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3G/4G »
N Chandrababu Naidu
Andhra Pradesh government
Microsoft to work with Andhra Pradesh government on 'White Spaces' project
It is for the first time that this kind of a technology is being implemented in India, according to an official release.PTI | August 14, 2015, 17:40 IST
HYDERABAD: Global technology giant Microsoft will be working with the Andhra Pradesh government on a pilot project called the 'White Spaces' in Srikakulam, a technology that uses unused television spectrum to deliver low cost Internet connectivity.
It is for the first time that this kind of a technology is being implemented in India, according to an official release.
"Highlighting the potential of TV White Spaces, the Chief Minister (N Chandrababu Naidu) said that the project will help in the last-mile connectivity.
"Wi-Fi has a range of only about 100 metres, whereas the 200-300 MHz spectrum band available in the white space can reach up to 10 kms," the release said.
The company has already conducted this project on pilot basis in countries such as Ghana, Botswana, Namibia, Tanzania, South Africa, Kenya and Singapore, among others, it added.
Anil Bhansali, Managing Director (R&D), Microsoft India and Prashant Shukla, National Technology Officer and other executives called on Chief Minister N Chandrababu Naidu in this regard.
Microsoft has also presented the cloud-based Machine Learning solution that they have built in collaboration with the Department of Primary Education to help predict student drop-outs.
This technology has helped make required interventions in bringing down the drop-out rates in schools, the release further said.
Tags : 3G/4G, Wi-Fi, white spaces, N Chandrababu Naidu, Microsoft, Andhra Pradesh government
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'The Hearing List' is a SC Upstate Film Community contest (criteria based) film about a man that makes a list of his top ten sounds which he looks forward to hearing again after the surgery. The doctors place a smart-phone based device in his head to help his hearing. Afterwords, while sitting in the park listening to the birds, he comes across a young mischievous boy. The boy desperate to play video games, takes the man's phone as the he sleeps on a park bench. The man wakes up in confusion with loud games sounds filling his head. A chase across the city of Greenville, SC is observed as the chaos continues from place to place.


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"The Flick" by Annie Baker, at Forward Theater Company in 2016. Pictured: Annie Paul, Marques Causey, and Alex Pawlowski. (Photo by Ross Zentner)
Know a Theatre December 21, 2017 American Theatre Editors	Leave a comment
Know a Theatre: Forward Theater Company of Madison, Wisc.
A small professional theatre in the Badger State's capitol approaches its 10th anniversary.
MADISON, WISC.: The Wisconsin state capital sits on an isthmus between two bodies of water, Lake Mendota and Lake Monona. While the state is known as the country's largest producer of dairy products, it's also known as a hotbed of a different kind of culture, and Madison is a case in point. Dozens of museums surround the State Capitol building along Madison's Museum Mile, and live music venues, dance companies, and comedy clubs are scattered throughout the city. Among the selection of live entertainment is Forward Theater Company (FTC), the resident theatre company that calls the Overture Center for the Arts its home. American Theatre caught up with producing artistic director Jennifer Uphoff Gray via email to learn more about producing theatre in Madtown.
Jennifer Uphoff Gray.
Who founded Forward Theater, when, and why?
FTC was founded in March of 2009. Madison Repertory Theatre (the only AEA company in our city) had just closed in the middle of its 40th season, leaving many arts lovers in our community grieving or frustrated.
At the same time, the country as a whole was reacting to the worst economic crisis in decades, and government leaders were issuing "all hands on deck" calls to action, looking for creativity and entrepreneurship to help stem the flow of job losses.
It was in this context that a group of theatre professionals from across southern Wisconsin met around a kitchen table to discuss whether we might be able to somehow make a contribution. We were playwrights, designers, actors, and directors, members of Wisconsin's artistic professional communities.
By the end of that meeting, Forward Theater Company had been born. Our three-point mission was straightforward: to create a home base for Wisconsin's theatre professionals, to contribute to the cultural fabric of the region, and to expand the economic life of the greater Madison area.
What is your connection to the theatre?
I was a co-founder of Forward Theater and have been serving as producing artistic director since our inception. In 2018 we are bringing on a managing director for the first time and I'm incredibly excited to get to share leadership of the company with Julie Swenson (formerly managing director of Renaissance Theatreworks in Milwaukee).
How did Forward Theater get its name?
At our very first meeting, we talked at great length about how we wanted to position this new company within our community, within our state, and within the larger context of national theatre. On a local level, the word "forward" connects with the Ms. Forward statue that sits outside the State Capitol building, just a block away from the Overture Center where we perform. She is the inspiration for our graphic logo. On a state level, "forward" is Wisconsin's motto, and connects with our state's long progressive tradition. Nationally, "forward" relates to our belief that theatre has the power to move us all forward as human beings, and that our continual evolution as a society can be spurred by art that creates empathy and connection.
What sets your theatre apart from others in your region?
From the beginning, we have set out to cultivate a professional home for Wisconsin theatre artists; more than 90 percent of our hires live here. To do that, we work to provide a living wage to those artists, and that includes a close relationship with Actors' Equity, IATSE, and other theatrical unions. We also strive to produce plays that our audiences would otherwise not be able to see, with high-quality productions that are fresh from Broadway or beyond, written by playwrights in the vanguard of contemporary theatre. And our outreach efforts give theatregoers the unique chance to engage with our productions through partnerships with local nonprofits and arts organizations.
Our audience is quite simply amazing. They are bold, curious, and invested in our exploration of contemporary theatre. A typical FTC three-week run draws an audience of close to 5,000 patrons, nearly two-thirds of them subscribers.
Our signature nightly talkbacks have become engaging conversations that offer us insightful perspectives on the work, and it's not unusual for half (or more!) of the audience to stay for them. David Mamet would not approve.
"4000 Miles" by Amy Herzog, at Forward Theater Company in 2016. Pictured: Mitch Bultman and Susan Sweeney. (Photo by Zane Williams)
Tell us about your favorite theatre institution other than your own, and why you admire it.
Many companies, both near and far, come to mind for me. I am hard-pressed to pick a favorite, but Lincoln Center Theater is surely right up there. My first dozen years as a freelance director were spent in New York City, and I was a subscriber to LCT for most of those years. Their affordable subscriptions made it possible for me to see a wide variety of plays—both new works and revivals—that exposed me to the work of world-class artists. Now that I am running a company that focuses on contemporary work, we have benefitted from the investment LCT puts into developing new plays and have produced here quite a few pieces that started there.
How do you pick the plays you put on your stage?
We are graced with a literary committee that is constantly reading plays. They meet each month to discuss and compare notes, and when they hit upon something that they feel is a good fit for Forward, they pass it on to our advisory company members, who assist me in considering the play for production. A "forward" play must be entertaining, relevant, and thought-provoking, and offer our audience opportunities to experience the world through a variety of perspectives.
What's your annual budget, and how many artists do you employ each season?
Each season we employ approximately 100 artists and technicians. Our 2017-18 operating budget is around $850,000. Next season, when we add a production, we'll jump to just over $1.1 million. It still surprises me how rapidly this company has grown, but we are very proud to say that we have ended every single season in the black.
What show are you working on now? Anything else in your season that you're especially looking forward to?
We just closed I and You by Lauren Gunderson, and we began rehearsals for Exit Strategy by Ike Holter at the end of December. Later this spring we'll finish up with Jordan Harrison's Marjorie Prime. It sounds clichéd, but I'm fired up about every play we're producing! Our theme this season is What's Next?, and we chose three plays that explore that question in a compelling progression throughout the year. Each piece expands the scope from the "micro" to the "macro," and the entire journey is what I've been looking forward to since we created this slate of shows. Next season will be Forward's 10th, and we'll be expanding our mainstage series from three productions to four. All of us are really excited to take that next step.
"Outside Mullingar" by John Patrick Shanley, at Forward Theater Company in 2017. Pictured: James Pickering, and David Daniel. (Photo by Ross Zentner)
What's the strangest or funniest thing you've ever seen (or put) on your stage?
In the spring of 2016 we produced Anne Washburn's Mr. Burns, a post-electric play. We knew going in that this play would stretch our audiences and our artists. It definitely did, and it was a riotous and rewarding experience. I had the time of my life directing it and working with the team of actors and designers to create this post-apocalyptic world. And while there were a handful of regular audience members who found the piece went too far outside their comfort zone, it also brought in more than 500 first-time ticket buyers.
What are you doing when you're not doing theatre?
I'm the mother of three kids (ages 11, 14 , and 16), so they take up much of my spare time, alongside the usual errands, laundry, meals, chauffeuring, etc., etc. And living in Wisconsin these days, there are plenty of political causes and efforts that draw me in as a volunteer. But when I have a spare moment you can usually find me spending it with a good book, Netflix, or the Sunday New York Times crossword puzzle.
What does theatre—not just your theatre, but the American or world theatre—look like in, say, 20 years?
Still here, still going strong. Both mainstream and boundary-pushing work will continue to thrive, as they do now. What will be different, I believe, is that many more diverse voices will be amplified in that work. That's an evolution already in progress, and I'm glad to be able to play a small part in that as a producer.
Forward Theater CompanyShowcase
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redpajama_set_name: RedPajamaCommonCrawl


Charles Cotesworth Pinckney's father is Charles Pinckney, but certainly not the one born in 1746.
The short answer: Yes, they are related.
Both of these Charles' signed the U.S. Constitution in 1787.
Charles Pinckney (1757) was a senator in South Carolina, born to Colonel Charles Pinckney (1730), who in turn was born to William Pinckney (1703). William Pinckney (1703) had a brother Charles (1699) who had a son General Charles Cotesworth Pinckney (1746). I believe that makes General Charles (1746) a 1st cousin 1x removed from Senator Charles (1757). Thomas Pinckney (1750) is the brother to General Pinckney (1746).
Charles Pinckney (1699-1758) m. Eliza Lucas (1722-1793). The four children born to them: Charles Cotesworth Pinckney (1746-1825), George Lucas Pinckney (1747-1747), Harriott Pinckney (1748-1830) and Thomas Pinckney (1750-1828) -- from The Heritage of Pinckneys of Pinckney Colony by Mary Pinckney Powell, p. 31. I don't see a Charles born in 1757 but perhaps he has a middle name. There were so many Charles(es) in the Pinckney Family. Born in 1757, I would think he is not a son of Charles & Eliza because their son Charles was still living. It would be unusual to name a new son by the same name as a living one.
Can someone help me with Pinckney-114?
Do you have access to The South Carolina Genealogical and Historical Magazine?
Who were the parents of Johann Gottfried/Gottlieb Fischer 1824-1898 and Friederike Wensel 1828-1888?
Bowen/Borden 1825 handwritten Deed currently on eBay - WHO SIGNED AS ABRAHAM if he died in 1824?!
Any info Hry Hough 1791-1825 ex Gloucester, son of John James b.1750 & bro of Rev George M.A.
Information on a deed to my 5 g grandfather Richard McMachen in Northern Neck by Thomas Lord Fairfax in 1757?


