Polymer Electroluminescent Devices

MRS Bulletin ◽  
1997 ◽  
Vol 22 (6) ◽  
pp. 31-38 ◽  
Author(s):  
Yang Yang
Keyword(s):  
New York ◽  
Quantum Efficiency ◽  
Operating Voltage ◽  
Organic Crystals ◽  
New York University ◽  
Research Activity ◽  
Information Displays ◽  
Potential Applications ◽  
Bandgap Semiconductors ◽  
The 1960S

Electroluminescence (EL) is the emission of light generated from the radiative recombination of electrons and holes electrically injected into a luminescent semiconductor. Conventional EL devices are made of inorganic direct-bandgap semiconductors, such as GaAs and InGaAs. Recently EL devices based on conjugated organic small molecules and polymers have attracted increasing attention due to easy fabrication of large areas, unlimited choice of colors, and mechanical flexibility. Potential applications of these organic/polymeric EL devices include backlights for displays, alphanumeric displays, and high-density information displays.Electroluminescence from an organic material was first demonstrated in the 1960s on anthracene crystals by Pope et al. at New York University. Subsequently several other groups also observed this phenomenon in organic crystals and thin films. These organic EL devices had high operating voltages and low quantum efficiency. Consequently they did not attract much attention. In 1987 a breakthrough was made by Tang and VanSlyke at Eastman Kodak who found that by using multilayers of sublimated organic molecules, the operating voltage of the organic EL devices was dramatically reduced and the quantum efficiency was significantly enhanced. This discovery touched off a flurry of research activity, especially in Japan. The Japanese researchers, as welt as the group at Kodak, have since improved the device efficiency and lifetime to meet commercial requirements. This progress is reviewed by Tsutsui in this issue.

A Ptolemaic-Roman Temple Foundation at Tell Timai

2019 ◽  
Vol 105 (2) ◽  
pp. 217-225
Author(s):  
James E. Bennett
Keyword(s):  
New York ◽  
Roman Period ◽  
New York University ◽  
North West ◽  
The North ◽  
Construction Techniques ◽  
Late Roman Period ◽  
University Of Hawai'i ◽  
The 1960S ◽  
The University

The mission of the University of Hawai’i at Tell Timai in 2009 began excavating the remains of a limestone temple foundation platform in the north-west area of the site. The foundations had been partially recorded in survey work conducted in 1930 by Alexander Langsdorff and Siegfried Schott, and again in the 1960s by New York University, however no known investigations of the structure were conducted. In 2017 as part of an Egypt Exploration Society Fieldwork and Research Grant, excavations were renewed to finalise the understanding of the temple’s construction techniques, and the date of the temple. The foundations were of a casemate design with internal fills of alternating silt and limestone chips. The ceramic evidence from within the construction fills dates its construction from the end of the Ptolemaic to the early Roman Period, and the temple’s superstructure was most likely taken down and the blocks reused in the late Roman Period (fourth to fifth century ce).

scholarly journals What the Progressives Had in Common

2011 ◽  
Vol 10 (3) ◽  
pp. 331-339 ◽  
Author(s):  
Glen Gendzel
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York University ◽  
Progressive Movement ◽  
Core Theme ◽  
Early Twentieth Century ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
The 1960S

When Professor Benjamin Parke De Witt of New York University sat down to write the first history of the progressive movement in 1915, he promised “to give form and definiteness to a movement which is, in the minds of many, confused and chaotic.” Apparently it was a fool's errand, because confusion and chaos continued to plague historians of early twentieth-century reform long after Professor De Witt laid his pen to rest. The maddening variety of reform and reformers in the early twentieth century has perpetually confounded historians' efforts to identify what, if anything, the progressives had in common. Back in the 1950s, Richard Hofstadter charitably allowed that progressives were “of two minds on many issues,” whereas Arthur Link argued that “the progressive movement never really existed” because it pursued so many “contradictory objectives.” In the 1960s, Robert Wiebe concluded that the progressives, if they constituted a movement at all, showed “little regard for consistency.” In the 1970s, Peter Filene wrote an “obituary” for progressivism by reasserting Link's claim that the movement had “never existed” because it was so divided and diffuse. In the 1980s, Daniel Rodgers tried to recast the “ideologically fluid” progressive movement as a pastiche of vaguely related rhetorical styles. By the 1990s, so many competing characterizations of progressivism had emerged that Alan Dawley wondered if “they merely cancel each other out.” In 2002, Glenda Elizabeth Gilmore declared emphatically that “historians cannot agree” on progressivism. In 2010, Walter Nugent admitted that “the movement's core theme has been hard to pin down” because progressivism had “many concerns” and “included a wide range of persons and groups.”

