongly affect fork barrier activity decrease Tf1 retrotransposon efficiency ten-fold, indicating that Sap1 replication fork barrier activity is a stronger predictor of Tf1 integration than DNA binding. Further, synthetic Sap1 binding sites placed near DNA origins are only competent at Tf1 recruitment when placed in blocking orientation. Interestingly, the fork arresting activity of an independent factor provided in cis can increase the integration efficiency of a barrier-incompetent Sap1 binding site. Thus, both Sap1 binding and replication fork arrest are necessary for Tf1 integration. Together, these data suggest that Sap1 guides insertion of Tf1 by tethering the intasome and blocking the progression of the replication fork, and that the Tf1 transposon uses features of arrested forks to insert into the host genome. Since fork arrest is detectable in many genomic features that recruit LTR-RT integration, such as type III promoters and heterochromatic sequences, these observations point to a universal mechanism for determination of LTR-TE tropism. The questions surrounding the molecular mechanism of Tf1 transposition led to the examination of the CRISPR/Cas9 system as a tool for tethering Tf1 to stalled forks in vivo. However, the CRISPR/Cas9 toolkit had not been developed for S. pombe. Using a novel processed RNA Pol II promoter and the Hammerhead ribozyme we developed a highly efficient CRISPR/Cas9 expression system, leading to >95% modification efficiencies without selection.Ph.D.Includes bibliographical referencesby Jake Zachary Jacob
A Conceptualization of Sufjan Stevens's Bereavement Process as Seen in his Album, Carrie, and Lowell Through Several Contemporary Mechanisms for Grief and Bereavement.
No full textSufjan Stevens is a singer-songwriter with a very complicated relationship with his mother, Carrie. She struggled with mental illness and substance dependency and eventually left Sufjan and the rest of her family when he was only one year old. Carrie would eventually reconnect with Sufjan in Eugene, Oregon for several summers throughout his early childhood. During these summers, Sufjan grew closer with his mother and would provide him with the memories he would later reflect upon after her death. When Carrie died in 2012, Sufjan spiraled into depression and experienced a prolonged and deeply painful bereavement process. To grieve his loss, find meaning through his experiences, and organize his thoughts about his mother, Sufjan channeled his grief into his music and produced eleven songs about his bereavement process. This thesis aims to conceptualize the grief Sufjan sings about within this album by analyzing the lyrics through the perspectives of four mechanisms for grief and bereavement. I will use models on grief and bereavement by Hoy (2016), Worden (2018), Gillies and Niemeyer (2006), and Stroebe and Schut (2010) in my analysis
Adapting a retro comic aesthetic with Spider-Man: Into the Spider-Verse
No full textWhen Spider-Man: Into the Spider-Verse was first announced, as the fourth feature film starring Spider-Man in three years and the ninth since Sam Raimi first brought the character to the big screen in 2001, it was clear that the hero’s first animated feature would have to do something to distinguish itself from its live action counterparts. The film’s teaser trailer suggested this would not be a problem, revealing three key unique selling points: firstly, it would focus on Miles Morales (Shameik Moore), the half-Puerto Rican, half-African-American Spider-Man introduced in 2011, rather than the traditional, white Peter Parker character. Secondly, entitled Spider-Man: Into the Spider-Verse, it would be a dimension-hopping adventure, bringing together a diverse group of alternate spider-people, including an older Parker (Jake Johnson); Spider-Gwen (Hailee Steinfeld), a spider-powered take on one of Parker’s classic love interests; the cartoonish, porcine Spider-Ham (John Mulaney); the anime-inspired cyborg SP//dr (Kimiko Glenn); and the gritty, 1930s-esque Spider-Man Noir (Nicolas Cage). Thirdly, it would combine brand-new computer animation techniques with hand-drawn flourishes and graphic elements taken straight from comic books to create a unique visual style unlike anything seen before in mainstream animated feature filmmaking
1. Theoretical section of the Bachelor´s thesis: Photography and Typography 2. Practical section of the Bachelor's thesis: Visual author style of a professional photographer
No full textVe své práci jsem chtěla rozebrat "problematiku" použiti fotografií na různých propagačnich materiálech. Jak grafici běžně pracují s fotografií, jake jsou výhody a nevýhody. Můj názor a vlastní zkušenosti s fotografy.In my work I would like to took apart " problemms" using photos in different advertising mediums. How graphic designers usually work with their photos. How advantages and disadvantages they have. My oppinion and my own experience with photographers.Ústav reklamní fotografie a grafik
Kolob Canyon Review Literature Spring 2012
