text:
Q: MongoDB Connecting to Atlas Cloud Database C# I'm having some trouble getting my C# app connected to my MongoDB on Atlas. The documentation on the website wants me to do this:
using MongoDB.Bson;
using MongoDB.Driver;
// Replace the uri string with your MongoDB deployment's connection string.
var client = new MongoClient(
    "mongodb+srv://<username>:<password>@<cluster-address>/test?w=majority"
);
var database = client.GetDatabase("test");

But the drivers I downloaded (version 2.13) dont seem to have the GetDatabase function in the MongoClient namespace. Doing some digging I found  a code snippet that seems to indicate that GetDatabase was depreciated in lieu of just using MongoClient. I just wanted to know if that was correct or if I had some bad drivers. Thanks in advance!

redpajama_set_name: RedPajamaStackExchange


Trudi with you today sharing some more 2Crafty Chipboard loveliness.
As we head into August, Spring is just around the corner for us in Australia. The leaves on my trees have started to bud and my first daffodil popped up during the week. Spring was the inspiration for my first layout share: blooming flowers and happy yellow of daffodils.
A Panelled Door creates a window and provides a ledge for my fussy cut photo to rest upon.
I added Leafy Rounds under the the fussy cut flowers along with cut up bits from a Chicken Barbed Wire Panel.
I have also created a layout, a little more soft and vintage.
A trimmed down Doily Border accents the bottom edge of the photo. I also cut up Cherry Blossom and arranged the pieces over the top of the Doily Border and tucked in a piece in the top corner floral cluster.
Distress Oxide Ink was used to also the Doily Border and Cherry Blossom. I activated with water to soften the colour.
A Formal Flourish 3 also frames the photo edge. This was lightly dabbed with Dusty Concord Distress Ink.
A Beaded Hanging Heart was trimmed and the hanging element was used for the word 'Believe' to sit upon.
Another wonderful post Trudi, love them both.
Beautiful Trudi! Love the treatments used on the chipboards!
Love them both! Awesome job on the fussy cutting!
I love your layouts Trudy! And you're the master of fussy cutting!
Both are amazing!! Love it!


text: Q: How to apply filter to protected sheet on Google Sheets? I have applied filter by Google Apps script and when I made the sheet protected so that no one can edit it, this filter is not working for other users. How to fix it?


This famous guitar is so much more than just a guitar…it actually has a name, "DARK EYES"… as it has come to be known because Atkins famously played the Russian folk song of the same name at the Grand Ole Opry with it back in 1956… and because of its rare "one off" black color.
The guitar was of course owned, played, and experimented on by Country Music legend Mr. Chet Atkins… and was also owned by Elvis Presley's producer and engineer Bill Porter. The instrument has hung in the Smithsonian Institute, and was owned by Scott Chinery and featured in his book – The Chinery Collection: 150 Years of American Guitars. There have been many trade magazine and feature articles written about this highly revered guitar over the years.
Guitar Aficionado's feature piece "Black Gold: The Story of a Truly One-of-a-Kind 6120 that Gretsch Built for Chet Atkins in 1956" being the most recent and notable. Chet Atkins' protégé, Tommy Emmanuel (one of five in the whole word dubbed Certified Guitar Player by Atkins) recently brought the guitar back to Nashville where he played the iconic guitar at the Grand Ole Opry, as well as the Country Music Hall of Fame in honor of his longtime friend and mentor. Country Music fans were simply stunned.


New Faculty Majority publishes an electronic newsletter. We are working hard to get on a schedule so that the publication of the newsletter is more reasonably assured than our employment next term.
If you have not already done so, please join New Faculty Majority in order to be added to our newsletter distribution list. We respect that you are busy as we are, and we promise not to pester you with daily e-mail. It is critically important, however, that we keep our membership apprised of our progress as we work to affect positive change in higher education.