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Q: Definedness of pointer-integer casts I am interested in the definedness (undefinedness, implementation-definedness) of casts from pointers to integers and various related operations. Mostly I am interested in C11, but answers for other standard versions (or even C++) are welcome.
For the purposes of this question, assume that the C implementation provides intptr_t.
Consider the following functions:
#include <assert.h>
#include <stdint.h>

int x;
int y;
int z[2];

void f1(void) {
    int *p = &x;
    intptr_t i = p;
}

void f2(void) {
    int *p = &x;
    intptr_t i1 = p;
    intptr_t i2 = p;
    assert(i1 == i2);
}

void f3(void) {
    int *p1 = &x;
    int *p2 = &y;
    intptr_t i1 = p1;
    intptr_t i2 = p2;
    assert(i1 != i2);
}

void f4(void) {
    int *p1 = &x;
    intptr_t i1 = p1;
    int *p2 = i1;
    intptr_t i2 = p2;
    assert(i1 == i2);
}

void f5(void) {
    int *p1 = &z[0];
    int *p2 = &z[1];
    intptr_t i1 = p1;
    intptr_t i2 = p2;
    assert(i1 < i2);
}

*

*Which of the functions invoke undefined (implementation-defined) behavior?

*Does anything change if using void* instead of int*? How about any other data type as the target of the pointer?

*Does anything change if I use explicit casts from from int* to intptr_t and back? (Asking since GCC warns about the casts.)

*Which asserts are guaranteed never to trigger?

A: This is what the C11 standard has to say about intptr_t:

7.20.1.4 Integer types capable of holding object pointers
The following type designates a signed integer type with the property that any valid pointer to void can be converted to this type, then converted back to pointer to void, and the result will compare equal to the original pointer:
intptr_t

And the same for uintptr_t (other than signed -> unsigned).
Also from "6.5.4p3 Cast operators":

Conversions  that  involve  pointers,  other  than  where  permitted  by  the  constraints  of 6.5.16.1, shall be specified by means of an explicit cast.

Where 6.5.16.1 doesn't mention assigning pointers to an integer type, and vice versa (other than a 0 constant). That means that you do need a cast when assigning, gcc just allows it as a compiler extension (And it doesn't compile at all with -pedantic-errors)
As for the exact value that is returned in these conversions, this is what the standard has to say:

6.3.2.3 Pointers
p5
An integer may be converted to any pointer type. Except as previously specified, the result is implementation-defined, [...]
p6
Any pointer type may be converted to an integer type. Except as previously specified, the result is implementation-defined. [...]

The basic guarantee you have is:
int x;
(int*) (void*) (intptr_t) (void*) &x == &x;
/* But the void* casts can be implicit */
(int*) (intptr_t) &x == &x;

And it's not necessary to cast to the same integer. E.g., the following can be true:
int x;
(intptr_t) &x != (intptr_t) &x;

Adding casts where necessary, and turning your asserts into returns (since assert(false) is undefined behaviour), none of your functions have undefined behaviour,  but f2, f4 and f5 can be false. f3 must be true, since the two integers must be different to convert to different pointers.

A: If intptr_t exists, then it is capable of holding a void* without data loss:

The following type designates a signed integer type with the property that any valid pointer to void can be converted to this type, then converted back to pointer to void, and the result will compare equal to the original pointer:
   intptr_t

(§7.20.1.4p1)

However, if the pointer is not a pointer to void, all bets are off unless it is a null pointer:

An integer may be converted to any pointer type. Except as previously specified, the result is implementation-defined, might not be correctly aligned, might not point to an entity of the referenced type, and might be a trap representation.
Any pointer type may be converted to an integer type. Except as previously specified, the result is implementation-defined. If the result cannot be represented in the integer type, the behavior is undefined. The result need not be in the range of values of any integer type. (§6.3.2.3p5-6)

"Previously specified" are the conversions between void* and integer types, and the conversion of a null pointer constant to an integer type.
So a strictly correct program would need to interpose void* casts:
intptr_t i = (intptr_t)(void*)p;
T* p = (void*)i;

That's ok, because round-trip conversion between any object type and void* is guaranteed to be lossless:

A pointer to void may be converted to or from a pointer to any object type. A pointer to any object type may be converted to a pointer to void and back again; the result shall compare equal to the original pointer.

(The explicit intptr_t case in the first line is necessary because assignment does not implicitly cast from pointer to integer, although some compilers allow that as an extension. However, in C the assignment operations do implicitly convert between void* and other pointer types (§6.5.16.1p1, fourth bullet point).)
Note that "object type" excludes function pointers.
Also, the fact that the sequence void*→intptr_t→void* is results in a value equal to the original value does not imply that the sequence intptr_t→void*→intptr_t has the same property. While the conversion between pointers and integers is "intended to be consistent with the addressing structure of the execution environment", that statement is in a footnote, so it is not normative. And anyway it is possible that the "addressing structure of the execution environment" permits multiple representations of the same address. (You don't have to look too far to find examples :-). )

redpajama_set_name: RedPajamaStackExchange


The landscape is changing. Clinical development plans no longer depend solely on the outcomes of a phase 3 trial, as companies are adapting their approach to strategy development for rare disease assets. This means that companies must plan earlier, with less data, to identify key components for their phase 2 trials that will address the breadth of future competitive levers.


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Making money from meeting the SDGs? An overarching approach to sustainable development
Digital World November 15, 2016 Daily Highlights 1
Is it realistic to expect the industry to produce business models supporting attainment of the SDGs? asked moderator Tim Unwin in a lively and open discussion at the end of the first day of ITU Telecom World 2016.
The SDGs can only be met by deploying ICTs, agreed the panel – and the industry only stands to benefit. Using the technology, expertise and money of the industry in support of the SDGs can make a huge difference to global growth and improving lives, as well as turning a profit, or in Luis Neves words, "We will make money and we will make society better."
For Tomas the question is not whether it is feasible to match business models to the SDGs, but whether the industry can afford not to do so in its search for sustainable business models in a changing environment. From financing small businesses to health and agriculture, "SDGs are actually verticals enabled by connectivity", and the social case is the business case for operators and their platforms.
The problem lies in part in the short-term nature of policy makers, according to Ole, where governments are elected for a few years only and do not address the big picture of the overall community long-term.
This may be why organizations such as GSMA, which are fully committed to meeting the SDGs, feel as if they are moving ahead of world governments prioritizing other issues beyond this "north star for humanity" guiding development, noted Lawrence Yanovitch. We need a clear social contract to enable the industry to deliver commercial services over a powerful framework through the core business, building new services with social impact on top.
Astrid echoed this false dichotomy between profit and social good, pocket or heart. Both must align. Lifting millions out of poverty does not happen by doing good but by making money: "as good as our hearts are, we need the resources to make it happen, we need balance".
Neves pointed out that the cynical approach would be to accept that no matter whether the SDGs are achieved in part or whole or not all, "we will still be a business making money." But this is a bigger issue, these are aspirations for humanity, and it is critical that policy makers understand the transformational power of technology.
Why then was establishing connectivity not itself one of the SDGs? In part because of the "bubble" in which many live where access is like air; but the heart of the issue, the panel agreed, is that the transformational effects of technology are not understood. ICTs are not, as Astrid pointed out, a "magic bullet to make development happen", but it is a tool to be wielded by leaders around the world to empower those who have been left behind.
CSR may be merely a communication tool around corporate activities, or it may make a real contribution to development in certain narrow cases, but a different approach is needed to embed sustainability into business. For Yanovitch, it echoes the paradigm shift between the corporate governance of the last century based on short-term profits with CSR for community relations, to today, where contributing to society must be part of the core business agenda.
We need as many producers and contributors as possible from all different verticals to work together on integrated solutions to integrated issues, from the empowerment of digital entrepreneurs to social benefit applications. And as the market grows, so too will the ICT industry as the enabler of those services.
But it is not just down to the big corporations to make it happen, as just one player om the ecosystem, stressed Astrid. "They are not experts on development but on business", agreed Tomas. Technology may have contributed to inequality – but it doesn't have to, if deployed properly. We need to build a sustainable model focusing on long-term benefits and opportunities, and above all, not lose sight of the magical transformational potential of ICTs in human lives.
Professor Tim Unwin, Emeritus Professor of Geography and UNESCO Chair in ICT for Development (ICT4D), Royal Holloway, University of London, United Kingdom
Opening Remark
Dr Chaesub Lee, Director of ITU's Telecommunication Standardization Bureau, International Telecommunication Union, Switzerland
Panellists
Mr Tomas Lamanauskas, Group Director Public Policy, VimpelCom Group, Netherlands
Mr Luis Neves, Chairman, Global e-Sustainability Initiative (GeSI), Belgium
Mr Ola Jo Tandre, Director and Head of Social Responsibility, Telenor ASA, Norway
Dr Astrid Tuminez, Regional Director, Corporate, External and Legal Affairs (Southeast Asia), Microsoft, Singapore
Mr Lawrence Yanovitch, President of the GSMA Foundation, GSMA, United Kingdom


