Download ^NEW^ Film Semi Korea Lies
Leo Oquendo
Lies (거짓말, Gojitmal) is a South Korean erotic drama film adapted from the banned novel Tell me a Lie by Jang Jung Il, which depicts a sadomasochistic sexual relationship between a 38-year-old sculptor and an 18-year-old highschool student. The film was shot in a semi-cinéma vérité style and features interviews with the author and cast spliced in between scenes. Intended to provoke, the film contains full-frontal nudity, unsimulated sex, coprophilia,[2][3][4] and criticisms of South Korean society. It was heavily censored upon its initial release in South Korea,[5] but international releases were left uncut.
Organic light-emitting diode (OLED) displays are now poised to be the dominant mobile display technology and are at the heart of the most attractive televisions and electronic tablets on the market today. But this begs the question: what is the next big opportunity that will be addressed by organic electronics? We attempt to answer this question based on the unique attributes of organic electronic devices: their efficient optical absorption and emission properties, their ability to be deposited on ultrathin foldable, moldable and bendable substrates, the diversity of function due to the limitless palette of organic materials and the low environmental impact of the materials and their means of fabrication. With these unique qualities, organic electronics presents opportunities that range from lighting to solar cells to medical sensing. In this paper, we consider the transformative changes to electronic and photonic technologies that might yet be realized using these unconventional, soft semiconductor thin films.
It is important to understand the appropriate niche for OPVs that distinguish them from incumbent solar technologies. The widespread generation of commodity power does not provide sufficient motivation for their development given the low costs enjoyed by Si panels. So, what can OPVs offer that Si solar cells cannot? The answer lies in the narrow but intense absorption spectra of organic molecules, allowing for very efficient solar cells that strongly absorb in the near infrared while being semitransparent, and importantly, neutral optical density in the visible. Such a solar module, deposited on a roll of plastic film, can be inserted in the pocket between the two sheets of glass forming a double pane window. Power generating windows, combined with microinverters, can supply considerable energy to buildings if they cover a reasonable fraction of a building surface. Such windows require an appropriate suite of materials to simultaneously provide high efficiency and visible transparency, along with optical coatings that reflect unabsorbed near infrared (NIR) radiation back into the cell for a second pass, while maximizing outcoupling of visible light. A figure of merit that quantifies the performance of semitransparent cells is their light utilization efficiency (LUE), which is the product of the PCE and the average photopic transparency (APT) of the cell. Here, the APT is the perceived transparency that is a convolution of the solar spectrum with the spectral sensitivity of the eye. Figure 4 shows a compilation of LUE vs. APT for thin film solar cells based on a range of technologies. There is little doubt that OPVs have a far more advantageous combination of these parameters than any other technology, including amorphous Si and perovskite solar cells.
Common configuration of an organic thin film transistor. The source and drain are on the surface of the organic semiconductor channel, and the gate lies underneath the gate insulator. This is known as a bottom gate/top contact organic thin film transistor. Other geometries that switch the layering order of the insulator and gate contact, as well as the source and drain contacts, are also commonly employed.
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Application of carbon structures in TiO2 nanocrystalline based films is a good strategy that can suppress the charge recombination using a highly conductive carbon layer. A graphitic thin film embedded (referred as carbonized) with semiconducting oxide particles was prepared for use as the photoelectrode of a DSSC.91 In Jang et al,91 three different (carbon layer under, on or both under and on the film) carbonized nanocrystalline TiO2 films were fabricated. By introducing graphitic carbons into the TiO2, the amount of dye loading was decreased slightly due to the reduced surface area of the film. Although the adsorption of dye molecules was reduced, the embedded carbons in the TiO2 film improved the electron recombination lifetimes (τr) of DSSCs significantly because of their high conductivity. Due to this improved property of the cells, carbonized TiO2 films based DSSCs achieved very high current densities (Table1). It was noted by these authors that the surface area of the films in such structured device plays a minor role for the PV performance.91 Finally, a 40.6% improvement (as compared to the reference cell) in the PV efficiency was obtained by DSSC fabricated with both parts (under and on top) carbonized TiO2 thin layers.
All political systems must operate according to the "rule of law" if they are to be deemed legitimate. This statement has assumed the quality of a truism: we hear it repeated by the President of the United States, the Secretary-General of the United Nations, and the President of the International Criminal Court. At the same time, though, that everyone seems to agree that the "rule of law" is a good thing, no one seems able to say for sure what the "rule of law" is. What, then, do we mean by the "rule of law"? What does it mean to speak of government limited by law? What are these limits, where do they come from, and how are they enforced? What role does the "rule of law" play in legitimating structures of governance? Does the "rule of law" imply any particular relationship between legality and morality? We will hazard answers to these questions through a close reading of works of theorists such as John Locke, Thomas Hobbes, H.L.A. Hart and Lon Fuller. In addition, we will examine the arguments of the theorists as they help us think through pressing legal challenges of our age, such as defining the limits of executive power in the "war against terror." Our seminar will be devoted to the close reading of a select number of texts. We will analyze the structure, meaning and adequacy of the arguments contained in these works through vigorous discussion and frequent writing assignments. Our aim is to gain a rich critical understanding of a concept that lies at the foundation of domestic and international socio-political systems, and to improve our abilities to discuss and write about complex ideas with sophistication, nuance and flair.
It is estimated that more than 1.4 trillion photographs were taken in 2021 alone; arguably the photograph has become the dominant language of contemporary culture. The recorded image is increasingly used as evidence and has had a meaningful social impact. Simultaneously, the camera has also become a pervasive tool of surveillance. Yet, how deeply do we really look at photographs? How often is the lasting effect of these multitudinous images really considered, by either the maker or the consumer? Are everyday photographs works of art, or simply a kind of currency? In contrast to the fleeting snapshot or screen swipe, this course will take a deliberate, slow approach, and focus on a small, select number of photographs studied in significant depth. Making use of diverse methods of looking and analysis, we will examine photographs that are both canonical and non-canonical: from the earliest daguerreotypes in the nineteenth century, to avant-garde experimentations to contemporary global networks and questions of appropriation. As an introduction to liberal studies, the seminar will study the social, intellectual, and art histories of photography, interrogating concepts of visual representation and reproduction, and issues of technology, identity, and power, while also employing the theoretical lenses of diverse writers. Students will write in direct response to the photographs, post essays on primary sources and critical readings, take some pictures, and develop a research project on a single photograph from the collections of the Mead Art Museum.