text:
Redskin (1929) A Silent Film Review
Silent Movie Review	by Movies Silently November 10, 2013 May 21, 2020
The sympathetic tale of a Navajo man, Wing Foot (Richard Dix), who was taken from his family as a boy and raised in a boarding school. Insulted and referred to as "Redskin" by his college peers, Wing Foot also finds that he no longer fits in with his family, especially his extremely traditional father. Will Wing Foot be able to bridge the gap between the culture of his birth and the culture in which he was raised?
Home Media Availability: Released on DVD as part of the Treasures III: Social Issues in American Film box set.
Update: Every time the Washington NFL team makes the news, I get a spike in traffic for this post. If you are reading this review for ammunition in a debate, let me save you time. The term "redskin" is treated as a slur throughout the film. The title was intended to be provocative, to show the racism that the protagonist endures. This movie was made in 1929. The Washington NFL team changed their name to its present form in 1933. I think that's all that needs to be said.
Now for the review.
I'd rather talk about Technicolor than sports any day of the week.
The topics explored in Redskin remain controversial to this day. Questions of racial identity, cultural appropriation, and the damage done by stereotypes… They affect everything from Hollywood blockbusters to music videos to American football teams.
It may seem surprising that a mainstream movie from 1929 would tackle these issues. To be honest, I went in to Redskin bracing myself for some pretty insensitive stuff. What I found was a very sensitive and sympathetic picture. Even better, it was filmed in Technicolor on location in New Mexico and Arizona, making use of actual boarding schools and settlements.
One of the most beautiful uses of natural color.
The hero of the story is a Navajo boy named Wing Foot (played as a child by Philip Anderson). He is the son of his tribe's chief, Notani (George Regas) and is taught the ancient customs by Chahi (Bernard Siegel), the medicine man. At that time, many Indigenous children were taken from their families and sent to boarding schools for some harsh education. Wing Foot's family has kept him hidden since he came of age to be enrolled.
The Navajo trading post is home to exactly one white man. Navajo Jim (veteran character actor Tully Marshall) runs the store and acts as a go-between for the tribe and the U.S. authorities. He also is a crack shot– when his revolver doesn't come apart in his hands, that is.
Don't mess with Tully!
From his grandmother (Augustina Lopez), Wing Foot learns that his mother died giving birth to him. Chahi refused to allow a white physician to treat her. Wing Foot's grandmother blames the medicine man for killing her daughter.
So, we already have a fascinating inner conflict growing. Wing Foot is surrounded by influential adults but who will he follow? His father and Chahi are traditionalists who follow the old ways to the letter and resent meddling from outsiders. His grandmother and Navajo Jim have a more laid back view, seeing good in both cultures.
A father vs. the law
This cultural conflict is escalated when John Walton (Larry Steers) shows up to take Wing Foot to boarding school. Notani objects but Walton threatens to bring in troops if he interferes. Forced to relinquish his son for a white education, Notani makes Wing Foot promise to come back as an Indian.
The scene is really beautifully played by George Regas. He is a proud man, used to having his way, but he must bear the humiliation of being threatened into obedience. He must also endure the pain of being separated from his only child. Regas is subtle but heartbreaking.
"Civilization" is colorless
Once the film switches from the Navajo settlement to the Indian boarding school, the film changes from Technicolor to black and white with color tinting. The color only returns when Wing Foot returns to his people. This is an elegant way of symbolizing the difference between the two worlds but it came about by accident. The producers ran short of cash and sent word to director Victor Schertzinger to switch from expensive color film to cheaper black and white. By this time, all of the scenes featuring the Navajo and Pueblo had been shot and only the scenes at the boarding school and in college remained to be filmed. So the movie was actually strengthened by its budget woes.
(For another great example of a color film shortage creating a fascinating movie, check out the weird and wonderful 1974 Soviet flick At Home Among Strangers, a sort of Chechen western heist set during the Revolution. Color film was rationed so director Nikita Mikhalkov chose to record the violent action scenes in black and white and the flashback scenes in warm sepia. The color film was reserved for scenes of conversation and character development. I imagine a Hollywood director would take the exact opposite approach– color for action, black and white for character.)
Breaking a child's spirit was considered a legitimate teaching method.
The boarding school is run by Judith Stearns (Jane Novak), who is engaged to Walton. Judith prefers gentle teaching methods but Walton is very much of the "spare the rod, spoil the child" school of thought.
Wing Foot's hair is cut and he is put into a school uniform. Walton orders him to salute the American flag but Wing Foot refuses. He is the son of a chief and all his allegiance belongs to his tribe. Over Judith's protests, Walton drags Wing Foot out and whips him. His spirit broken, Wing Foot salutes the flag. The other children surround him and call him by a new name: Whipped One.
Judith breaks off her engagement to Walton. She will not see him again until he acknowledges that what he did was wrong. Meanwhile, a little Pueblo girl named Corn Blossom (played as a child by Lorraine Rivero) comforts Wing Foot even though their nations are traditionally at odds. The pair form a bond that lasts throughout their stay the boarding school.
The child actors were so good that I was almost sorry to see them grow up. But time passes and now Wing Foot is played by Richard Dix and Corn Blossom is played by Gladys Belmont. Wing Foot has won an athletic scholarship to a prestigious college and Corn Blossom has taken a job in the office in order to be near him. Still haunted by his mother's death, Wing Foot intends to become a doctor so he can improve the health of his Navajo village. With a place on the track team and Corn Blossom there to support him emotionally, it seems that nothing can go wrong for our hero.
Cue the troubles!
Corn Blossom is summoned home to her Pueblo village where she is forced to abandon her boarding school ways and is cut off from Wing Foot. Wing Foot, meanwhile, is invited to a college party but soon realizes that most of the students there resent him, are jealous of him or view him as some kind of toy. A seemingly friendly college party girl finds it funny to perform her version of a tribal war dance (it is just as racist as it sounds). This makes her boyfriend jealous and he heaps slurs on Wing Foot. Before long, everyone is calling him Redskin.
Wing Foot realizes that he cannot stand this treatment and decides to return home to his people. However, his outspoken rejection of tribal medicine puts him at odds with his father and he is eventually banished from the Navajo settlement. Wing Foot settles in the desert, an outcast from two worlds.
Neither culture is a perfect fit anymore.
After a few weeks, Navajo Jim comes to visit Wing Foot. He has a letter from Corn Blossom that has been forwarded to the trading post. She writes that she is in the fortified Pueblo village and she must never see Wing Foot again. He must not come to see her as her kinsmen will surely kill him. However, Wing Foot is a stubborn guy and he isn't about to let a little thing like certain death get between him and the woman he loves.
Richard Dix had played a Native American previously in the 1925 epic The Vanishing American. The film was a success and Redskin can be seen as a followup feature. Both films dealt sympathetically with their heroes, though Redskin is definitely the less melodramatic film of the two.
Respect for traditional ways
As an actor, Dix was a powerhouse. He had natural screen presence that allowed him to quietly take control of his scenes. However, unlike many other equally forceful stars, he was able to dial things back to convey softer emotions. Redskin called for all of his versatility. He needed to be able to show his love for his father but also the stubbornness that prevents their reconciliation. He had to face down his childhood tormentor and project exhaustion, inner rage and dignity. It's all very impressive,
(At 35, Dix is a bit old to be playing a college kid but he is hardly the first Hollywood actor to do this so I give him a pass.)
How should we feel about this casting?
This is where I must bring up a sticky aspect of being a classic movie fan: dealing with whitewashed performances. While Dix's acting is good, one cannot help but wish that the role had been given to a Native American performer. (Lest we forget, Monte Blue was active at the time.)
It's just a shame that so little has changed in the last 75 years. Native American characters are still whitewashed or played by actors with what is politely described as "distant" Native American ancestry. Hollywood really should know better by now.
Not given much to do…
The heroine, Corn Blossom, is played by Gladys Belmont. She would later change her name to Julie Carter but it did little to ignite her career. Her performance in Redskin is so-so. There are no bad moments but no really outstanding ones either. But here is where the tale gets really interesting.
Louise Brooks was supposed to play Corn Flower.
She was taken off the film and fatefully reassigned to The Canary Murder Case. It's a pity, though, since Brooks would certainly have been an improvement over Belmont and it would have given Redskin more attention from modern viewers.
We have complexity…
The movie generally avoids melodrama and simplistic characterization. Chahi, the medicine man, is portrayed as a passionately devout man who honestly felt he did the right thing in blocking white doctors from the Navajo settlement. And Walton is guilty of taking Wing Foot from his home under threat of violence and humiliating him. As time passes, though, Walton is overwhelmed with guilt for his actions. Then there are the minor characters: Some of the college kids think they are being friends to Wing Foot but their careless racism is all too obvious.
This complicated moral tapestry helps the film along considerably. The characters are, first and foremost, people.
Noble Johnson as one of the villains.
The closest thing Redskin has to villains are Pueblo Jim (played by pioneering African-American character actor Noble Johnson) who wants Corn Flower, and a small band of rich city slickers who are determined to snatch a valuable oil claim right out from under both the Pueblo and Navajo people. However, the story is not allowed to sink into pure melodrama. (That being said, casting the lone black actor as the villain is pretty cringey.)
Unfortunately, the film also employs platitudes in some of its title cards and a paternalistic tone shades the plot. The discovery of oil on tribal land is a deus ex machina that allows the characters to neatly sidestep conundrums like tribal war, strained paternal relations and banishment. The ending is a bit pat but the film is generally realistic and satisfying.
In addition to the slick scenario from Elizabeth Pickett, Redskin benefits from the natural beauty of its New Mexico and Arizona scenery. The movie also enjoyed cooperation from the Navajo, as shown by the scenes of sand painting. The very fact that both the Pueblo and Navajo are portrayed as distinct and separate cultures with different dress, customs, housing and economies is a refreshing change from the generic warpath/villainy portrayals of Native Americans that were all too common throughout the history of American filmmaking.
Distinct cultures and customs portrayed
And now let's talk a little bit about Tully Marshall. As mentioned before, his role as Navajo Jim is small but colorful. He also ends up saving the day when it is he, not Mr. Dix, who dispatches the villain.
(I will never know why there is a character named Navajo Jim and another called Pueblo Jim in the same picture. Talk about confusing!)
Tully played every type of role imaginable in the silents.
Marshall is a "that guy" actor. You know, the actor who seems to show up in everything. Not the star but often with a juicy character part. Character actors generally fall into two categories: Performers who play the same zany role over and over and performers who can play a wide range of the same basic type. Tully Marshall was the man you called when your film needed a weird little fellow. He could be benevolent (as he is in Redskin), he could be creepy, he could be goofy.
Born in California while the Civil War was still raging, Marshall entered motion pictures in 1914. A seasoned stage veteran by this time, he immediately found his services to be in demand. Marshall appeared in such famous films as Intolerance, Joan the Woman, The Covered Wagon, The Merry Widow, The Cat and the Canary and Queen Kelly, where he was infamously instructed by director Erich von Stroheim to drool tobacco juice onto Gloria Swanson's hand. This was the last straw for Swanson, who arranged a quick death for the movie.
A race to the rescue…
Sound had come to Hollywood and von Stroheim would only receive one more directing credit after the Queen Kelly disaster but the talkie revolution was very kind to Tully Marshall. He won character roles in Scarface, Grand Hotel, Red Dust, Sergeant York and This Gun for Hire. He worked steadily until his death from a heart attack in 1943.
What I love about Tully Marshall is that whenever he shows up, I know that I am in for a colorful treat. Whether he is good or evil, benevolent or creepy, Marshall is always fun to watch. He was the perfect character actor in that he added eccentricity without hogging the scene and outshining the stars.
An unyielding Richard Dix.
In Redskin, his character can be seen as the complete opposite of Richard Dix's. Dix plays a man who no longer has a home. Marshall's Navajo Jim, on the other hand, has effortlessly bridged that gap. Part of the reason for his success is that he is a classic slacker. He is perfectly happy to nap his life away and he is not one to make waves. However, he has a good heart and he is willing to help out Wing Foot. Navajo Jim is the only person in the trading post who will still speak to Wing Foot after his exile and he is ready to jump in and save the day when our hero's claim is jumped.
Come for the Technicolor!
Redskin is a fascinating and beautiful film. It is remarkably sympathetic, considering the time period in which it was made, and is a definite must-see for silent film fans.
Movies Silently's Score: ★★★★
Where can I see it?
Redskin was released on DVD as part of the Treasures III box set.
1929Gladys BelmontNoble JohnsonRedskinRichard DixSilent FilmSilent MovieTully MarshallWestern
Fun Size Review: My Best Girl (1927)
Unboxing the Silents: Baby Peggy | The Elephant in the Room
WHAT A CHARACTER! blogathon Schedule « Once upon a screen…

redpajama_set_name: RedPajamaCommonCrawl


In addition to its striking greenery and plethora of castles, Wales also boasts some of the most beautiful and untouched beaches in the world. Winters there aren't unbearably cold, but spring and summer are more favorable — especially if you want to check out those beaches. Because summer is peak tourist season and hotels may be full, spring and fall are the most ideal times to travel.
Although it's difficult to find inexpensive accommodations in some cities — like Cardiff, for example — travelers can often find more reasonable rates on the outskirts. Or, in summer months, visitors can rent dorm rooms for low rates at local universities. It's also easy to find inexpensive meals, but you're better off avoiding areas with a high concentration of tourists, as prices are likely to be higher.
"THE BRITISH ISLES with a French Connection by vagabondginger June 2016 As an Independent Traveler I relish putting together my own personal itineraries and the research and planning takes almost as much time as the trip itself. Afterwards I find writing my travel stories makes it so much more memorable than just … Read more!
"We traveled to Europe for a week renting a thatched roof cottage in Broadway England that is in the Cotswold area of England. Took days trips to Blenheim Palace, the birthplace of Winston Churchill and home to the Duke and Duchess of Marlborough. Beautiful place and had outstanding gardens and a maze to wonder …" Read more!
Walking in Wales by Bill B.
"During World War II my mother served in the Women's Land Army of Great Britain. She and her sister were assigned to work on farms in the countryside of Wales while the Welsh farmers went off to fight the war. She used to tell me that it was dirty, hard work; but then her eyes would always twinkle a bit and she …"Read more!


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<< Sunday, September 24, 2017 >>
Amos Gitai to Teach Seminar on Narrative and Form: Cinema and Architecture
Film - Series | August 29	– September 26, 2017 every day | 370 Wurster Hall
The Israeli film director Amos Gitai (Ph.D Architecture 79) will teach a five week course on film that explores the concepts of narrative and space. CLASS SIZE IS VERY LIMITED SO YOU MUST SIGN UP SOON. OPEN TO ALL STUDENTS ACROSS CAMPUS.
Serenade for Haiti
Film - Feature | September 24 | 3 p.m. | Berkeley Art Museum and Pacific Film Archive
"Music is our refuge," says a student at the Sainte Trinité Music School in Port-au-Prince, Haiti. "With music . . . we feel we are in another world, far from troubles." Owsley Brown's vibrant documentary recognizes the troubles but celebrates the refuge, testifying to the role that music can play in creating community and sustaining hope under the most difficult of circumstances. Shot in... More >
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles
Observing her mother and her aunts while growing up, Chantal Akerman became aware of the way in which the unending repetition of domestic duties became a proxy for emotion and self-expression. In Jeanne Dielman Akerman, cinematographer Babette Mangolte, and a predominantly female crew depict three days in the life of a middle-aged widow, Jeanne (Delphine Seyrig), living alone with her teenage... More >


What is the prevalence rate of psoriasis?
What are the most urgent unmet needs among patients with psoriasis?
How does psoriasis affect patients' quality of life?
How do comorbidities impact patients with psoriasis?
What should be the primary treatment goal of psoriasis?
How important is treatment longevity when choosing a therapeutic option?
How have the guidelines and treatment armamentarium changed recently?
What role will biosimilars play in the management of psoriasis?
Read about the established topical, systemic and biologic treatments available for psoriasis as well as novel treatments, such as TNFα and interleukin antagonists.
A detailed overview of the mechanisms behind the initiation and maintenance of psoriasis.
A list of upcoming events related to psoriasis, giving a brief description, the location, dates and links.
Discover an overview of psoriasis symptoms, and diagnosis. The disease awareness section covers plaque psoriasis morphology, guttate psoriasis, and classification of disease severity up to severe psoriasis measured by BSA, PASI or PGA.
The Psoriasis Knowledge Centre had been updated in October 2018 and was reviewed for accuracy by Professor Rolland Gyulai, MD, PhD.
Psoriasis is a chronic inflammatory disease. Learn about its pathophysiology, triggers, symptoms treatments and more.
Read about the established topical, systemic and biologic treatments available for psoriasis as well as novel treatments including tumour necrosis factor-α (TNFα) and interleukin (IL) antagonists.
View upcoming events related to psoriasis, dermatology and clinical immunology.
Explore a comprehensive list of national societies, links to various useful websites, access to the latest psoriasis guidance and an educational webcast.
Developed by EPG Health for epgonline.org. Supported by an educational grant from Janssen.