GULLANE, Scotland (AP) -- Brandon Stone sank to his knees and dropped his putter in despair after narrowly missing out on becoming the first player to shoot a round of 59 on the European Tour.
Stone's 10-under 60 secured victory at the Scottish Open, earning him a third professional title of his career -- the first outside his native country -- and the extra prize of a qualifying spot in next week's British Open.
TORONTO (AP) -- Scott Dixon won the IndyCar race at Toronto for his third title at the event.
SYLVANIA, Ohio (AP) -- Thidapa Suwannapura's main focus going into the Marathon Classic was trying to put together four solid rounds that would help her keep her LPGA Tour card.
She doesn't have to worry about that any longer.
Suwannapura picked up her first win, closing with a 6-under 65 and birdieing the first playoff hole to defeat Brittany Lincicome at Highland Meadows.
In the playoff, Suwannapura converted a short birdie putt after Lincicome hit her second shot into a water hazard and scrambled for par.
SOUTH LAKE TAHOE, Nev. (AP) -- Former Dallas Cowboys quarterback Tony Romo rallied from four points back to win his first American Century Championship at Lake Tahoe.
Romo, who retired after the 2016 NFL season and is now an NFL analyst, had 27 points on the day to beat three-time defending champion Mark Mulder and San Jose Sharks captain Joe Pavelski, the the leader after the first two rounds.
HIGHLAND PARK, Ill. (AP) -- Vijay Singh birdied the second playoff hole to beat Jeff Maggert and win the Constellation Senior Players Championship.
Singh knocked in a putt from about two feet after a nearly perfect approach on the 18th hole at Exmoor Country Club, giving an understated fist pump as the ball fell in. That gave him his first major title on the PGA Tour Champions to go with victories at the Masters and two PGA Championships.
Singh (67) and Maggert (68) finished at 20-under 268. Brandt Jobe (66) was two strokes behind, while Jerry Kelly (64) and defending champion Scott McCarron (71) finished at 17 under.
SILVIS, Ill. (AP) -- Michael Kim didn't just win his first PGA Tour event. He dominated in a fashion never seen at TPC Deere Run.
Kim's prizes? A little over a million bucks, a two-year exemption on tour and a trip to the British Open.
Kim shot a final-round 66 to win the John Deere Classic by a record-setting eight strokes. Kim, who turned 25 on Saturday, finished at 27-under 257 to break Steve Stricker's tournament record from 2010 by one shot.
WHEATON, Ill. (AP) -- Laura Davies immediately recognized the significance of having her name inscribed on the first U.S. Senior Women's Open trophy.
It might be a long time before anyone secures the title as emphatically as Davies did.
Davies went virtually unchallenged in Sunday's final round of the inaugural USGA championship for women 50 and older, claiming the title by 10 strokes over Juli Inkster.
WASHINGTON (AP) -- David Ortiz drew so many pals and well-wishers, it took him nearly three minutes just to climb a few dugout steps.
He then swung behind the batting cage, gave Vladimir Guerrero a playful pat, and spotted another Hall of Famer along the first base side.
"What's goin' on, Papi?" a grinning Dave Winfield asked.
"People will say you played in the big leagues for 20 years, you will have this managing side in your back pocket," he said. "It doesn't work that way."


text:
Life Tastes Better at The Bite
By Wine Press Staff
An estimated 40,000 foodies, wine lovers and microbrew buffs will descend on Portland's Waterfront Park, Aug. 6-8, to experience some of Oregon's best at The Bite of Oregon presented by Reser's Fine Foods.
Now in its 27th year, the 2010 event promises to build on the major changes of the last five years with three new features: the Oregon Dessert Pavilion presented by Boyd Coffee Co., Portland Food Cart Cuisine and Gerry Frank's Oregon Chef's Table presented by The Oregonian.
Important mainstay features include the popular Iron Chef Oregon competitions presented by NW Natural, Sysco's Oregon Chef Stage, the expanded Oregon Craft Beer Garden, featuring greater selection, continuous music and entertainment, and one of the largest Oregon wine tastings in the state, which takes place in the MIX Wine Pavilion.
Brian Boitano will headline The Bite this year with his presence on the chef demonstration stage. The famous figure skating Olympian is now a Food Network chef; his show "What Would Brian Boitano Make?" debuted August 2009 and features his culinary skills and talent for one-of-a-kind entertaining. Also appearing on Sysco's Oregon Chef Stage is Dave Martin, a contestant on the first season of Bravo's "Top Chef."
Blues great and local legend, Curtis Salgado, will highlight two stages of musical entertainment. Keegan Smith, Soul Vaccination, The Strange Tones and other notables will keep the energy at a high level. Rose City vaudevillians have been tapped to perform throughout the park.
Of course, the real stars of the show are the dozens of menu items represented by Oregon's restaurants, offering a variety of entrées, sides and desserts.
The Bite of Oregon, introduced in 1984, will once again benefit Special Olympics Oregon.
The Bite of Oregon
Location: Waterfront Park, Portland
Date/Time: Aug. 6-7 (11 a.m.-10 p.m.); Aug. 8 (10 a.m.-8 p.m.)
Tickets: $10 (weekend pass); $8 (daily); $3 (first 3 hours Fri., Sun.)
Website: www.biteoforegon.com


text:
TAGS: forest fires
Kiên Giang takes measures against fresh water shortage in dry season
The Cửu Long (Mekong) Delta province of Kiên Giang has taken measures to cope with drought and saltwater intrusion for the coming 2020- 21 dry season.
Ninh Thuận looks to forest management to develop economy The south-central province of Ninh Thuận is focusing on strengthening the management and protection of natural forests, afforestation and developing the forest economy in association with building livelihoods for people in the buffer zone.
Cửu Long River Delta faces decline in wild birds, fish and plants The number of species of wild birds, fish and plants in the Cửu Long (Mekong) Delta has fallen rapidly in recent years because of a decline in food resources and natural habitats.
Ready for the Dry Years: Building Resilience to Drought in Southeast Asia South-East Asia has long endured severe droughts, which occur on average every five years. The prolonged 2015 and 2018 droughts were the worst on record for two decades. They simultaneously affected more than 70 per cent of the land area, with over 325 million people exposed.
Forests better managed thanks to protection policy
Thousands of hectares of forests in northern mountainous regions are being better managed and protected thanks to a new environmental services policy.
Tràm Chim National Park's endangered birds need protection as habitats shrink
The Tràm Chim National Park in Đồng Tháp Province has 13 bird species that face the danger of extinction and need protection, according to park authorities.
Ninh Thuận set to go greener by increasing forest cover
The south-central province of Ninh Thuận has speeded up afforestation to increase its forest cover from 45.6 per cent last year to 47 per cent by the end of this year.
Forest environmental services policy changes the lives of northwestern people
Fourty-one of the country's 63 provinces have established a forest-protection and development fund to look after nearly 6 million hectares of trees.
Heatwave baking north, central regions A heatwave with temperatures up to 38 degrees Celsius that began on Wednesday is set to continue baking the northern and central regions until Monday.
Mekong sub-regional co-operation must converge with ASEAN goals: official With growing markets and capable human resources, the Mekong sub-region is emerging as a favourable destination for investment and a key link of the global trade and manufacturing network.


I believe it was Maxwell House that spouted "Flavor Buds". Folgers had Flavor Crystals.
Correct me if I'm wrong, but I believe one of the US brands also promoted itself as using "flavour buds".
I like the graphic where we see the inside of a cup as coffee and water is poured into it.


She is a part-time PhD student and has just gone (or about to) through probation. Indicates that music moves us – we must all have a MP3 player or a CD etc. Music excites us in all manners ... it can change the listener users' mood to happiness to sadness.
Many people enjoy music but few understand how it is constructed. When trying to represent music concepts such as pitch, melody etc on a user-interface can be quite tricky – but wants to ensure not to exclude people who have not gone through formal music academic training.
She is talking about embodied understanding ie. The interactions between our bodies and the environment play a role in the development of cognitive abilities. In particular spatial terms are developed in terms of image schemas.
She is demonstrating the concept of containment i.e. the cat is in the bag or put the toys in the box.
She uses a cross-domain mapping to create a conceptual metaphor.
The melody starts on C, moves down to F, up to G and then finishes on A. Concept of path has been mapped on to the concept of melody creating the conceptual metaphor. Hence can say, melody is movement along a path.
How can conceptual methods aid our understanding of pitch, melody and harmony.
She has already carried out one study to identify musical conceptual metaphors with musicians.