No full textStaff: Editor-in-Chief Caitlin "Kitti" Erickson. Literature Submissions Editor Landon Gray Mitchell. Art Director Christina Longhurst. Production & Design Editor Tori Leavitt. Advertising Director Joe Rawlings. Art Submissions Editor Jake Dyreng. Layout and Design Staff Jake Dyrent, Tori Leavitt, Christina Longhurst, Joe Rawlings. Literary Staff Janae Borjesson, Chelsea Brown, Sorina Cornia, Adam L. Crosby, Cailtlin Erickson, Candice Gibby, Noah Hopkins, Matt Howard, Dana LeCheminant, Landon Gray Mitchell, Jamie Nelson, Brittany Pierce, James Pollard, Jessica Toro. Faculty Advisors Jeff Hanson, Wynne Summers. Literature: "Gastronomic Tour," Adam L. Crosby; "Rainstorm," Joseph Dockstader; "in my fossilizing arms," Adan Bojorquez; "Sunday Morning," S. Katie Hill; "Knees in the Breeze: An Airborne Story," Brittany Pierce; "Blue Hole," Amber Melissa Jacobsen; "Shell Collection," Maariya Rhodes; "(W)hole," Trynn Sylvester; "Elgin Unexplored," Wes Stephenson; "Once Upon a Crime," Robert Durborow and Mythical Madness; "Societal," Lewis Lopez; "Registry," Caitlin Erickson; "Emotion," Shea Diepeveen; "Cosmic Promanade [sic]," Jessica Jones; "Immortal Bond," Taylor Cardinal; "Atom," Jamie Nelson; "The Bait Shop Sestina," Wes Stephenson; "Divorce and Pop Culture," David Baxley; "Sunflower," Kimberly Stapley; "Carnival," Kimberly Stapley; "Deal with the Devil," Ellie H. Anderson; "Heartbeats," Kirstin M. Bone; "Moth," Hannah Skousen; "La Playa," Adam L. Crosby; "Yankee Meadow, Parowan Canyon, Utah," Mellissa Hunt; "Rainstorm," S. Katie Hill; "Auburn," Caitlin Erickson; "Life from my Mother's Hands," Mellissa Hunt; "Fifteen," Adell May DeGraffenried Kirkman; "Blended," Kearney Wood; "Cornered," Sorina Cornia; "Nothing to Fear, Nothing to Lose," Amanda Lynn Hanson; "The Butterfly," Brandi Nielsen; "To a Solitary Young Pine Tree, Sprouting Among Shrubs on the Canyon Floor," Wes Stephenson; "To All the Girls With 'Pretty Faces,'" Chelsea Jones; "Sketch," Caitlin Erickson; "Eyes," Amber Melissa Jacobsen; "My Special One," Landon Gray Mitchell; "Final Detail," S. Katie Hill. Mission Statement: The Kolob Canyon Review is an art and literary journal that showcases outstanding work of Southern Utah University students, faculty, and alumni. It serves as undergraduate scholarship in that is assembled once a year by a staff composed of interdepartmental students and a faculty advisor who collaborate in the selection of artistic works of a professional standard. The purpose of the Review is to recognize quality pieces of art and literature, increase artistic consciousness, and uphold a local venue in which creativity can be published and shared. Acknowle[d]gements: We would like to thank Brad Cook, SUU Provost; the Department of Art and Design; the Department of English; Brian Cottam, Associate Director of Regional Services; James W. Harrison, Director of Grace A. Tanner Center for Human Values; the Braithwaite Fine Arts Gallery; the SUU Student Association; Paragon Press; Wynne Summers; Reece Summers; Jeff Hanson; Joi Simpson; and all those who educate, challenge, and encourage student creativity
Ambient-pressure atomic force microscope with variable pressure from ultra-high vacuum up to one bar
No full textWe present the design and performance of an ambient-pressure atomic force microscope (AP-AFM) that allows AFM measurements using the laser deflection technique in a highly controlled environment from ultra-high vacuum (UHV) up to 1 bar with various gases. While the UHV of the AP-AFM system is obtained by a combination of turbo-molecular and ion pumps, for the higher-pressure studies, the ambient-pressure chamber is isolated from the pumps and high-purity gases are dosed via a leak valve from a gas manifold. The AP-AFM system, therefore, provides versatile AFM techniques, including the measurement of topography, friction and local conductance mapping, and force spectroscopy in a highly controlled environment with pressures ranging from UHV up to atmospheric pressure. Atomically resolved stick-slip images and force spectroscopy of highly ordered pyrolytic graphite (HOPG) at variable pressure conditions are presented to demonstrate the performance of the AP-AFM system. Force spectroscopy results of vacuum-cleaved HOPG, followed by exposure to lab air, oxygen, and methane show that adhesion between the AFM tip and the HOPG depends significantly on the exposed gas and pressure. Our results show that the deposition of airborne hydrocarbon impurities at ambient conditions leads to a significant change in adhesion force, implying that the wettability of the HOPG surface depends on the environment and the pressure. (c) 2018 Author(s
MOFDiff: Coarse-grained Diffusion for Metal-Organic Framework Design
No full text<p>This repository contains:</p>
<ul>
<li>bw_db.tar.gz: the preprocessed BW-DB dataset</li>
<li>pretrained.tar.gz: pretrained building block encoder and CG diffusion models</li>
<li>bb_emb_space.tar.gz: the building block embedding space</li>
</ul>
<p>described in the paper: "MOFDiff: Coarse-grained Diffusion for Metal-Organic Framework Design."</p>
<p>paper: https://arxiv.org/abs/2310.10732</p>
<p>code: https://github.com/microsoft/MOFDiff</p>
<p>If you find this repository useful, please consider reference in your paper:</p>
<pre><code>@inproceedings{
fu2024mofdiff,
title={{MOFD}iff: Coarse-grained Diffusion for Metal-Organic Framework Design},
author={Xiang Fu and Tian Xie and Andrew Scott Rosen and Tommi S. Jaakkola and Jake Allen Smith},
booktitle={The Twelfth International Conference on Learning Representations},
year={2024},
url={https://openreview.net/forum?id=0VBsoluxR2}
}<br><br>@article{boyd2019data,
title={Data-driven design of metal--organic frameworks for wet flue gas CO2 capture},
author={Boyd, Peter G and Chidambaram, Arunraj and Garc{\'\i}a-D{\'\i}ez, Enrique and Ireland, Christopher P and Daff, Thomas D and Bounds, Richard and G{\l}adysiak, Andrzej and Schouwink, Pascal and Moosavi, Seyed Mohamad and Maroto-Valer, M Mercedes and others},
journal={Nature},
volume={576},
number={7786},
pages={253--256},
year={2019},
publisher={Nature Publishing Group UK London}
}</code></pre>
<p> </p>
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