As the popularity of the betting exchanges grows, so more and more people are looking to profit from horse racing by laying horses to lose. But what is the best strategy? On the face of it, one might think that simply betting that the outsider will lose is a quick way to make easy money. In reality, the best horse to bet against is the race favourite. Betting that the outsider at 20/1 will lose will be fine to start with, and doubtless you will soon develop a winning run of profits. However, sooner rather than later that 33/1 shot with 'absolutely no chance' will come home in front, and you may well have laid him at a price of 52.00 (for example) on Betfair.
BOOM! There goes all your hard-earned winnings, and more! Generally a horse will be the favourite because it has the weight of the market's money behind it, which forces the price down. Simple economics. There will be a point however, where the horse's price is too low compared to it's actual chance of winning. Beyond this 'true' price is where the layers will start to make a profit. So we go ahead with this strategy, and we proceed to lay every favourite, right? Wrong.
Horse racing favourites are often priced too low. This is how bookmakers have made their profit for generations. But they are not priced too low every time – sometimes a favourite is the most likely horse to win a race for very good reason. If we took the simplified approach of laying every favourite, after a while betting on the exchanges we would remain around the break even point, because the exchange markets are a very efficient barometer of probability. However, after paying commission on our winnings, we would watch our account slowly draining away like water down a plug-hole. Not good. So how do we know which favourites are true favourites, and which are weak or vulnerable? One method is to analyse the positive aspects of a horse's form. It will not surprise you to learn that more favourites win when they have fewer question marks against them. This is not rocket science, but taking the time to separate strong contenders from weak favourites will give you the 'edge' to make that all-important profit. Below is a list of form criteria you can apply to the market leader in any given race: 1.
Horse and Class: Must have shown the ability or obvious potential to seriously compete in the class of today's race. 2. Horse and Track: Must have proven ability on either today's track or one with similar characteristics. 3. Horse and Recent Form: Analysis of general form over the last few weeks. 4. Horse and Race Distance: Must have shown the ability or obvious potential to run competitively over today's distance. 5. Horse and Draw: Highlight any obvious disadvantage if applicable. 6.
Horse and Going: Must have shown an obvious ability to handle today's ground. 7. Trainer and Track: Trainer must have at least a 10% strike rate on today's track. 8. Trainer and Recent Record: Trainer must have had at least two placed or one winning horse in the last 14 days. 9. Jockey and Track: Jockey must have at least a 10% strike rate on today's track. Rating a favourite as 'weak' or otherwise is entirely subjective, but you may determine (for example) that a horse with 3 or more question marks or negatives over their form would be considered a horse worth opposing. As always the question of price will come into the equation. A horse with several boxes left to 'tick' in the list above may be a favourite in a weak race at 5/1.
This may be a fair price, and you may not want to get involved in laying him to lose. On the other hand, when a 2yo filly steps hoof onto the track for the first time, and is offered at odds-on simply because she is ridden by Frankie Dettori on behalf of the Godolphin training empire, then you may want to consider taking her on. In summary: race favourites are often a profitable source of potential Lay Bets, as they are often 'over-bet' and offered at prices too low compared to their actual chance of winning. Take the time to analyse key aspects of the horse's form and judge whether they are a 'strong' or 'weak' favourite. If you decide they are vulnerable to defeat and the price is short enough, then you have identified a good lay bet.


Last time I published Dhoom 3 theme with wallpaper for Nokia full touch devices and tonight I tried to design another beautiful theme for the same devices.
This is Bottle of Hearts theme for Nokia Asha 305, Asha 306, Asha 308, Asha 309, Asha 310, Asha 311 devices. I have used beautiful highlights with beautiful colors combination. In this theme I didn't use any icons and artificial widgets and I hope you all will enjoy this theme and wallpaper.


Description Installers of independent Landscape Designers Designs. Donna has 30 years in the Industry and Brian18. Donna is a Plant Expert, Flagstone Patios and Natural Rock are Brian's love. D & J LC collaborates with the Landscape Designer and Client to bring the vision to reality.


Admiral Cocktail Recipe. How to prepare a delicious Admiral Cocktail Cocktail!
BarBug! shows you how to make a ADMIRAL COCKTAIL Mixed Drink.
BarBug! is now serving up a Admiral Cocktail! He shows you his Admiral Cocktail mixed drink recipe and makes suggestions for spirits, mixers and the proper serving glass.
Return to previous page Over 10528905 recipes served!


Posted on October 4, 2012, in African Fashion, African Model, Celebrities Wearing African Fashion, Cultural Fashion Week, Cultural Model Runway, Fashion, Fashion & Red Carpet, Lem Lem, Liya Kebede, Paris Fashion Week. Bookmark the permalink.	1 Comment.


In Kentucky, there are some strict penalties for individuals accused of driving under the influence of drugs or alcohol, including jail or prison time, large fines, probation, community service and suspension of your driver license. When your personal and professional life is at stake, our experienced DUI and DWI defense attorneys at White Peck Carrington, LLP meet with you in person to discuss your case, answer your questions and provide the objective advice you need. Our legal team has experience handling cases in both state and federal courts.
Driving under the influence (DUI) and driving while intoxicated (DWI) are two very serious crimes that come with some harsh penalties if you're convicted. In Kentucky, drivers are considered to be legally intoxicated if their blood alcohol concentration (BAC) level is at or above .08. However, the tests used to measure these levels are not always accurate, and law enforcement officers must have a good reason to pull you over in the first place. A skilled attorney can help you fight DUI or DWI charges if you believe they are a result of unfair circumstances.
First offense — The first time you're arrested for drunk driving, you may face up to a $500 fine, 30 days in jail, mandatory drug or alcohol treatment programs, and the possible suspension of your driver license.
Second offense — A second offense typically comes with harsher penalties, including up to a $500 fine, six months in jail, a 12- to 18-month license suspension, and community service.
Third offense — This comes with a fine of up to $1,000, one year in jail, one year of required drug or alcohol treatment, and a license suspension for as long as 36 months.
Fourth and subsequent offenses — If you're arrested for DUI for the fourth time in five years, it's a Class D felony in the state of Kentucky. You then are likely facing at least four months of incarceration without parole, a 60-month license suspension, a large fine and other significant consequences.
It's important to note that you may face steeper penalties if you caused an accident that resulted in the injury or death of another person. In such a situation, you may need to deal with both criminal charges and civil litigation related to the crash.
When you're accused of DUI or DWI, your life is in the hands of law enforcement officers, who may interpret the laws in different ways or even engage in illegal acts to make an arrest. If the main piece of evidence against you is a field sobriety test, for example, a skilled lawyer can challenge the results of this test in court — as studies show field sobriety tests cannot accurately indicate intoxication. And if the officer did not have a sound reason for stopping you, there's also a chance you could get your charges eliminated.
If you have been pulled over for a DUI or DWI in Montgomery County, meet with one of our skilled criminal defense lawyers at White Peck Carrington, LLP right away. Inquire about a consultation by calling 859.498.2872 or by contacting us online. We serve clients throughout northeastern Kentucky from our office in downtown Mount Sterling next to the courthouse.


Here is a selection of engraved fishing trophies and awards. Our standard trophies and awards or medals may also be customised as a fishing trophy or award by adding a fishing centre. Most have up to 50 characters engraving included within the price of the fishing trophy or award.
The fishing trophies and awards are postage band B, whilst the medals are postage band A.