text:
Published on British Go Association (http://www.britgo.org)
Home > Where to Play > Online
Playing Go Online
There are two common ways in which you can use a computer to play Go with other people over the Internet - real-time and correspondence. On a real-time server, both players are logged on at once, possibly playing under a strict time limit. With correspondence play, players do not need to be logged on at the same time, they simply send their move at their leisure.
Real-time Go Servers
By far the most common way to get a game of Go on the Internet is by using a real-time Go server. All the ones described here use English as the main language, but there are other servers in Japanese, Korean and Chinese. Here are some general notes for using all such servers [2].
The one we recommend for beginners is Go Quest.
This is a new server that only supports 9x9 and 13x13 games, thus it is extremely suitable for beginners despite its limitations.
Like the other servers it counts the game for you, but only using Chinese counting, so it recommends that you fully capture all stones at the end of the game. The time limits are fixed - 3 minutes per game for 9x9 and 5 minutes for 13x13. If you want a handicap game you need to set this as one of your options and you may play against a bot if there aren't sufficient players waiting unless you set this option off.
Its ranking and grading systems are fun and it is quite addictive!
KGS (previously known as the Kiseido Go Server) has a client that is relatively easy to use. Please be aware that when using it you will get a Javanet safety warning message, so if this is a concern to you (it is for many schools) you'll need to use a different server.
A benefit of KGS is that it has a review facility, rarely found on other Go servers, allowing the players to discuss their game together afterwards. This makes KGS a good choice for beginners and for other people wanting comments from stronger players after games with them, or wanting to offer such comments.
KGS has a British room and has hosted British Go Association on-line tournaments. It is also often used to relay the moves of British Championship title match games, with commentary by professional or strong amateur Go players.
To use KGS, you can simply point your browser to the KGS Server [4]. This will download a java applet to your computer to serve as a client. But in order to avoid this being downloaded every time you connect, you can instead download the Cgoban3 client [5] to your computer and install it there. It uses Java Web Start (which is also available from there). You can also use the client to edit locally held game records that are in SGF format.
Note: since there's only a Java client you can't access KGS from an iOS computer such as an iPhone, iPod or iPad.
For those interested in more technical Go matters, KGS supports multiple rulesets and overtime systems.
Pandanet [6] (originally and sometimes called IGS) is probably the oldest Go server, and one of the most popular. It has a global membership and players of all strengths and abilities. Many professional players are members, so you may get to see professionals at play. Pandanet often transmits live the moves from professional title matches and interesting amateur events such as games from Pandanet Go European Cup tournaments, the European Pair Go Championship and all the matches, except the finals, from the Pandanet European Go Team Championship.
In addition to playing Pandanet offers a paid-for subscription service whereby subscribers receive emails of a number of amateur game records per month, commented by professionals. (See the this recent description [7].)
From an iPhone, iPod and iPad or Android device download the Panda Tetsuki [8] app. The remainder of this section is not relevant if you do this.
To use Pandanet on other computers, you will need a client program running on your computer to display the board and send and receive moves between your computer and the server. Download one such as their recommended GoPanda2 [9] which uses Java Webstart.
See the page Playing on Pandanet [10] for more details.
The Online Go Server (OGS) [11] is a relatively new server, but built on the remains of an older one.
One nice facility is the demo option which gives teachers the ability to create instant problems (and which can be saved into word processing documents).
It also provides a series of Tournaments and Ladders as well as a Group facility, so that you can create your own club or teaching area.
Many other servers, including the general games servers that include Go, are listed in the American Go Association's Go Server list [12] or Sensei's Library listing of Go Servers [13].
If you use a Korean language server, you may find the Guide to Hangul [14] useful.
Alternative Clients
We no longer maintain listings of all Go clients, but our iPad, iPhone and iPod Touch apps [15] and Android apps [16] pages may help for these devices. Also, you may find the listing of Pandanet clients [17] on Jan van der Steen's gobase.org [18] web site helpful.
Pandabridge [19] offers an alternative to the Pandanet client program download. With Pandabridge you can observe and play Pandanet games directly in your browser window. All up-to-date browser types are supported. Even the "Internet Channel" browser for the Wii is supported, allowing you to view games of Go on your television. A Pandanet login account is required for access to Pandabridge.
Correspondence Go
Instead of playing in real time, it is also possible to play correspondence games where you wait until your opponent makes a move in his or her own time. This is a less common way to play Go on the Internet.
Turn-Based Go Servers
There are a number of servers that store the current state of the game for you, allowing you to log on at will and make a move. A list of these is Sensei's Library listing of turn-based Go servers [20]. Among the servers in these listings, about 130 British players play on the Dragon Go Server [21], and the newer Online Go Server (OGS) [22] is also very popular and can also be used for real-time games. A recent addition is International Network Go Organisation. [23] The Free Internet Correspondence Games Server (FICGS [24]) also features Go.
The American Go Association maintains a list of people interested in playing Go via email. They range from total beginners to amateur 4-dans. Some play at a rate of several moves per day and some at one move per week. Some only want to play 19x19, while others might not have time for more than 13x13 or 9x9. If you are interested in playing Go via email and making contact with people who share your interest, contact the maintainer of this list: jjw6@psu.edu [25]. Your name will be added to the list. You will receive a copy of an updated contact list for your use. You should specify your:
desired opponent's strength
when available to play
For other ways to use the Internet to find out about Go see here [26].
Source URL: http://www.britgo.org/gopcres/play.html
[1] http://www.britgo.org/howtoplaygo
[2] http://www.britgo.org/gopcres/servernotes
[3] http://wars.fm/go9
[4] http://www.gokgs.com/
[5] http://www.gokgs.com/download.jsp
[6] http://pandanet-igs.com/communities/pandanet
[7] http://www.pandanet.co.jp/English/members/mailmaga/index.htm
[8] http://www.gentgo.be/tetsuki/
[9] http://pandanet-igs.com/communities/gopanda2
[10] http://pandanet-igs.com/communities/pandanet/49
[11] https://online-go.com
[12] http://www.usgo.org/go-internet
[13] http://senseis.xmp.net/?GoServers
[14] http://www.ukgochallenge.com/koreanlang.html
[15] http://www.britgo.org/computer/iOS
[16] http://www.britgo.org/computer/android
[17] http://gobase.org/igsclients.html
[18] http://www.gobase.org
[19] http://pandabridge.net
[20] http://senseis.xmp.net/?TurnBasedGoServers
[21] http://www.dragongoserver.net/
[22] http://www.online-go.com
[23] http://ingo-web.com/
[24] http://www.ficgs.com
[25] mailto:jjw6@psu.edu
[26] http://www.britgo.org/gopcres/info


text:
New York State Department of Transportation (NYSDOT)
The New York State Department of Transportation (NYSDOT) is the Department of the New York State government responsible for the development and operation of highways, railroads, mass transit systems, ports, waterways and aviation facilities in New York State.
This transportation network includes:
- A state and local highway system, encompassing over 110,000 miles (177,000 km) of highway and 17,000 bridges.
- A 5,000 mile (8,000 km) rail network, carrying over 42 million short tons (38 million metric tons) of equipment, raw materials, manufactured goods and produce each year.
- Over 130 public transit operators, serving over 5.2 million passengers each day.
- Twelve major public and private ports, handling more than 110 million short tons (100 million metric tons) of freight annually.
- 456 public and private aviation facilities, through which more than 31 million people travel each year. It owns two airports, Stewart International Airport near Newburgh, and Republic Airport on Long Island. Stewart is currently leased to the Port Authority of New York and New Jersey.