Reinhardt, Ad (1913–1967)

2018 ◽  
Author(s):  
Annika Marie
Keyword(s):  
New York ◽  
York City ◽  
Brooklyn College ◽  
Art World ◽  
Abstract Painting ◽  
Political Organizations ◽  
New York University ◽  
Graduate Studies ◽  
Color Field Painting ◽  
The 1960S

Ad Reinhardt, the American painter and illustrator-cartoonist, was born in 1913 and raised in New York City. Reinhardt attended Columbia College, pursued graduate studies in Asian art at New York University, and taught art and art history for twenty years at Brooklyn College. As a painter, Reinhardt was committed to pure abstract painting—what he termed "art-as-art." His pursuit of abstraction brought him into contact with the American Abstract Artists in the 1930s, with the Abstract Expressionists in the 1940s, and with Color-field painting and Minimalism in the 1960s. The black square paintings, begun in 1960, are exemplary of his extreme formal reduction. Uniformly five by five feet and matte black, Reinhardt made these monochromatic paintings for the last six years of his life. Reinhardt was also a prolific illustrator and cartoonist. His work appeared in leftist publications such as the New Masses and P.M. and was used in support of political organizations such as the Artists’ Union and the American Artists’ Congress. His later cartoons were often directed at art-world corruption.

Jacobs, Lewis (1906–97)

2018 ◽  
Author(s):  
Laura Ivins-Hulley
Keyword(s):  
New York ◽  
New York Times ◽  
First Record ◽  
The United States ◽  
American Film ◽  
New York University ◽  
City College ◽  
Critical History ◽  
Experimental Cinema ◽  
The 1960S

Lewis Jacobs (1906–97) was an American film critic, historian, and filmmaker. Jacobs initially studied painting and design, and his first foray into cinema was through the Philadelphia Cinema Crafters, an amateur film club founded in the late 1920s (the first record of its existence in the Amateur Cinema League dates from 1928). In 1930, he co-founded the short-lived periodical Experimental Cinema with poet and fellow cine-enthusiast David Platt. Much of the content of Experimental Cinema dealt with Soviet montage film, but it also contained essays on filmmaking aesthetics, international directors, and workers’ film societies both in the United States and abroad. The final issue in 1935 was largely devoted to Sergei Eisenstein’s Que Viva Mexico! and published Eisenstein’s full scenario for the film. During the 1930s, Jacobs was involved with leftist film organizations in New York and made several documentaries and experimental films, including Footnote to Fact (1934). Jacobs began publishing film criticism during this period in The New York Times, his articles frequently focussing on directors like D.W. Griffith. In 1939, he published The Rise of the American Film: A Critical History. A technical, industrial, and aesthetic history; like Jacobs’ newspaper criticism, the book pays special attention to key American directors. Jacobs continued making films into the 1960s, wrote and edited books on the aesthetics of cinema and on documentary, was an early contributor to Hollywood Quarterly (subsequently renamed Film Quarterly), and taught film at the City College of New York, New York University, and the Philadelphia College of Art.

Patricia H. Labalme, ed., Beyond their sex New York and London : New York University Press, 1980. xx-188 pp. $ 21.90

Moreana ◽  
1982 ◽  
Vol 19 (Number 74) (2) ◽  
pp. 105-106
Author(s):  
Patricia Delendick ◽  
Germain Marc’hadour
Keyword(s):  
New York ◽  
New York University
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