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IndiaIND Vs SA: Former cricketers clashed over Team India's...
IND Vs SA: Former cricketers clashed over Team India's victory, gave these arguments
IND Vs SA: In India, considering the old figures and events as the basis, further estimates are also made. Especially in cricket, when it comes to a ground, there are already speculations that India has never lost here and it is auspicious for these players. There are many batsmen in cricket whose team wins the match after scoring a century. A similar figure is being seen in this match as well. Jasprit Bumrah took five wickets for the seventh time in Cape Town on Wednesday. After this feat of his, old victory figures were also seen. Veteran cricketer Parthiv Patel also made a tweet about all these figures, which is becoming fiercely viral. Former cricketer Aakash Chopra has also advised him not to believe in such figures.
"Whenever Bumrah took five wickets in a test match, India didn't lose the match," Parthiv tweeted. Looks like it will continue this in Cape Town as well. Bumrah has taken five wickets seven times in his career, with six of his previous exploits being Johannesburg in 2018, Nottingham in 2018 and 2021, Melbourne in 2018, North Sound in 2019 and Kingston in 2019. India has won all those test matches. Parthiv feels that the Cape Town Test will also be repeated as before. Because the hosts could not reach the India score of the first innings.
Akash, however, gave some great examples of figures that refer to such myths. India suffered a defeat in the Johannesburg Test last week. Whereas, before this, India did not lose any Test with the 100-run partnership between Cheteshwar Pujara and Ajinkya Rahane. The two experienced middle-order batsmen have been involved in six century partnerships and won five of those Tests.
He tweeted, 'I don't want to make fun of it, but India had never lost a Test when Pujara-Rahane also had a 100-run partnership … until before the Johannesburg Test.
India did not win a single match in the previous 5 matches in Cape Town. Lost 3 matches and 2 draws.
first published:Jan. 13, 2022, 2:26 p.m.
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There was no standing space left and all phone lines into Wilsons Auctions at Mallusk were buzzing tonight for its huge Government auction of recovered bling.
Some of the lots were vehicles recovered from crooked car dealer and crime boss Kirk Claus, 47, from Yorkshire, who, together with his gang, had amassed a £26million fortune from selling dodgy cars and bikes.
Klaus had used his ill-gotten gains to buy over 100 luxury vehicles to try and hide his wealth from the tax man. These were then seized by assets recovery cops. Some of these were sold in 2013 by Wilsons and tonight's haul of 12 vehicles was the last of his car collection to be sold.
The big prices at the auction were paid for his cars including a three-door 2002 Bentley Continental T with 28,000 miles that reached £42,000. A flashy 1946 black Chevrolet 8.2l pick-up stood some fierce bidding to £27,500.
Also featuring high on the list was a 2011 BMW X5 jeep with just over 3,400 miles selling for £30,000. A Calypso 23 tonnes narrow boat made £33,700 and a September 1999 Toyota Landcruiser 4.2 Amazon VX with just over 1,000 miles on the clock made a whopping £28,000.
One of the star attractions of the auction was a boxing glove in a glass case signed by arguably the greatest boxer of all time Muhammad Ali. It made £3,400.
Klaus is currently serving a total of three years and nine months in prison for running his scam which included selling insurance write offs as totally immaculate vehicles.
Clocked cars, vehicles with false warranties and faulty cars were also sold by Klaus and his crime gang.
The auction also contained a wealth of jewellery including watches and rings, and a luxury yacht that was seized by cops off the Sussex coast last year as it was being used to transport cannabis.


Bucking the trend of online-buying, Diamonds on the Rock at 5640 La Jolla Blvd., stands solidly in place as a bastion of personalized service and customer care. Owner Debra Levine makes sure of that.
"Because diamonds are so unique," she explained. "They're not something you can just 'order up.' If you're buying a diamond, you want quality and service, and someone to help you with knowledgeable recommendations and tips on style and wear-ability — which are totally different. You can have something that looks really great, but the wear-ability is just not practical. Also, when you buy online, you don't have the owner to look you in the face after you tell them all the stones fell out because of this or that ... you're missing the personal touch, which is what I like to provide."
Diamonds on the Rock opened in 2015 with quality diamond rings, jewelry, wholesale diamonds, estate jewelry, vintage jewelry and customized pieces. The store also handles repairs and appraisals.
Levine, who said she grew up in the jewelry business, owns the store with her son, David. Her grandfather was a jeweler in New York and opened his first store in 1919. Her dad also owned a jewelry store, which Levine worked at after college and before attending The Gemological Institute of America, which is now in Carlsbad, but at the time was located in Santa Monica.
Before opening her store on La Jolla Boulevard, Levine said she was a diamond grader and also taught a course on diamonds. She ran a wholesale diamond-importing business with her husband and worked at other jewelry stores before breaking out on her own.
Now after four years, she explained: "I'm always fine-tuning my inventory, seeing what is popular. People still like a lot of custom, unique pieces. As far as engagement rings, people are changing their style preferences. Yellow gold is getting popular again. Rose gold, too."
She added that customers are interested in a more delicate, layered look in jewelry these days. Simple designs are coming back, replacing the big halo-style rings. "They want diamond rings with just a few stones on the side — like clothing, the styles change."
Since Diamonds on the Rock is located between La Jolla and Pacific Beach , clientele comes from both directions. She said sees more people coming in from Pacific Beach wanting engagement rings, and more people from La Jolla buying jewelry or redesigning their rings. "It's all referrals, so I'm getting many more now. People who were engaged two years ago are now getting married and need wedding rings. And they bring their friends, so it's just growing. I keep on doing better and better," she said with a smile.
Levine is now selling lab-created diamonds, which are diamonds grown above ground and have the same chemical and physical properties of natural, mined diamonds. The process of growing such a diamond starts with high-quality diamond "seeds" that are grown from pure carbon, then placed in a microwave Chemical Vapor Deposition chamber, which is kind of like a diamond greenhouse. Hydrogen and methane gas are introduced into the chamber and ignited into a plasma ball under high heat. The diamond grows layer by layer within about 12 weeks, then is cut and polished just like a mined diamond.
She said the cost of lab-created diamonds is 30-percent less than mined diamonds, and it's hard to tell the difference. Some customers are attracted to lab-grown diamonds because they're created above ground with less environmental impact. Levine added that it's all about giving her customers new choices and options.
She credits her steady success to her personable and sincere approach: "I look out for my customers. When I'm selecting a diamond, I want to make sure that it's the best one. I do really care. And I think people get that."
"Because diamonds are so unique, they're not something you can just 'order up.' If you're buying a diamond, you want quality and service, and someone to help you with knowledgeable recommendations and tips on style and wear-ability," Diamonds on the Rock owner Debra Levine said.


Our children's ministry at Liberty Baptist Church.
Liberty Baptist Church's children's ministry is a place where your kids can be taught the timeless truths of the Bible to help them grow into Christ-honouring adults. We believe that teaching the Word of God can be exciting through crafts, songs, and engaging Bible lessons. We look forward to having you and your child as our guest here at Liberty Baptist Church!


Posted byJoel A. Ohmer	 April 1, 2009 November 4, 2016 2 Comments on John Francis Ohmer, Jr.
OHMER, John Francis, Jr., engineer, was born in Dayton, Ohio, July 3, 1891, son of John Francis and Anna Katherine (Beckman) Ohmer and grandson of Michael and Rose Marie (Welty") Ohmer. His grandfather, a native of Alsace, France, came to this country in 1831 and settled in Dayton the following year. His father (q.v.) was a manufacturer and inventor. John F. Ohmer received his education at St. Marys Institute, Dayton, the University of Dayton, and Cornell University, where he was graduated M.E. in 1913. Joining the Ohmer Fare Register Co., Dayton, which had been founded by his father in 1902, Ohmer was an apprentice until 1914, a member of the salt's department for two years, an engineer during 1919-21, and a member of the production export department from then until 1927.
During this period he spent a year in South America, another in New Zealand and Australia, and shorter periods in a number of other foreign countries. In 1927 he was named Pacific district manager and continued in that capacity until 1940, having served also from 1938 as the company's first vice-president. In 1945 he was the organizer and from then until his death the sole owner of Ohmer Mechanical Engineers, Beverly Hills, Calif., dealers in cash registers, taximeters, parking meters, and vibracorders. Of these items mentioned, Ohmer imported, introduced, and sold the SWEDA Cash Register, manufactured by L. M. Ericcson Co. in Sweden, to the American market.
He also imported from Germany the Kienzle Vibracorder, an instrument used to record time and speed on any moving machine or vehicle. The other imported item which he not only sold, but which he assembled from imported parts in a special department within Ohmer Mechanical Engineers, was the HALDA Taximeter, manufactured by Haldex, A. B. of Halmstad, Sweden. In making this taximeter practical for the American market, it was necessary for him to re-design the device, and it was on this task that much of his engineering ability was displayed. His first sales promotional efforts upon returning from military service in 1945 was with the MI-CO Parking Meter, manufactured by The Michaels Art Bronze Co., Covington, Ky. He also held many patents in his own name.
Ohmer first entered military service in 1909 when he enlisted in the Ohio National Guard as a bugler, attended summer training camps, and was on active duty during the Dayton flood of March, 1913. In 1916 he took training at Plattsburg, N.Y., and then served as a lieutenant and battalion adjutant on the Mexican border with the 148th Infantry, Ohio National Guard. He was later in command of the Mounted Scouts Border Patrol. Shortly after the entry of the United States into the First World War he was appointed a 1st lieutenant in the Engineer Officers Reserve Corps, U.S. Army. He held a number of assignments with the 404th Engineers and was discharged from active duty in 1918 while serving in the rank of captain in the office of the Chief of Engineers. Between the First and Second world wars he became interested in the problems of camouflage and, as a reservist, in 1938 formed the 604th Engineers Battalion a camouflage unit of the 4th Army. In this connection he organized an enlisted reserve auxiliary of cameramen in the motion picture industry and created camouflage study groups.
Officers trained under his direction gave outstanding service with camouflage units during the Second World War. Another of his outstanding contributions was the development of techniques for the camouflage of large scale industrial plants, the first subject of which was the Douglas Aircraft plant. Later in 1939 and in 1940 he was in charge of camouflage training, instruction, and experiment at various posts on the West coast and during Army maneuvers. At about this time he first devised the procedure of camouflage posters for use during maneuvers, these later becoming a standard technique for determining camouflage instruction. In March, 1941, Ohmer, then in the rank of major, was ordered to active duty in the office of the Chief of Engineers, Operations and Training Section, Washington, D.C. He was sent to the Hawaiian Department in connection with camouflage planning for the islands.
In addition to military camouflage training he organized a civilian group for the purpose of studying industrial camouflage. He was later sent to Kodiak Island, off the coast of Alaska, and while en route to this assignment he camouflaged the Alcan Highway which was then under construction. While on Kodiak, he recommended the building of air hangars into the sides of the hills. Upon his return to 4th Army Headquarters, the Presidio, San Francisco, in 1942, he was put in charge of camouflage for the entire West coast from the Aleutians to California. In April, 1943, he received a promotion to colonel, and through the development section of his organization, was active in devising new camouflage techniques, particularly operational camouflage for use in attack. He introduced the subject of operational deception and gave the opening lectures at the Army and Navy Staff College (later National War College), at the senior officer s course at the U.S. Air Force base, Orlando, Fla., and at the Command and General Staff School, Ft. Leavenworth, Kan.
In September, 1944, he accomplished a secret mission in China and Burma. This was his fourth overseas mission. On Feb. 3, 1945. Ohmer was assigned as commandant of the Engineer Camouflage School, Aviation No. 1, at March Field, Calif. Although a non-flying officer, he had over 1200 flying hours. He was released from active duty in 1945. During the last year of his life he served on the Beverly Hills Traffic Commission. He belonged to the Society of American Military Engineers, Sigma Chi, Rotary International, and the Jonathan and Bel Air Bay clubs. His religious affiliation was with the Roman Catholic church, and politically he was a Republican. He had many interesting hobbies, among which were photography, tricks of magic, and self-designed musical instruments. In 1945 he was awarded the U.S. Legion of Merit. Ohmer was married in Los Angeles, Feb. 16, 1927, to Virginia Elizabeth, daughter of Thomas Cornish Dymond of St. Louis. Mo., and Los Angeles, and had three children: John Francis, Letitia Ann, and Thomas Dymond. His death occurred in Beverly Hills, "May 18, 1950.
OHMER, John Francis, Jr, Ohmer Fare Register Co.; res. 354 West First St., Dayton, Ohio. Mech. Engr; b. Dayton, Ohio, July 3, 1891; s. John Francis and Anna K. (Beckman) Ohmer; grad. high school and coll., St. Mary Coll., Dayton; M.E., Cornell Univ., 1913; Sigma Chi. Apprenticeship through all depts of Ohmer Fare Register Co., including installation and sta. work, now Vice-Pres. and mgr. taximeter dept. Patented a zone registering and calculating machine, and several additions or impvts. in fare registers and taximeters. June, 1910, Lt. 3rd Ohio Inf in Mexican Border, service at El Paso, Texas, until German War, 1917, transferred to engrs, assigned to 9th U.S. Engrs (mounted), promoted to Capt. Engrs. discharged Dec, 1918. Mem. A.S.M.E.. Soc. Am. Mil. Engrs, Am. Legion; Major Engrs' Officers Reserve Corps. Recreations; Horseback riding, tennis, camping, hunting. Clubs: Engineers. Dayton Country (Dayton), Cornell (New York).