text:
YOU ARE HERE:Home » Future of Work » How nonprofit professionals can develop a strong personal brand on social media
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How nonprofit professionals can develop a strong personal brand on social media
CharityVillage — February 3, 2020
When we think about social media in 2020, we likely think about cat videos and late-night presidential rants. On one hand, social media is perceived as a frivolous time waster, while on the other, it has a potentially dangerous quality to it.
It's no wonder that many nonprofit leaders and staff decide to let their communications folks maintain social media for their organizations while they focus on doing the more important charitable work.
But not everyone in the charitable sector opts out of developing a strong personal brand on social media. We decided we would talk with some of the people who are engaged in this way to understand why they think this is an important tool for everyone working in the sector, and to hear their advice on wielding the tool wisely and well.
Opportunities created by personal social media
The name that springs to mind when the Canadian charitable sector starts talking about social media and personal branding is Paul Nazareth. At a recent nonprofit gathering, when a speaker requested everyone turn off their social media, everyone turned to Nazareth, who is also the vice president, education & development at the Canadian Association of Gift Planners.
"There is a still a condescending attitude from nonprofit executives about the use of Twitter," says Nazareth. "They infer it's fluffy, not recognizing that it is a business tool. They also often feel it's all risk and no reward, but there is most definitely a reward that needs articulating." Nazareth now teaches the benefits of personal branding and networking through his company Connectworking, but he isn't alone.
Fundraising consultant Helen Choi says, "Twitter is a huge platform for change. There have been many victories through Twitter. #MeToo, for instance, broke ground on Twitter when women of colour organized. It came about not with racialized and intersectional feminists thinking about branding themselves or the business they could get from being profiled from gender-based violence, but as a genuine effort to build solidarity – which is also why we do what we do in nonprofit work."
This was the motivation behind Liz LeClair's social media strategy over the last year. LeClair, director of major gifts at the QEII Foundation, says, "I have a specific agenda in my use of social media: to leverage and educate people about sexual harassment and the need for equity in the charitable sector."
At AFP's Congress last year, LeClair was inspired by the words of Hadyia Roderique, author of Black on Bay Street, an article that highlighted the issues facing women of colour in that sector. Roderique noted that it was the responsibility of those with privilege to join with women of colour and others to speak out about injustice and oppression. This inspired LeClair to recognize that the sector is dominated by white perspectives (and often white male perspectives) and to speak out and to make an impassioned call for change in an op ed and on Twitter. LeClair says, "I wanted the women and men who had experienced harassment to know they weren't alone."
Social media is also a place where people can shine a spotlight on other voices that should be heard. Nazareth says, "I make sure I support people who are being courageous and who are qualified to have an opinion, especially in areas where I am not qualified. I amplify qualified voices that need social sponsorship."
Social media offers an opportunity for community for those working in the sector. Francesca Dobbyn, executive director of the United Way Bruce-Grey, says, "Social media is a great place to connect with other professionals in the nonprofit sector. It helps us see one another as colleagues, not competitors, that we are all in it to improve our communities. That's really important for the sector."
Organizational health consultant Maryann Kerr agrees. "The connections I've made as a result of LinkedIn are incredible. It's been an opportunity to find people who think similarly to me, as well as those who think quite differently. This has been one of the biggest benefits of social media."
Social media is also a surprisingly effective recruitment tool. Nazareth says, "When someone is applying to a job, they look at the social feeds of the organization and the CEO they would report to. If a CEO is transparent about who they are and how they work, that can recruit better than a traditional process."
Policies: personal and organizational
Still, this doesn't mean the right answer is to simply start tweeting away. As marketing communications consultant Marnie Grona says, "It's important to figure out how you use your tools – just as a hammer can make a huge hole in a wall or help hang a picture, so it's important to figure out what you want social media to do and why."
In part this is because an organization's goals and an individual's goals are not always perfectly aligned. As branding consultant Simon Mainwairing said years ago, "How do you balance a personal brand and an organizational brand to best serve its strategic goals? They can either work in opposition or complement each other depending on your priorities. In truth, however, your ability to effectively blend the two turns on how you frame your role within your nonprofit organization."
Mainwaring adds, "When an organization leader – nonprofit or otherwise – has a hierarchal outlook…using social media to build a personal brand can be perceived as self-serving and even competitive with the higher purpose of the nonprofit. If, however, that leader deeply embraces their service role seeing themselves as the chief celebrant, rather than celebrity, of their donor community, their personal brand becomes an extension of the nonprofit's higher purpose."
Another concern can be the freewheeling nature of personal social media accounts from staff and volunteers, as opposed to traditional means of communication such as press releases. But this is where policy can be helpful. Nazareth encourages all organizations to have a social media policy integrated into their employee handbooks, onboarding, and culture with suggestions about tone and content. Grona suggests engaging staff in a social media task force to create such policies, noting that people will be more likely to engage with a staff-driven policy. She adds, "It's helpful to give people rules of engagement and to remind people that they do represent your organization. It's also good to be prepared for a worst-case scenario so that everyone understands the repercussions of violating such policies."
LeClair did not tackle harassment of fundraisers without thought or without awareness of potential consequences. She says, "People forget that freedom of speech doesn't mean you are exempt from consequences. You are entitled to your own opinion and can say what you like, but if it affects your organization or is seen to be derogatory, defamatory, racist or sexist, it will be addressed."
Many of those we talked with have tips for not simply posting in emotion. LeClair says, "My mom says, write it on a piece of paper and rip it up. If you still feel like writing it again, do so." She adds, "My own rule of thumb is to think, 'if you wouldn't want this printed on the front page of The Globe and Mail, don't email it or post it on social media."
Nazareth credits Bruce MacDonald, president and CEO of Imagine Canada, for teaching him the art of journaling, and reminding him that he could write down things he may publish in the future, rather than instantly sharing what he writes.
Dobbyn says, "When I'm genuinely livid, I will walk away and make a cup of tea. I've made the mistake of posting my gut reaction online and saying things without doing an edit or thinking. Now I will put my phone down and take a walk. That's a good practice for an online presence and it's also good for my own mental health as well, to know when I need to get some perspective before I do or say something."
At the same time, there is no one-size-fits-all when it comes to personal social media philosophy. Nazareth describes Twitter as being the networking event after a conference and says, "You wouldn't spout your political or religious opinion there."
Dobbyn, who once accidentally posted candid thoughts on her organization's feed rather than her own, recognizes the challenge of speaking truth to power, especially when she might step on the toes of funders. "I don't think any nonprofit leader can separate themselves from their organization. When you want to let your hair down or disagree with something, you really have to watch what you're doing and saying, like any person with a public persona in a community." At the same time, she adds, "I believe we have to stand for something and to telegraph that we are real human beings."
Kerr's work philosophy—of creating a workplace where you can bring your whole self to work—informs her social media philosophy. "I believe in authenticity, so I bring my whole self to social media just as I do to the workplace. It isn't less strategic—it is less contrived." Choi shares this concern about personal branding, likening it to the story of The Emperor's New Clothes, where no one was really fooled by slick marketing. "I wear my heart on my Twitter," she says.
10 Steps for getting started
1. Know that it's never too late to join the party, says Nazareth, and that if you're not at the party, it's hard to introduce you to others. "If I had one message, it would be: be present. People say they want to be better connected but they need to be willing to do something. I tell people that even if they are simply on social media with a static profile and they're listening, that's much better." He also notes that social media is ever-evolving with new platforms emerging, so it's important to be in the right places to talk with the right people.
2. Start with your why. Kerr says, "For me, the test is: what was my intention in posting? What I want to do on social media is to elevate others, to learn and help others learn." Grona says, "Think about how many posts will be about you? How will you share other posts that reflect viewpoints and interests? What kind of direct conversations will you have? How will you balance personal brand and corporate?" She adds, "If your heart isn't in it, your strategy will fail. If you dread it, don't bother."
3. Remember Internet Safety 101, says Dobbyn, reminding users to be cautious about oversharing, sharing photos of children or confidential information. Keep in mind, too, as Kerr says, "All of the same issues you see in a workplace or anywhere that people commune, exist in social media. We have trolls and naysayers as well as friends." LeClair, who worked with a counsellor as she engaged on social media about sexual harassment, also suggests that it can be good for personal wellbeing not to read all comments.
4. Err on the side of positivity, says Kerr. "There are times when you have to get into the good fight, advocating for a cause, but it helps when you can be positive as much as possible."
5. Follow the leaders. Find folks who are doing social media well, and learn from them, whether by observation or even asking them for help. Social media consultants and books and websites can also be useful in honing your craft. (Dobbyn warns not to stereotype younger staff by insisting they run your social media by virtue of their age, unless you want to hear the #OKBoomer hashtag.)
6. Start slow, says Dobbyn. "Until you're comfortable with the technology as well with that engagement, follow people you're interested in and just post occasional information, to get a feel of the ebb and flow of conversation."
7. Learn from your mistakes. Kerr says, "If I look at a comment or post and realize I'm not coming from a kind and intentional place, I take it down. We learn from our mistakes."
8. Learn to schedule your time. Because the Internet never closes, we can easily fall down the rabbit hole of social media unless we learn to use software that schedules posts, and choose times to engage.
9. Don't play the numbers game. Social media can fuel imposter syndrome, says Grona, especially when we fall into the trap of believing that someone with thousands of followers is more effective than someone with several hundred. "Look for quality over quantity."
10. Be authentic, be authentic, be authentic. Choi says, "I would advocate for increased social media activism and less personal branding. The content of the message of why we do we what we do in our everyday nonprofit work advances the good fight for positive systemic changes and people-power from the bottom up."
"I've realized the power of social media in creating dialogue and conversation," says LeClair. "In the nonprofit world, we are in a relationship business. It's important to be sure of who you are, to create an authentic two-way street of relationship building, and to let people know who you are." She adds, "Even when we're exposing blind spots or a dark underbelly, it can be a major catalyst for change within an amazing shared community."
Susan Fish is a writer/editor at Storywell, a company that helps individuals and organizations tell their story well. She has written for the nonprofit sector for more than two decades and loves a good story.
Please note: While we ensure that all links and email addresses are accurate at their publishing date, the quick-changing nature of the web means that some links to other websites and email addresses may no longer be accurate.
Originally published on CharityVillage.
Tags:authenticity,branding,charity,CharityVillage,communications,facebook,instagram,internet,LinkedIn,nonprofit,personal brand,social media,twitter
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text:
Q: One Quaternion two different 4x4 matrix representations and a same result just multiplying unit quaternions. Working with different papers I found out two ways on writing Quaternions as 4X4 matrices by "two ways" I'm trying to say that the signs on the coefficients of the matrices are a little bit different both of the satisfy Hamilton's theorem and the basic algebra.
One thing that I noticed using a Matlab script is that the determinant is no the same for the matrices.
Let's call q this quaternion and Q1 and Q2 are the forms in which I'm working.
The following are the 2 ways that I wrote the 4X4 matrices and all their derivation:
Q1:
First:
$$q0
\begin{bmatrix}
1&0\\
0&1
\end{bmatrix}
+
q1\begin{bmatrix}
i&0\\
0&-i
\end{bmatrix}
+
q2\begin{bmatrix}
0&-1\\
1&0
\end{bmatrix}
+q3\begin{bmatrix}
0&-i\\
-i&0
\end{bmatrix}
$$
Then:
$$Q1= \begin{bmatrix} q0 + q1i&-q2-q3i\\-q2+q3i&q0−q1i\end{bmatrix}
,det(Q1)=q0^2+q1^2+q2^2+q3^2$$
That as a 4x4 Matrix becomes:
\begin{bmatrix}q0&-q1&-q2&q3\\q1&q0&-q3&-q2\\q2&q3&q0&q1\\-q3&q2&-q1&q0\end{bmatrix}
Q2:
First:
$$q0
\begin{bmatrix}
1&0\\
0&1
\end{bmatrix}
+
q1\begin{bmatrix}
i&0\\
0&i
\end{bmatrix}
+
q2\begin{bmatrix}
0&i\\
-i&0
\end{bmatrix}
+q3\begin{bmatrix}
0&-1\\
1&0
\end{bmatrix}
$$
Then:
$$Q1= \begin{bmatrix} q0 + q1i&q2i-q3\\-q2i+q3&q0+q1i\end{bmatrix}
,det(Q1)=q0^2+2q0q1i-q1^2-q2^2-2q2q3i+q3^2$$
That as a 4x4 Matrix becomes:
\begin{bmatrix}q0&-q1&-q2&-q3\\q1&q0&-q3&q2\\q2&q3&q0&-q1\\q3&-q2&q1&q0\end{bmatrix}
I Used this last 4X4 matrix to derive this next formula for quaternion rotations in 3D but couldn't derive the formula using Q1.
qpq^-1 Matrix Rotation Formula
Both of them can ver verified with the following:
Hamilton relation
For example:
If I try to multiply to Quaternions qp making q a 4X4 matrix the product *Q1*p* gives quite the same results as Q2 just with the difference of the sign of the "k" coefficient of the output quaternion. This product works as I described above under the condition that the "p" quaternion is a unit quaternion.
When p is not a unit quaternion the product is very different.
let's call D1 the determinant of Q1 and D2 the determinant of Q2.
My guess on this is that determinant D2 that is the only difference that I found so far In the two ways I express q is the one that causes this effect but I want to know why and learn more.
I now the Determinant is the one that tells us how is the area, volume or hypervolume is going to be scaled once you multiply by that matrix.
This guess might not be correct ant the reason that this multiplication changes when p stops being a unit vector is just something else.

A: If you look carefully, you will notice that any one of the two $\ 4\times 4\ $ matrices can be transformed into the other by negating the last row and the last column. They represent the same linear transformation except for the last basis vector is negated. Obviously, this can be generalized to produce $2^4$ different matrices to linearly represent quaternions.
The Mathematica code:
doit[M_] := (
    i0 = M /. {q0 -> 1, q1 -> 0, q2 -> 0, q3 -> 0};
    i1 = M /. {q0 -> 0, q1 -> 1, q2 -> 0, q3 -> 0};
    i2 = M /. {q0 -> 0, q1 -> 0, q2 -> 1, q3 -> 0};
    i3 = M /. {q0 -> 0, q1 -> 0, q2 -> 0, q3 -> 1};
    {i1.i1, i2.i2, i3.i3, i1.(i2.i3), i1.i2, i2.i3, i3.i1,
    i2.i1, i3.i2, i1.i3} /. {i0 -> I0, -i0 -> -I0, i1 -> I1,
    -i1 -> -I1, i2 -> I2, -i2 -> -I2, i3 -> I3, -i3 -> -I3})
M1 = {{q0, -q1, -q2, q3}, {q1, q0, -q3, -q2}, {q2, q3, q0, q1}, {-q3, q2, -q1, q0}};
M2 = {{q0, -q1, -q2, -q3}, {q1, q0, -q3, q2}, {q2, q3, q0, -q1}, {q3, -q2, q1, q0}};
doit[M1]
doit[M2]

output the results
{-I0, -I0, -I0, -I0, I3, I1, I2, -I3, -I1, -I2}
{-I0, -I0, -I0, -I0, I3, I1, I2, -I3, -I1, -I2}

which demonstrates that the two matrices do satisfy the quaternion equations
$$ i^2 = j^2 = k^3 = i\ j\ k = -1,\  i\ j = k,\  j\ k = i,\
   k\ i = j,\ j\ i = -k,\ k\ j = -i,\ i\ k = -j. $$
Also the determinants of both $4\times 4$ matrices are equal to $\ (q0^2+q1^2+q2^2+q3^2)^2.$
The second representation is claimed to be
$$ q0 \begin{bmatrix} 1&0\\ 0&1 \end{bmatrix}
+ q1\begin{bmatrix} i&0\\ 0&i \end{bmatrix}
+ q2\begin{bmatrix} 0&i\\ -i&0 \end{bmatrix}
+ q3\begin{bmatrix} 0&-1\\ 1&0 \end{bmatrix}
$$
but it really should be
$$ q0 \begin{bmatrix} 1&0\\ 0&1 \end{bmatrix}
+ q1\begin{bmatrix} i&0\\ 0&i \end{bmatrix}
+ q2\begin{bmatrix} 0&-J\\ J&0 \end{bmatrix}
+ q3\begin{bmatrix} 0&-I\\ I&0 \end{bmatrix}
$$
where $$
 i = \begin{bmatrix} 0&-1 \\ 1&0 \end{bmatrix}, \quad
 I = \begin{bmatrix} 0&1\\ 1&0 \end{bmatrix},\quad
 J = \begin{bmatrix} 1&0\\ 0&-1 \end{bmatrix}. $$


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Analyze your market. Develop a market analysis to understand the unmet patient needs in your area.
Explore existing facilities. Many institutions that offer proton therapy experience a halo effect of increasing patient volumes across their cancer center. Visit proton therapy centers in your area and understand how they are using proton therapy, and how the entire cancer center can benefit.
Traditionally, proton therapy has been out of reach for most cancer centers due to financing, specialization, and infrastructure required to support large, conventional proton treatment equipment. Mevion pioneered the development of the first compact proton therapy system and changed the face of radiation therapy, making proton therapy a viable treatment option for all cancer centers worldwide. Follow the recommended steps below to begin the process of bringing proton therapy to your cancer center.
Gain executive buy-in. Present the business case as to why proton therapy is an important and financially viable treatment modality.
Develop a project team. Hospital consolidation has resulted in more decision makers being introduced to the process of obtaining proton therapy and, in some cases, lengthening the process. Every case is different so it is important to analyze the needs at your facility and select the right team.
Identify a location. Find a suitable location to build your center and involve an architect who can determine if you can use your existing space. Mevion equipment is routinely implemented within existing buildings and may not require new construction.
Understand financing. Perform a cost analysis and proforma to understand start-up and operational expenses. While some reimbursement challenges persist, proton therapy presents sound business fundamentals. With a smaller footprint, compact systems have significant reductions to building costs: a facility can save upwards of 50% in upfront costs. Modern, compact systems are also showing faster ROI with 350+ patients per year per room in 10-12 hour shifts.
Secure funding. Because the pathway to offering proton therapy is complex, it is important to look to other sources of funding to expedite the process. Fundraising to advance pediatric cancer care is one way to off-set capital costs. Facilities should look to partner with community organizations to fund important initiatives such as proton therapy.
Select vendors. Choosing the right proton therapy manufacturer is an important decision. Issues to consider are the physical and mechanical parameters of your institution, equipment capabilities (such as the approach to pencil beam scanning), equipment costs, lifetime operational expenses, the vendor's experience installing your selected system, maintenance and parts supply, vendor reliability, and the ability to partner with the vendor for further development.
Now that more compact proton therapy systems have been deployed, the operational workflow has been streamlined and implementation is much faster. Modern systems can be deployed with a typical cycle of a 10-month installation, 1 week acceptance, 4 to 6 weeks commissioning, and < 3 months to reach full capacity use. Vendor coordination, staff involvement and education are essential for successful system ramp-up.
Coordinate with other vendors. There are a lot of moving parts involved in constructing a facility. It is important to have a reliable construction company and involve utilities, IT support, and radiation safety groups.
Involve staff early. Early involvement of staff significantly expedites the process of deploying proton therapy. This is also an important time to develop your treatment strategy and involve interdisciplinary teams. If you have selected a Mevion unit, this process is streamlined due to Mevion's patient-oriented workflow. Because Mevion units operate like an IGRT linac, the workflow is familiar to the treatment team and does not require hiring additional specialized staff.
Educate patients and physicians. Develop materials to educate patients on proton therapy and to inform referring physicians of your expanded treatment offering. These materials could include patient FAQs, patient support materials, and announcements.
While treatment methods may vary by facility, in general, each proton therapy treatment lasts about 15-30 minutes per patient. If you have chosen a Mevion system, it should take less than three months for your facility to reach full capacity. Many Mevion facilities are treating 350+ patients per room in 10-12 hour shifts. More information is available here.