"Poor Mexico, so far from God, so close to the United States," Mexican president Porfirio Díaz once said around the turn of the 20th century.
Today, a Mexican president who is disliked by Mexicans — as is his Institutional Revolutionary Party — is playing "David" to U.S. President Donald J. Trump's "Goliath." A testy phone call between Mexican President Enrique Peña Nieto and his United States counterpart Donald Trump was the catalyst for a joint decision to call off a planned meeting between the pair, according to a report published Saturday in the Washington Post.
This month, Mexican President Enrique Peña Nieto canceled a planned meeting in the White House with President Trump. He apparently did not want to be "bullied" by Trump.
Not only did President Trump express contempt for Mexicans in a tweet but in his personal phone call with President Peña Nieto. Trump reportedly threw one of his patented temper tantrums because the Mexican leader essentially told Trump — and for the third time — that he would not offer any Mexican support for Trump's "beautiful wall" on the Mexico-U.S. border.
"The Washington Post, which first reported the delay earlier on Saturday, said the two leaders spoke for about 50 minutes on Tuesday, February 20. But the discussion led to an impasse when Trump would not agree to publicly affirm Mexico's position that it would not fund construction of the wall. The Post said that Trump's border wall proposal took up a considerable portion of a roughly 50-minute conversation between the two leaders last Tuesday and was — as in the past — a major source of contention.
According to Mexican and U.S. officials who spoke to the newspaper on the condition of anonymity, Trump refused to agree to publicly affirm Mexico's repeated assertion that it will not pay for the construction of the wall.
Trump "lost his temper" during the call, one Mexican official said, while U.S. officials instead described the president as frustrated and exasperated because he believed it was unreasonable for Peña Nieto to expect him to walk away from his campaign promise that Mexico would pay for the wall.
The decision dashes arrangements that were agreed to in Washington earlier this month between a delegation of Mexican officials and a team of Trump advisers, led by the president's son-in-law Jared Kushner.
The Mexican team, led by Foreign Affairs Secretary Luis Videgaray, had left the White House on February 14 believing it had an agreement that wall funding would not be brought up in a meeting between the two presidents.
According to sources cited by prominent Mexican journalist Carlos Loret de Mola, the call not only led to the meeting's cancelation but has also caused a deterioration in relations between foreign affairs staff in Mexico and their counterparts in Washington.
Prior to the news that Peña Nieto would not travel to Washington, some political analysts in Mexico said meeting Trump would be risky given the U.S. president's propensity for verbal combat and one-upmanship.
The Mexican president, in contrast, prefers to avoid conflict in face-to-face meetings.
With Mexico's presidential election just over four months away, there is a risk that any perception of kowtowing to the U.S. could not only be further damaging to Peña Nieto's already embattled administration but also to the chances of the ruling Institutional Revolutionary Party's candidate, José Antonio Meade.
A clear majority of Mexicans consider the wall proposal as both offensive and racist and several members of the federal government have been at pains to assert that Mexico will under no circumstances pay for it.
Peña Nieto and Trump previously clashed on the same issue in another phone call that took place just a week after the latter's inauguration in January 2017. They met on the sidelines at a G20 meeting in Germany in July but neither leader has visited the other in Washington or Mexico City since Trump became president.
A former Mexican ambassador to the United States told the Post that Trump's unrelenting attitude towards building the wall and making Mexico pay for it has come at a cost to the wider relationship between the two countries.
"The problem is that President Trump has painted himself, President Peña Nieto and the bilateral relationship into a corner," Arturo Sarukhan said.
"Even from the get-go, the idea of Mexico paying for the wall was never going to fly. His relationship with Mexico isn't strategically driven. It's not even business; it's personal, driven by motivations and triggers, and that's a huge problem. It could end up with the U.S. asking itself, 'who lost Mexico?'" he explained.
However, despite the wall issue and NAFTA renegotiation talks that have also been highly contentious, Mexican Foreign Affairs Secretary Luis Videgaray said earlier this month that the bilateral relationship between the two neighbors is closer under Trump than it has been previously.
According to U.S officials, Peña Nieto might make another attempt to visit Washington later in the year and there is also a possibility that he will meet with Trump on the sidelines of the Summit of the Americas which will be held in Lima, Peru, in April.
But with the political stakes already high and rising further as the July 1 election approaches, there is a possibility that Peña Nieto and Trump will not hold formal face-to-face talks before the former vacates the president's office in December.
Both sides agreed, however, that Peña Nieto's desire to avoid public embarrassment and Trump's refusal to make that assurance was the crucial factor that led to the cancelation of the bilateral meeting that had been slated to take place in March.
This episode clearly reflects the failed policies toward Mexico that previously peaked in the administration of President Woodrow Wilson, way back in 1914 and 1916. Wilson was America's premier racist president who invaded Mexico twice in two years in failed attempts to influence the Mexican Revolution of 1910-1920. Apparently, Trump has crafted his policy towards Mexico using Wilson's playbook.
As a candidate, Trump declared what we can consider to be a Mexico policy in his announcement speech in June 2015. "Criminals" and "rapists" seemed to be flooding the United States from Mexico, he said at the time, and his proposed "wall" would end that.
Trump, of course, told a different story, insisting the subject didn't come up.
The wall continued to be an issue after Trump's inauguration, with the famous January 2017 phone call between the two presidents. Trump tried to bully the Mexican, who reportedly held out against the new American president.
Trump appears to be totally unschooled on what American policy should be towards Mexico; apparently, he has no idea of the history between the two countries.
Trump is not alone, of course. Much ignorance of Mexico permeates the American media, the general American populace and, of course, the rest of the U.S. government.
The United States does a trillion dollars in NAFTA trade annually with Mexico and Canada. President Trump needs to make nice with its best mutual trading partners — that's what he should be doing, not picking fights. Instead, he's nicer even to Russia than to Mexico.
No wonder Trump received only a tiny percentage of the Hispanic vote in 2016. In Colorado, for example, Trump received perhaps only 14% of the Hispanic vote. And in Los Angeles county, a heavily Hispanic county, Trump lost by 48 percentage points.


text:
\section{INTRODUCTION}
\label{sec:intro}
The Large Synoptic Survey Telescope (LSST) is building a 3.2 gigapixel camera for a wide-field survey in the optical and near-infrared range\cite{lsstdesign}. The survey design requires the 189 4kx4k pixels, 100\,$\mu$m thick CCD imaging devices to be fully read out in 2s\cite{lsstraft}. To achieve this, each device is segmented into 16 channels, with top and bottom serial registers divided into 8 segments. Constraints on sensor procurement have resulted into a mixed focal plane with sensors from two vendors, the CCD250 from Teledyne-e2v (T-e2v) and the STA-3800C from Imaging Technology Laboratory (ITL), resulting in some significant operational differences. One difference is that the T-e2v sensor specifications use a unipolar voltage set, with only positive voltages for clocks and biases\cite{e2v250}. The only exception is of course the Back-Substrate (BSS) bias voltage, which is applied to the back of the sensor to deplete it fully. Conversely, the ITL sensors are operated with a bipolar voltage set\cite{snyder18}, with negative lower clock rails and positive upper clock rails.

When integrated with LSST electronics and operated in baseline conditions, all tested T-e2v sensors have produced flat field frames that are affected by tearing patterns, while none of the ITL sensors had this issue. There is some diversity in the observed patterns, as will be shown in the next section. But in all cases, this tearing creates an apparent local Pixel Response Non-Uniformity (PRNU), which compromises any future flat-fielding correction. As we will discuss, the tearing patterns are a symptom of lateral distortions of the drift field near the electron collection regions. Another consequence of this underlying issue is that we can expect strong astrometric distortions in the affected regions once the camera will be on the sky.

Understandably, discussions of the tearing issue have usually focused on finding the right operational recipe to remove it, and are most often kept out of publications. One consequence of this approach is that the segment-edge distortion, which is related to the tearing, has been overlooked until now. Here we will first spend some time studying the field distortions, then focus on the exact conditions in which they are generated. With that knowledge, we will finally be able to propose two operational solutions to avoid these field distortions.

\section{OBSERVING THE TEARING PATTERNS}
\label{sec:obs}

\subsection{Experimental Setup}
The variety of tearing patterns, and their dependency on clock voltages and clock sequences, has been observed and tested during the qualification of the LSST science rafts, both at Brookhaven National Laboratory (BNL) and at SLAC National Accelerator Laboratory, by ourselves and by our LSST colleagues.
The more detailed investigations presented here have been performed on the CCD test bench at LPNHE, which has been described in Ref.\cite{astier19}. A single LSST-like T-e2v CCD250 is mounted inside a cryostat and cooled to -100\,C, while the LSST electronics board (REB) sits outside. A monochromator feeds into an optical fiber, which then feeds into an integrating sphere through a shutter, to provide flat field illumination to the sensor. Unless otherwise specified, flat field frames in this work have been taken at 650\,nm, with roughly 50,000~photo-electrons per pixel (with gain and offset, this translates to around 90,000\,ADU in raw frames). This value provides a good statistical significance, while still being halfway from the strong drop in the Photon Transfer Curve\cite{Guyonnet15}.

\subsection{Diversity of Distortion Patterns}
The notion of `tearing' covers different types of patterns, but they are unified by a common explanation, which also applies to the segment-edge distortions. Here we see how each pattern can be explained by variations of the density of holes within the channel stops between sensor columns.

\subsubsection{Wide tearing pattern}
\label{sec:wide}
   \begin{figure} [bt]
   \begin{center}
   \includegraphics[height=8.2cm]{Slide1.png}
   \end{center}
   \caption
{ \label{fig:widepic}
Two raw images, acquired successively with the 16-channel CCD, showing a wide tearing pattern over a flat field frame and its evolution.}
   \end{figure}

The most visually striking version of tearing spreads over hundreds of rows and columns on the frame, with a pattern width of tens of rows (Fig.~\ref{fig:widepic}). In LSST sensors, this wide tearing appears consistently when the upper voltage of the parallel clocks (PU, for Parallel Upper clock rail) is above 9.6\,V, with the lower voltage (PL) set at its default of 0\,V. This PU threshold is dependent on the BSS voltage, going down to 9.4\,V when BSS goes from -70\,V to -50\,V (Fig.~\ref{fig:pu2bss}).
To compound on the issue, when starting from a `blank slate' frame (as described in section~\ref{sec:study}), the pattern appears in the immediate next frame near the mid-line of the sensor (Fig.~\ref{fig:widepic}, left), and then moves up and down over consecutive frames, along the same directions as the parallel clocking, until it stabilizes. From the profile (Fig.~\ref{fig:skylinepic}), we measure a distortion amplitude of up to 7\,\% between neighboring columns.
The peak-to-peak amplitude of the pattern remains constant from one frame to the next, and the spatial distribution of lighter and darker columns remain highly consistent, seeming to be only stretched along the column direction.
The spatial distribution is also highly repeatable between sequences of frames, even with varying PU and BSS.

   \begin{figure} [tb]
   \begin{center}
   \includegraphics[height=6.8cm]{Slide2.png}
   \end{center}
   \caption
{ \label{fig:skylinepic}
Left: zoom on the previous `wide' tearing pattern, sometimes called a `skyline' pattern. The readout direction is toward the top of the frame. Center: profiles of isolated features, showing how darker (top) and lighter (bottom) columns always come in pairs, and how their neighboring columns are also affected, respectively with a light excess and a light deficit.  Right: rough sketch of electrical field lines in each situation, with the channel stop of interest marked with a solid black line. }
   \end{figure}

We also see in Fig.~\ref{fig:skylinepic} that all isolated features have in fact a width of two columns, which is the best visual evidence that the sources of the distortions are charges located in the channel stops.
For instance, in the bottom picture, one channel stop holds a higher density of holes than its neighbors, creating a horizontal field near the collection regions that attracts the incoming photo-electrons to the two columns separated by this particular channel stop, and drawing them away from the next columns.
This results in two bright columns, surrounded on both sides by columns that are slightly darker than average.
At a given row, the feature disappears, signalling that the hole density in this particular channel stop has abruptly decreased, to the same level as its neighbors.
Conversely, on the top side of this tearing pattern, most channel stops have a high density of holes.
A channel stop with a lower density results in a horizontal field that draws photo-electrons away from the two columns separated by this channel stop, and into the next columns.
Again, the feature disappears at the row at which the channel stop reaches finally the same hole density as the rest.
In between, the bulk of the tearing pattern results from the combined fields created by several channel stops seeing their hole densities change abruptly at various rows in this region.

\subsubsection{Thin tearing pattern}
After unsuccessful attempts to remove the tearing pattern by changing the readout clock rates and clock timing, a first partial fix to the tearing issue was to lower the PU voltage.
This resulted in a much thinner, nearly horizontal pattern, in a stable shape around the mid-line of the sensors (Fig.~\ref{fig:thin}).
This pattern tapers off back to the mid-line before reaching the vertical sensor edges, which was also the case for the wider pattern.

   \begin{figure} [tb]
   \begin{center}
   \includegraphics[height=6cm]{Slide3.png}
   \end{center}
   \caption
{ \label{fig:thin}
Left: gain- and bias-corrected frame with a thin tearing pattern around the mid-line of the sensor. Right: vertical profile of the pattern (readout direction toward the top of the frame). Note also how the two dark columns marking the edge between the two readout segments go back to average levels below the tearing pattern.}
   \end{figure}

Again, we can explain this pattern in terms of hole density in the channel stops.
There still has to be a steep transition of this density at some point along the rows, but now it happens in all channel stops within the same few rows.
The end result is that, near this transition, there is a mostly vertical field distortion, so that incoming photo-electrons are attracted towards the rows with the higher density of holes in the channel stops.
The profile of the transition shows that these rows with higher hole densities are found towards the top of the frame, when the parallel transfer for the CCD readout is done in the upwards direction, as was also the case for the wider pattern.
The pattern is symmetrical in the lower half of the sensor.

\subsubsection{Segment edge pattern}
\label{sec:rabbit}
The next attempt to remove the tearing patterns involved modifying the timing of the fast clear sequence that is run before acquiring each frame.
In this sequence, 2,010 parallel transfers are executed in succession to fully empty the frame, while all three serial clocks and the reset gate clock are held high to flush out any charges that arrive in the serial register.
In this 4-phase sensor, these transfers are made up of four steps, with two phases moving in the opposite direction at each step. Each step originally lasted $6\mu s$.
Following a suggestion from T-e2v, we lowered that duration to $3\mu s$ per step.
This indeed removed the thin tearing pattern (Fig.~\ref{fig:rabbitprofile}), but at the cost of running the parallel clocks faster than the LSST electronics were designed for.
Since the electronics could not deliver the required current, it is likely that the clock phases never actually reached the upper and/or lower voltage during those faster parallel transfers.

Besides, there is a remaining issue in this operating mode, which is localized at the vertical edges of each readout segment.
All segment edges are consistently affected with a pattern we have called `rabbit ears' (see profiles in Fig.~\ref{fig:rabbitprofile}).
This pattern has a peak-to-peak amplitude of the order of 3\,\%.
It extends at least 5 pixels into the sensor, and is symmetrical across the segment edge.
The symmetry excludes possible effects from the readout, like jumps in the electronic response, or some variant of serial Charge Transfer Inefficiency (CTI).
This effect might be considered acceptable in most cases, but in our highly segmented 16-channel CCDs, those lateral field distortions would affect 2\,\% of the sensor collection areas.

The `rabbit ears' pattern looks extremely similar to the dark columns of the wide tearing pattern.
In addition, the `rabbit ears' are also found on all the frames that show tearing, but not uniformly over all rows: they stop at the tearing edge, as seen most clearly on Fig.~\ref{fig:thin}, and on the middle segments of Fig.~\ref{fig:widepic} (they are present on the other segments, but are smoothed out at that image scale).
This also excludes that the rabbit ears are some intrinsic property of the pixels around the edges, that might have been an artefact of the sensor manufacturing process.

   \begin{figure} [tb]
   \begin{center}
   \includegraphics[height=5.5cm]{Slide4.png}
   \end{center}
   \caption
{ \label{fig:rabbitprofile}
Left: raw flat field frame with no tearing pattern, showing dark columns at each segment edge. Center and right: profiles of the flat field at the columns near the edges of sensor segment, after averaging over rows and subtracting the flux away from the edge. This shows that the pattern we call the `rabbit ears' affect all 16 channels, symmetrically at the beginning (column 10) and the end (column 521) of the segments. The only exceptions show the edge roll-off at the vertical edges of the sensor.}
   \end{figure}

The `rabbit ears' can be explained similarly to the tearing effect, with the channel stop at the edge between segments having a lower density of holes than its neighbors.
There is a possible origin in the sensor layout for the difference between this particular channel stop and the rest.
All other channel stop implants end at the junction to the serial register, where their role is taken over by the S3 serial clock.
On the other hand, the implant for the channel stop at the segment edge is prolonged beyond the serial register, being the boundary between the serial registers of the two segments (see T-e2v documentation\cite{e2v250}, p.7).