A liquid immersion photolithography system includes an exposure system that exposes a substrate with electromagnetic radiation and includes a projection optical system that focuses the electromagnetic radiation on the substrate. A liquid supply system provides liquid flow between the projection optical system and the substrate. An optional plurality of micronozzles are arranged around the periphery of one side of the projection optical system so as to provide a substantially uniform velocity distribution of the liquid flow in an area where the substrate is being exposed.
The present invention relates to liquid immersion photolithography, and more particularly, to a method and a system for controlling velocity profile of liquid flow in an immersion photolithographic system.
where λ is the wavelength of incident light, NA is the numerical aperture of the projection optical system, and n is the index of refraction of the medium. Now, by introducing a liquid (instead of the air) between a last lens element of the projection optical system and a wafer being imaged, the refractive index changes (increases), thereby enabling enhanced resolution by lowering the effective wavelength of the light source. Lowering a light source's wavelength automatically enables finer resolution of smaller details. In this way, immersion lithography becomes attractive by, for instance, effectively lowering a 157 nm light source to a 115 nm wavelength, thereby gaining resolution while enabling the printing of critical layers with the same photolithographic tools that the industry is accustomed to using today.
Similarly, immersion lithography can push 193 nm lithography down to 145 nm. In theory, older technology such as the 193 nm tools can now still be used. Also, in theory, many difficulties of 157 nm lithography—large amounts of CaF2, hard pellicles, a nitrogen purge, etc.—can be avoided.
However, despite the promise of immersion photolithography, a number of problems remain, which have so far precluded commercialization of immersion photolithographic systems. These problems include optical distortions. For example, during immersion lithography scanning, sufficient g-loads are created that can interfere with system performance. These accelerative loads can cause a vibrational, fluidic shearing interaction with the lens resulting in optical degradation. The up and down scanning motions within the lens-fluid environment of Immersion Lithography can generate varying fluidic shear forces on the optics. This can cause lens vibrational instability, which may lead to optical "fading". Other velocity profile non-uniformities can also cause optical distortions.
The present invention is directed to an immersion photolithography system with a near-uniform velocity profile of the liquid in the exposure area that substantially obviates one or more of the problems and disadvantages of the related art.
There is provided a liquid immersion photolithography system including an exposure system that exposes a substrate with electromagnetic radiation, and includes a projection optical system that focuses the electromagnetic radiation on the substrate. A liquid supply system provides liquid flow between the projection optical system and the substrate. A plurality of micronozzles are optionally arranged around the periphery of one side of the projection optical system so as to provide a substantially uniform velocity distribution of the liquid flow in an area where the substrate is being exposed.
In another aspect there is provided a liquid immersion photolithography system including an exposure system that exposes an exposure area on a substrate with electromagnetic radiation and includes a projection optical system. A liquid flow is generated between the projection optical system and the exposure area. A microshower is at one side of the projection optical system, and provides the liquid flow in the exposure area having a desired velocity profile.
FIG. 1 shows a side view of a basic liquid immersion photolithography setup.
FIG. 2 shows a plan view of the setup of FIG. 1.
FIG. 3 shows the basic liquid immersion photolithography setup with liquid flow direction reversed, compared to FIG. 1.
FIG. 4 shows additional detail of the liquid immersion photolithography system.
FIG. 5 shows a partial isometric view of the structure of FIG. 4.
FIG. 6 shows an exemplary liquid velocity profile.
One major problem in immersion photolithography is the non-uniformity of the liquid flow, particularly its gradient in the vertical direction. The non-uniformity is due primarily to the fact that near a moving surface, the liquid is in contact with that surface (e.g., a surface of a wafer). For example, during scanning, the wafer moves relative to the exposure system, creating a "dragging effect" near its surface. Thus, the laws of fluid dynamics dictate that the fluid velocity relative to the wafer surface is zero in those areas (or at least close to zero), while fluid velocity is maximum further away from the wafer surface. Similarly, the fluid velocity relative to the bottom surface of the lens is zero. These fluid velocity variations are known as "boundary layer" velocity profiles. The combination of these effects produces a shearing force in the liquid that creates a twofold optical distortion problem: 1) the generation of inertial vibrational forces upon the aperture hardware (resulting in optical distortion), and 2) the formation of velocity striations within the fluid, which cause additional optical distortions.
Additionally, injection of liquid into the exposure area also provides a liquid flow with potential additional non-uniformities in the velocity distribution. For example, a number of striations can exist within the fluid, further degrading exposure quality. Similarly, air bubbles, opto-fluidic vibrations, or turbulence in the liquid flow also can degrade the overall performance of the photolithographic system because of the introduction of optical distortions into the exposure process. Thus, dealing with velocity profile non-uniformities is important from the perspective of the quality of imaging in a photolithographic system. In the ideal case, the velocity profile of the liquid is substantially uniform everywhere.
FIG. 1 illustrates a liquid immersion photolithographic system of the present invention in a block diagram form. As shown in FIG. 1, a projection optical system 100 of a photolithographic tool includes a lens 102 (which is typically comprised of multiple lens elements). In this figure, the lens 102 has a flat bottom surface 108, although that need not be the case. Lens height 409 (see FIG. 4) may be adjustable to maintain a specific distance to the wafer 101.
The projection optical system 100 also includes a housing 103 (only the lower portion is shown). The housing 103 includes an annular liquid channel 105A, and optionally a plurality of other such channels 105B, etc. Liquid flows through the channels 105 (flowing in through the channel 105A in this figure, and flowing out through the channel 105B). The arrows 107A, 107B designate the direction of liquid flow over a wafer 101, as the wafer 101 is being scanned across a field of view of the projection optical system 100.
FIG. 2 illustrates a bottom-up view of the structure shown in FIG. 1. As shown in FIG. 2, a clear aperture area 216 defines an exposure area of the projection optical system 100 and the lens 102. The various arrows 107A-107D, 211A-211D illustrate possible liquid flow directions at any given time. As may be further seen in FIG. 2, the housing 103 also includes a number of pressurized chambers 215A-215D. Each pressurized chamber 215 may also be referred to as a "plenum." The plenum 215 therefore acts as a pressure source, as discussed below. It will also be appreciated that the liquid flow can be turned off completely when no exposure is taking place, or when the wafer 101 is being swapped.
Further, as shown in FIG. 2, the lower portion of the housing 103 may be divided into a number of sections. In this figure, there are four such sections (quadrants), separated by gaps 217A-217D. It will be appreciated that the number of such sections may be more or fewer than four, although, in most applications, it is expected that four quadrants is an optimal number. For example, for motion only along one axis, dividing the housing 103 into two sections may be sufficient. For X-Y motion, four sections (quadrants) are preferred. For even greater control, eight sections may be needed. This sectioning permits control over liquid flow direction, as also discussed further below. Controlling the direction of liquid flow makes it possible to counteract mechanical strains on the lens 102, therefore the flow profile in the X direction (especially during a step) may be different from the flow profile in the Y direction (especially during a scan).
FIG. 3 illustrates the same structure as in FIG. 1, except that the direction of the liquid flow is reversed. As will be appreciated by one of ordinary skill in the art, the ability to reverse the direction of liquid flow is important in a practical photolithographic system, since the direction of wafer motion is normally not limited to just one direction. Similarly, it will be appreciated by one of ordinary skill in the art that, as in FIG. 2, the wafer 101 can move both in the X direction and the Y direction. Thus, dividing the housing 103 into quadrants permits the direction of liquid flow to be adjusted for any direction of wafer movement.
FIG. 4 illustrates an embodiment of the present invention in additional detail. As shown in FIG. 4, the lens 102 is mounted in the housing 103. The housing 103 has the annular channels 105A, 105B, through which liquid flows in and out from a liquid supply system (not shown in these figures). From the channel 105A, the liquid then enters a first large plenum 215A. It then flows through a diffuser screen 412A, into a first small plenum 414A (which is typically smaller than the first plenum 215A). The diffuser screen 412A helps remove the turbulence and air bubbles that may be present in the first large plenum 215A. The diffuser screen 412 also acts as a pressure drop screen.
The first small plenum 414A also acts as a pressure chamber. From the first small plenum 414A, the liquid then flows through a plurality of microchannel nozzles (micronozzles) 416A, arranged in a form of a microshower. Thus, by the time the liquid reaches the micronozzles 416, the pressure at the entry to all the micronozzles 416 is uniform, and turbulence and gas bubbles have been substantially removed from the liquid. After the micronozzles 416, the liquid flows into the clear aperture area 216 under the lens 102, such that the space between the lens 102 and the wafer 101 is filled with the liquid.
In the clear aperture area 216, the liquid flow is uniform with height, and free of turbulence, bubbles, striations and other imperfections that affect optical image quality.
On the other side of the clear aperture area 216, the liquid once again flows through a set of microchannel nozzles 416B, into a second small plenum 414B, through a diffuser screen 412B, into a second large plenum 215B and out through the channel 105B.
Thus, with the relative motion of the wafer 101 from left to right in FIG. 4, the wafer 101 creates a "dragging effect" on the liquid. The direction of the liquid flow therefore needs to be from right to left, to counteract the "dragging effect," and result in substantially uniform velocity profile.
In FIG. 4, 420 designates effective fluid velocity profile within the clear aperture area 216 as induced by wafer 101 motion. 421 designates counter-injected fluid velocity profile from the microchannel nozzles 416, yielding near net-zero resultant fluid velocity at the interface between the lens 102 and the liquid in clear aperture area 216.
The microchannel nozzles 416 also refresh (i.e., replace) the working liquid from time to time (which may be necessary to prevent its disassociation over time, since exposure to intense electromagnetic radiation may break down the molecules of the liquid), so as to preclude thermal gradients from causing refractive distortions and image quality degradation. Avoiding dissociation of liquid (for example water) due to constant flow is another advantage. At the short exposure wavelength, water can dissociate at approximately 2.86 J/cm2 RT and normal P turns to 4.75*10−19 J per molecule. At 193 nm with one photon carries 1.03*10−18 J. Additionally, keeping the liquid refreshed allows to maintain a constant temperature of the liquid. The liquid may be refreshed during exposure, or between exposures.
wherein A is the area, μ is a viscosity parameter, x is a distance variable, and v is the velocity. The shearing force is approximately 1 Newton in the case of a typical 100 micron gap between the wafer 101 and the lens 102. Neutralizing these shearing forces is accomplished by inertially dampening the relative accelerative motion between the lens 102 and fluid. This is accomplished by simply creating fluidic motion in a direction opposite to scanning. The microchannel nozzles 416 also act as a buffer against inertial shearing forces between the optics and fluid.