\subsection{Frames in Bipolar Mode}
\label{sec:bipolar}
Experimentally, we found two ways to suppress completely the tearing and the segment edge patterns.
The first is to shift down all CCD voltages to use a bipolar voltage set, with $PL<-6V$.
Then the first and last columns have a flux deficit reduced by a factor of ten, to roughly 0.25\,\%, and the neighboring columns are back to the average flux, which makes it quite possible that this leftover pattern is indeed an artefact of the sensor manufacturing process.

However, when the bipolar voltage set was tried on a 9-CCD LSST raft, this mode of operation failed to remove a wide tearing pattern in one particular sensor, which happened to exhibit a strong bulk defect.
The second method, which involves pulling all four phases of the parallel clocks together down to around -7\,V for a duration of 2\,ms\footnote{Disclaimer: T-e2v has expressed a number of reservations about executing this operation on CCD250. We do not advise to attempt it on the sensors they produce without consulting them first.} did work on all nine sensors.
This operation, executed immediately before acquiring a frame, is an attempt to `purge' holes from the channel stops.

Two similar operations are commonly implemented in the case of p-channel CCDs\cite{lbnl, rahmer12}, the `erase' procedure to eliminate residual images, and the `e-purge' procedure to purge charges from the channel stops, which create fixed patterns.
The `purge' operation we use here would be the equivalent operation to an `erase' procedure, taking into account the inverted polarities, but we do not ramp BSS at the same time.
As for n-channel CCDs, in the documentation for CCD290-99\cite{e2v290}, T-e2v describes a similar operation to our `purge', either lowering the parallel clocks to -10V, or increasing the Front Substrate voltage to +10V, and recommends this operation to remove the tearing (note 19, p.17). However, it should be noted that, unlike CCD250, CCD290-99 does not have a BSS applied.

In our case, it is not certain that we actually reach inversion at this voltage, or really remove the holes. This may be why, unlike what is reported for p-channel CCDs, it is necessary to repeat the operation before each frame.
But, at minimum, it seems sufficiently low to draw the holes away from the channel stops, and to redistribute them uniformly across the sensor.

\subsection{Field Distortions from Channel Stops}
Since the tearing is affected by the parallel clock voltage and by the timing of the transfers, one alternative explanation we considered was an issue with the parallel charge transfer, in particular at the point of transfer to the serial register.
But the fact that the excess of charges comes first in the readout direction allows us to discard this possibility.
Similarly, the disappearance of the `rabbit ears' pattern at the tearing edge allows us to rule out a transfer issue.

Observing the various patterns, and their disappearance, we have already seen that they can be explained by considering non-uniform hole distributions in the channel stops.
This explanation has already been presented elsewhere, for instance in the same note in the CCD290-99 documentation\cite{e2v290}.
This effect can be considered the counterpart of the brighter-fatter effect: in the brighter-fatter effect, electrons are collected in the potential well of the collection region, and their accumulation modifies slightly the local electrostatic field, decreasing the effective pixel size of the pixels with the higher counts of electrons.
Conversely, the implants in the channel stops create regions that are repulsive to electrons, and holes can accumulate in the (inverted) potential well near the sensor front surface. This accumulation of holes then modifies slightly the local electrostatic field, increasing the effective pixel size of the pixels on either side of the channel stop with the highest count of holes.

The amplitude of the distortions is of the same order of magnitude than that of the brighter-fatter effect.
To compare, the highest correlation coefficient in flat fields due to brighter-fatter is $C_{0,1}$, the correlation with the next pixel along the vertical direction.
Its value is 0.015 at a flux level of 50,000\,e-, for the same sensor in the same conditions\cite{Guyonnet15}.
But one key property of the brighter-fatter effect is that this correlation increases as the flux comes in.
To better understand the origin of the tearing, and of the related segment-edge distortions, we will now do a similar study on their amplitude.

\section{STUDY OF THE FIELD DISTORTIONS}
\label{sec:study}
First, we will test how the hypothesis that the patterns are due to field distortions holds up experimentally. Then, we will explore the dependency of those field distortions on the exact operating conditions of the sensor.
When performing these tests, we distinguished as much as possible between the operations that generate the field distortions, and the observation of the result, that is the tearing pattern in a flat field frame, and the measurement of its amplitude. Our metric is the average flux in the first and last columns of each segment, normalized to the flux at 10+ pixels into the segment.
Since tearing can evolve over repeated frames, we need to start from a `blank slate' state, so that the patterns that appear can be reliably attributed to the operations done afterwards.
As we discussed in section~\ref{sec:bipolar}, one way to produce such blank slate state is to execute the purge operation at -7\,V.

\subsection{Characterizing the Field Distortions}
In this section, to generate a `rabbit ears' pattern in a repeatable way, we purge, and acquire a 50,000\,e- flat field at 650\,nm.
Then we observe the field distortions in the next frame, for various exposure times (in a randomized order).
The normalized amplitude of the first and last column in this second frame increases very slightly, which means that the amplitude of the `rabbit ears' decreases, when the flux in the second frame increases.
This change can be explained by the brighter-fatter effect, which increases the correlation between neighboring pixels at higher fluxes.
In this case, the net effect of this correlation is that a fraction of the flux that should arrive in the brighter column is instead pushed to its darker neighbor at the edge, due to the repulsive effect of the charges already accumulated.
This fraction is proportional to the difference in flux between these two columns.

Numerically, the average difference over all channels is 3.1\,\% of the flux, and this difference decreases on average by 0.14\,\% ($\pm 0.03$\,\% over all channels) between the frames at 35,000 and 120,000\,e-.
Since the patterns are columns, we should have a good estimate of the correlation by adding up the contributions from the pixel in the next column ($C_{1,0}$), as well as its immediate top and bottom neighbors ($2\times C_{1,1}$) from Ref.~\citenum{Guyonnet15}.
This total correlation increases roughly from 0.6\,\% to 3\,\% between the two fluxes. When applied to the difference between the two columns, this gives: $3.1\% \times (3\% - 0.6\%) = 0.074\%$ as the fraction of the flux subtracted from the bright column and added to the dark column at the higher flux. The overall effect is a decrease in the difference of 0.148\,\%, fairly close to our measurement.

So, aside from this brighter-fatter correction, the amplitude of the tearing pattern is completely independent of the flux measured in the frame that exhibits the pattern.
This is compatible with the idea of a pre-existing field distortion, that is not affected by incoming light.

Another tool to validate the field distortion model is to change the BSS voltage.
When its absolute value is lower, the drift field from the back of the sensor to its front is weaker, so the lateral field distortions have more effect on the final distribution of electrons in the pixels.
This is illustrated when comparing patterns at -70\,V and -50\,V in Fig.~\ref{fig:pu2bss}.

\subsection{Generating Distortions with Parallel Clocking}
\label{sec:genclocks}

   \begin{figure} [tb]
   \begin{center}
   \begin{tabular}{c}
   \includegraphics[height=7cm]{PU2BSSpattern.png}
   \end{tabular}
   \end{center}
   \caption
{ \label{fig:pu2bss}
Amplitude  of the `rabbit ears' pattern in the last column of each segment, when varying the PU voltage in the previous frame. In the two BSS sets, the different BSS voltages were applied to both the previous frame and the observed frame. At higher PU, the amplitude measurements become highly dispersed due to contamination by the wide tearing pattern.}
   \end{figure}

Here we tried various sequences of exposure and readout modes, to pinpoint how the field distortions emerge.
After a purge at -7\,V, if the frame is exposed and read out right away, there are no distortions, independently of the voltage set that was used.
If a clear was performed with the unipolar voltage set (any PU), the `rabbit ears' appear.
Then, the state of the second frame depends on the voltage set used to read out the first frame, and on whether a clear was performed before acquiring the second frame, but is completely independent from the voltage set used during the acquisition of the second frame:
\begin{itemize}
    \item First frame read out with bipolar set, no clear: no distortions.
    \item First frame read out with the unipolar set at low PU, no clear (or extra fast clear with the same, as in \ref{sec:rabbit}): `rabbit ears' appear.
    \item  First frame read out with the unipolar set at low PU, then clear with the same: thin tearing pattern.
    \item First frame read out with unipolar set at high PU, no clear or clear at same PU: wide tearing pattern.
\end{itemize}
In all cases, the tearing patterns appear when clocking operations were executed with the unipolar sets before exposing the frame. The voltage set used during exposure of either frame has no impact on the patterns.
From longer sequences of frames, we have also seen that executing a read or a clear with the bipolar set is sufficient to wipe out the pattern for the frame that comes immediately after.

We also performed quantitative tests on the effect of the PU voltage, by repeating the following sequence: purge at -7\,V, acquire a flat field frame with the desired PU, then shift back to the baseline PU (9.3\,V) to acquire the next frame, with no clear before either frame.
As the PU voltage used to acquire the previous frame increases, the amplitude of the`rabbit ears' in the next frame increases (Fig.~\ref{fig:pu2bss}), until the large tearing pattern appears.

\subsection{Other Contributions to Field Distortions}
While the tearing patterns are clearly tied to the parallel clocking operations, we have found other contributing factors for the amplitude of the distortions, using the same test method. For instance, when increasing the integrated flux in the first frame, the normalized flux in the last columns of the second frame decreases linearly, which means that the amplitude of the pattern increases. Overall, between the fluxes of 0 and 120,000\,e-, the pattern increased by 0.2 to 0.3\,\% depending on the segment, a relative increase of 10\,\%.