Additionally, the housing 103 includes a system for supplying gas to remove any excess liquid from the wafer 101. The housing 103 includes a supply side annulus 406A for gas inflow from a gas supply system (not shown in FIG. 4), a gas seal 410A, which bridges the distance to the wafer 101 and makes a "squeegee" so as to contain and remove any excess liquid, and a return side gas outflow annulus 405A (through which excess liquid is removed). The excess liquid may be removed through the return side gas outflow annulus 405A, together with the exhausted gas. A similar structure may be found in an opposite quadrant of the housing 103, as shown on the left side of FIG. 4. The gas supply system works in conjunction with the liquid supply system, whenever there is liquid flow present, and, consequently, need only be turned on when there is liquid flow in the clear aperture area 216.
As noted above, in FIG. 4, with the wafer movement from left to right, the liquid flow is "in" at channel 105A, and "out" at channel 105B. When the scan direction is reversed, the liquid flow reverses as well.
FIG. 5 shows a partial isometric view of the micronozzle structure area of FIG. 4. The channels 105A-105D (not shown in FIG. 5) are connected to outer tubes 507A-507D, through which liquid is supplied. Similarly, though not shown in this figure, the annuli 405, 406 may be connected to tubular gas couplings.
FIG. 6 illustrates an example of a liquid exhaust velocity profile that may be used in the present invention. As will be appreciated by one of ordinary skill in the art, a "natural" velocity profile is not uniform with height in FIG. 4, but rather may have a vertical gradient, which can cause optical distortion. To compensate for this natural gradient, different lengths of tubes (micronozzles 416) may be used, as shown in FIG. 6. In FIG. 6, the micronozzle length ranges from a maximum of L1 to a minimum of L2, resulting in approximately the velocity profile at the exit of the micronozzles 416 shown on the left of FIG. 6. The longer the micronozzle 416, the lower the output velocity of the liquid from that particular micronozzle. Furthermore, the micronozzles 416 themselves may have different diameters, if needed to further control the velocity profile. Note further that the tubes of the micronozzles 416 need not necessarily be parallel to the wafer 101, to further control the velocity profile.
The height of the liquid above the wafer 101, in a typical system, is approximately 100 microns. Greater height generally results in a need for more micronozzles in 416A due to a larger volume in which velocity profile needs to be controlled.
Thus, with careful selection of the lengths, diameters and orientations of the micronozzles 416, the velocity profile in the clear aperture area 216 of the wafer 101 may be controlled, resulting in a substantially uniform velocity profile throughout the clear aperture area 216, thereby improving exposure quality. In essence, the velocity profile generated by a structure such as shown in FIG. 6 may be "opposite" of the "natural" profile that would exist otherwise. Thus, the characteristics of the micronozzles 416 are tailored to result in a substantially uniform velocity profile.
During scanning, the wafer 101 moves in one direction, while the liquid is recirculated and injected in the opposite direction. The effect of the present invention is therefore to neutralize the liquid velocity profile induced by the scanning motion, causing inertial dampening between the lens 102 and the liquid. In other words, the net effect is a "zero" net inertia and velocity profile steering away from motion. Depending on the direction of the liquid flow, either a reduction or elimination of shear forces, or a reduction in optical distortions may result. Thus, the immersion lithographic process is capable of performing at peak levels due to constant fluid refresh, avoidance of gas bubbles, and the buffering of opto-fluidic vibrations.
Note further that while the liquid in the plenum 215 may have turbulence and gas bubbles, by the time it travels through the diffuser screen 412, the flow is uniform. Therefore, after passing through the diffuser screen 412, the plenum 414, and exiting from the micronozzles 416, the liquid flow has a desired velocity profile, substantially without imperfections caused by striations, opto-fluidic vibrations, turbulence, gas bubbles, and other non-uniformities, resulting in improved image quality.
As noted above, the bottom surface 108 of the lens 102 need not be flat. It is possible to use a lens 102 with a curved bottom surface 108, and compensate for any induced velocity profile non-uniformities with an appropriate arrangement of micronozzle lengths, diameters, and orientations, to result in a near-uniform velocity profile.
The micronozzles 416 may be constructed using conventional lithographic techniques on silicon material. On a microscopic scale, the micronozzles 416 resemble a honeycomb material composed of tubes that are stacked in a staggered formation that exhibits key characteristic dimensions of hydraulic diameter and length. The micronozzles 416 may be flared out into the clear aperture area 216.
Typical tubular diameters of the micronozzles 416 may vary, for example, from a few microns to tens of microns (e.g., 5-50 microns), and in some cases, up to 5 mm in diameter, and lengths of between about 10 to 100 diameters. Other lengths and/or diameters may be used. Slits, rather than round nozzles, may also be used. The number of micronozzles per unit area may also be varied.
For 193 nanometer imaging, the liquid is preferably water (e.g., de-ionized water), although other liquids, for example, cycle-octane, Krypton® (Fomblin oil) and perfluoropolyether oil, may be used.
The present invention results in a number of benefits to a liquid immersion photolithographic system. For example, in a step and scan system, transmission is improved, and there is less distortion. Dust particles in the air cannot enter the clear aperture area 216 between the lens 102 and the wafer 101, since the liquid itself does not contain any dust, and the presence of the liquid acts as a barrier to the dust being present in the clear aperture area 216 during exposure. Preferably, the liquid is brought in after the wafer 101 has been loaded onto a wafer stage, and removed before the wafer 101 is unloaded. This minimizes dust and particulate contamination. Additionally, other ways of keeping the liquid from spilling during wafer exchange are possible as well, and the present invention is not limited to just the approach described above.
The fluid velocity profile induced by the scanning motion is neutralized, causing inertial dampening between lens 102 and the shearing fluid. Aside from acting as inertial dampers, the micronozzles 416 serve to refresh the working fluid volume, thereby eliminating refractive distortions due to thermal gradients created by the light source. A side benefit of the micronozzles 416 is their ability to discourage the formation of gas-bubbles during volume refresh. Also, the size of these micronozzles 416 prevents the formation of gas-bubbles that plague more conventional refresh techniques. All of these benefits allow the use of generally existing photolithographic tools and wavelengths to define much smaller features on a semiconductor surface.
a plurality of micronozzles arranged around a periphery of the projection optical system so as to provide a substantially uniform velocity distribution of the liquid flow between the substrate and the projection optical system.
2. The liquid immersion photolithography system of claim 1, wherein the plurality of micronozzles include a plurality of tubes of varying lengths.
3. The liquid immersion photolithography system of claim 1, wherein the varying lengths of the tubes provide a velocity profile that compensates for non-uniformities.
wherein the liquid can then flow into the micronozzles.
an output channel through which the liquid is circulated.
6. The liquid immersion photolithography system of claim 1, wherein the projection optical system includes a housing with a gas seal between the housing and the substrate.
7. The liquid immersion photolithography system of claim 6, wherein the housing includes a plurality of annular channels connected to the gas seal through which negative pressure is maintained around the exposure area so as to remove stray liquid.
8. The liquid immersion photolithography system of claim 1, wherein the micronozzles are between 5 microns and 5 millimeters in diameter.
9. The liquid immersion photolithography system of claim 1, wherein the micronozzles are slit-shaped.
10. The liquid immersion photolithography system of claim 1, wherein at least some of the micronozzles include a portion that flares out into an area between the substrate and the projection optical system.
11. The liquid immersion photolithography system of claim 1, wherein a direction of the liquid flow is reversible.
12. The liquid immersion photolithography system of claim 1, wherein the liquid supply system includes at least three channels through which liquid can flow.
13. The liquid immersion photolithography system of claim 1, wherein the liquid supply system compensates for non-uniformities in a velocity profile.
a first microshower at one side of the projection optical system that provides the liquid flow having a desired velocity profile when the liquid flow is present in the exposure area.
15. The liquid immersion photolithography system of claim 14, wherein the microshower includes a plurality of tubes of varying lengths.
16. The liquid immersion photolithography system of claim 15, wherein the varying lengths of the tubes provide a velocity profile that compensates for non-uniformities.
wherein the liquid flows into the exposure area through the microshower.
an output channel through which the liquid can circulate out of the exposure area.
19. The liquid immersion photolithography system of claim 14, wherein the projection optical system includes a housing with a gas seal between the housing and the substrate.
20. The liquid immersion photolithography system of claim 19, wherein the housing includes a plurality of channels through which negative pressure is maintained around the exposure area so as to remove stray liquid.
21. The liquid immersion photolithography system of claim 14, wherein the microshower has micronozzles that are between 5 microns and 5 millimeters in diameter.
22. The liquid immersion photolithography system of claim 21, wherein at least some of the micronozzles include a portion that flares out into the exposure area.
23. The liquid immersion photolithography system of claim 21, wherein the micronozzles are slit-shaped.
24. The liquid immersion photolithography system of claim 14, wherein a direction of the liquid flow is reversible.
25. The liquid immersion photolithography system of claim 17, wherein the liquid supply system includes at least three channels through which liquid can flow.
26. The liquid immersion photolithography system of claim 14, wherein the microshower compensates for non-uniformities in the velocity profile due to scanning.
a liquid flow between the projection optical system and the exposure area having a velocity profile that compensates for relative motion of the exposure system and the substrate.
a plurality of micronozzles around a periphery of a lens of the projection optical system that provide a liquid flow in the exposure area.
wherein a direction of the liquid flow may be changed so as to compensate for direction of movement of the substrate.
30. The liquid immersion photolithography system of claim 29, further including a plurality of micronozzles arranged around a periphery of the projection optical system so as to provide a substantially uniform velocity distribution of the liquid flow between the substrate and the projection optical system.
31. The liquid immersion photolithography system of claim 30, wherein the plurality of micronozzles include a plurality of tubes of varying lengths.
32. The liquid immersion photolithography system of claim 31, wherein the varying lengths of the tubes provide a velocity profile that compensates for non-uniformities.
35. The liquid immersion photolithography system of claim 29, wherein the liquid supply system compensates for non-uniformities in a velocity profile.
controlling a velocity profile of the liquid flow to as to provide a substantially uniform velocity profile.
37. The method of claim 36, further comprising the step of removing excess liquid from the substrate using a gas supply system.
38. The method of claim 36, further comprising the step of reversing direction of the liquid flow.
changing a direction of the liquid flow so as to compensate for a change in a direction of movement of the substrate.
40. The method of claim 39, further comprising the step of removing excess liquid from the substrate using a gas supply system.
NL2004162A (en) * 2009-02-17 2010-08-18 Asml Netherlands Bv A fluid supply system, a lithographic apparatus, a method of varying fluid flow rate and a device manufacturing method.


A playwright and editor. He worked at Teatr Stary (Cracow) and at TR Warszawa Theatre (Warsaw). Wojtysko collaborated with the Polish Book Institute, the Museum of Modern Art in Warsaw and many other cultural institutions. He wrote for the Zachęta National Gallery of Art and published his texts in Ha!art and Rita Baum magazines. Łukasz Wojtysko will lead creative writing workshops on 23rd October at 11:00am in Arteteka Wojewódzkiej Bibiloteki Publiczniej w Krakowie.