It might be tempting to attribute this increase to holes generated by the creation of electron-hole pairs from incoming photons, but it is more likely to be caused by some side effect from increasing the exposure time.
To compare, just waiting in the dark after the purge seems to add to the edge distortion by up to 0.1\,\%.
In both cases, the serial register clocks are run periodically during that time, and again right before reading out the frame. As we will see in Sec.~\ref{sec:unipolpurge}, the exact configuration of the serial clocks has some effect on the patterns.

\section{MINIMAL WORKING MODEL}
The goal here is to make a minimal model that accounts for our observations.
Our starting point is that in unipolar mode, there are holes confined to each channel stop, preferentially underneath the parallel clock electrodes that are set to the PL voltage.
After a purge at -7\,V, when shifting back to the unipolar voltage set, the holes either come back, or they had never really left, and are trapped into the channel stops with a distribution that is uniform from pixel to pixel, or at least vary only on large scales.

Then, we need a mechanism to move the holes to break this uniformity: this is the parallel clocking, which should be moving the holes in the same direction as the electrons.
In the channel stops at the segment edges, the holes arriving at the level of the serial register can get out through the implant, unlike in other channel stops where they are blocked from going into the serial register.
This is because the serial register is a buried channel (as illustrated in Figure~1.12(a) of Ref.~\citenum{janesick}), which potential facilitates by design the transfer of electrons from the imaging area to the serial register, and conversely repulses holes.
This difference can explain the standalone `rabbit ears' pattern. It does not tell us whether the holes are in fact moving only in the segment edge channels, or if they can move in all channels, but are in effect backed up at the serial register.
In this second case, we can suppose that once the number of holes in the next row reaches a certain level, they create a repulsive field strong enough to prevent any further transfers.

For the transition from the `rabbit ears' to the tearing patterns, we need the  efficiency of the hole transfer to vary, so that only some variants of clocking can move the holes efficiently enough to empty the channel stops, starting from the mid-line, or at least enough to create a discontinuity in the hole distribution.
In the case of the wide tearing pattern, the increased efficiency comes from the higher PU voltage, which must be more efficient at pushing holes away.
The evolution of this type of tearing in the first few frames is the sign that the edge of the hole density moves in the readout direction. The tearing pattern then stabilizes, either because it is blocked by the repulsive effect of the accumulated holes in the next rows, or because the efficiency of the hole transfer varies across the surface of the sensor.

To explain that the thin tearing pattern appears only when a clear is performed (and not a readout), we have to suppose that our clock sequence used for clearing is more efficient at moving the holes.
This is reasonable, because the parallel transfer sequence for the readout was modified specifically to transfer the electrons more efficiently, adding some overlap times with three phases high out of four, instead of having only two phases high at any time, as in the fast parallel transfer used for clearing.
While this did improve electron transfer during readout, particularly at high flux, it would necessarily decrease the efficiency of the hole transfer.
As an additional confirmation, we have managed to move the position of the thin tearing pattern between different rows, depending on the exact timing of the clearing sequence.

There remains the question of why the tearing patterns are non-uniform across the sensor columns. On large scales, one possible explanation comes from the propagation of the parallel clocks across the surface of the sensor.
We know that the clock waveforms are smoother near the middle of the sensor than in the corners, which tends to make them less efficient to transfer electrons.
Again, by symmetry, this might mean that the hole transfer is then more efficient.
Other explanations could be a large-scale non-uniformity in the hole distribution, or a difference in the capacity of channel stops either to hold holes, or to allow their movement.

These other explanations apply also to small-scale differences in the hole distribution after clocking, as seen in the `skyline' pattern.
In that particular case, since the distribution of lighter and darker columns is stable from one sequence to the next (as mentioned in section~\ref{sec:wide}), the underlying explanation must be tied to the intrinsic properties of the sensor.
One such property could be the variation of the local dopant density in the channel stops.
Such variations on larger scales could be another way to account for the large-scale non-uniformities of the patterns.

   \begin{figure} [tb]
   \begin{center}
   \includegraphics[height=7.0cm]{Slide5.png}
   \end{center}
   \caption
{ \label{fig:reverse}
Left: flat field (top right quarter of the sensor) obtained after a purge at -7\,V and reverse parallel clocking for 1,000 rows (half a frame), with PU voltage at 9.8\,V. Patterns appear both at the corners of the sensors, and in the middle segments near the sensor horizontal edges. Right: zoom showing the reversal of the tearing pattern, with dark double columns towards the bottom of the frame and bright double columns towards the top (readout direction is towards the top of the frame).}
   \end{figure}

To validate some aspects of our models, we ran the parallel clocks in reverse, with the unipolar voltage set, right after a purge at -7\,V.
In the first frame, a tearing pattern appears, in reverse to the usual patterns (Fig.~\ref{fig:reverse}): it is located close to the edges of sensor, instead of the mid-line, and the tearing transition indicates that the hole density is lower in the outer areas, instead of being lower around the mid-line.
This means that the holes were present in the sensor as soon as we shifted back to the unipolar voltages, and that we were able to move the holes away from the serial registers with this reverse parallel clocking.
In addition, we performed this reverse clocking both with high and low PU voltages.
With the low PU, the reverse tearing pattern appeared only in the corners of the sensor.
With the high PU, a wider reverse pattern appeared also in the middle segments, confirming that this higher voltage is more efficient to move the holes.

\section{SOLUTIONS FOR REMOVING PATTERNS}

\subsection{Operating in Bipolar Mode}
As discussed in Section~\ref{sec:bipolar}, one way to prevent the tearing patterns from ever appearing is to operate the sensor with a bipolar voltage set.
As seen in Section~\ref{sec:genclocks}, operating in bipolar mode only during the readout phase, or just executing a purge operation at -7\,V before acquiring a frame, has the same effect.
Our preliminary studies indicate that operating the readout in bipolar mode would also suppress an abnormally high, flux-dependent serial CTI that appears in some channels of our sensors.
We can also expect that it would slightly improve dark current. One other advantage is that it removes the constraint that $PU-PL<9.5V$ (with PL constrained at 0\,V in unipolar mode), which opens up the parameter space to optimize the CCD full well.

While our LSST raft electronics can deliver the bipolar voltage set, the operating parameters of the sensor are highly constrained.
One such constraint is that by construction, the parallel clock phase P4 is also used as the reset of the second stage of the CCD output amplifier\cite{e2v250}.
Finding the optimal bipolar voltage set for all T-e2v sensors on the LSST focal plane is a work that is not complete, and out of the scope of this article.
Even switching briefly the voltages to apply a purge would create significant overhead relatively to the 2~s readout time of LSST, so there was a strong interest in finding a tearing fix that could be used at the baseline voltage set.

\subsection{Purging in Unipolar Mode}
\label{sec:unipolpurge}
In unipolar mode, we cannot really `purge' the holes, but our goal is to spread them out uniformly, or at least with no sharp transitions, in a repeatable manner.
We have found experimentally that this can be achieved by pulling all parallel clocks down to PL, which is set at 0\,V.
This applies a uniform potential along each channel stop, instead of having pockets of potential that depend on which parallel phases are at PU or PL.
This operation removes the tearing patterns, including at high PU, and most of the segment edge distortions, in the frame acquired immediately afterwards.
We only have a faint `rabbit ears' pattern left near the serial register, which is limited to less than 200 rows, with an amplitude of at most 1.5\,\%.

But this operation, equivalent in effect to a `purge', works only if certain conditions are met.
First, it must be kept in this state for a long enough time, at least 3\,ms for our sensor.
This time scale means either that the channel stops are not really conductive for holes, so their propagation takes a non-negligible time, or that the holes are trapped at the surface and need some time to be released.
Then, since the parallel clocking is what generates the segment edge pattern, this must be the last operation before acquiring a frame, done after clearing.
Also, since the later operations of readout and clearing will generate a non-uniform hole distribution again, this `purge' must be performed before each frame, ensuring repeatability.
Less obviously, we have found that the serial clocks S1 and S2 must be set high at the time of the purge to obtain the minimal residual pattern, while the state of S3 seems indifferent.
It is possible that when these two clocks are high, they affect the potential of the segment edge channel stop at the point where it crosses the serial register, decreasing the probability for holes to drain away through that path.

This unipolar purge-like operation has been tested on an LSST raft, with the exact same result of removing the tearing patterns, and leaving only a fraction of rabbit ears, on all nine T-e2v sensors. It will be incorporated into the baseline operations for the LSST readout.

\section{CONCLUSIONS}
Tearing and the related `rabbit ears' pattern have been long-standing issues in the LSST rafts built with T-e2v sensors, with no adequate solution up to now.
These patterns are created by lateral distortions of the electric field, that affect incoming photo-electrons drifting to the accumulation regions.
These field distortions are caused by non-uniform hole distributions in the channel stop regions.

The parallel clocking of the frame during the readout and clearing operations is the main source for these non-uniformities, but there is evidence for additional effects at play.
A purge-like operation with the usual unipolar voltage set clears the tearing and most - but not all - of the `rabbit ears', if executed correctly.
Since this solution applies even at the higher parallel clock voltages, it opens up a new opportunity for sensor optimization, by removing one of the constraints on this voltage set.
Moving to a bipolar voltage set would remove the issue entirely, and would have other beneficial effects, but this would require extensive study and validation.

Beyond the operation of the LSST sensors, one promising avenue to lift the uncertainties in our model of tearing would be through modeling of the sensor physics, and possibly through simulation to replicate hole movements.
On the experimental side, comparison with the strategies used on other sensors to remove similar issues may yield new configurations to try, which might in turn improve our understanding of the underlying physics.

\acknowledgments

The authors thank their colleagues in the LSST project and in the Dark Energy Science Collaboration (DESC) for many productive discussions, and for their feedback on this study. In particular, we thank Craig Lage at UC Davis for sharing the results of his work on modeling the electrical properties of the LSST sensors.

redpajama_set_name: RedPajamaArXiv


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