By Luque A., Marti A., Nozik A.J.
Semiconductor quantum dots can be used in so - referred to as 3rd - new release sun cellsthat have the aptitude to drastically elevate the photon conversion potency through twoeffects: (1) the creation of mul tiple excitons from a unmarried photon of enough energyand (2) the formation of intermediate bands within the bandgap that use sub - bandgapphotons to shape separable electron-hole pairs. this is often attainable simply because quantization ofenergy degrees in quantum dots produces the next results: superior Auger proc -esses and Coulomb coupling among cost vendors; removal of the requirement toconserve crystal momentum; slowed sizzling electron-hole pair (exciton) cooling; multipleexciton iteration; and forma tion of minibands (delocalized digital states) in quantumdot arrays. For exciton multi plication, very excessive quantum yields of 300-700% for excitonformation in PbSe, PbS, PbTe, and CdSe quantum dots were pronounced at photonenergies approximately 4-8 instances the HOMO-LUMO transition power (quantum dot bandgap),respectively, indi cating the formation of 3-7 excitons/photon, based upon the photonenergy. For intermediate - band sun cells, quantum dots are used to create the intermediatebands from the con fined electron states within the conduction band. through theintermediate band, it's attainable to soak up under - bandgap power photons. This ispredicted to provide sun cells with stronger photocurrent with out voltage degradation.
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Example text
Another way similitude is freed from its old c o m plicity with rep resentative affirmation: perfidiously mixing (and by a ruse that seems to indicate j us t the o p posite of what it means) the painting and what it represents . Evidently this is a way o f affirming that the p ainting i s indeed its own model . But in fa ct such an affirmation would imply an interior distance, a divergence, a disj uncture bet ween the canvas and what it is supposed to mimic . For Magritte , on the contrary, there exists fro m the painting to the model a perfect continuity of scene, a linearity, a continuous overflowing of one into the other.
And at the nexus o f these figures and signs, the arrow that crop s up s o often (the arrow, sign bearing a primal resemblance, like a graphic ono matopoeia, and shape that formulates an order)-the arrow indicates the direction in which the boat is trav eling , shows that the sun is setting , pres cribes the direction that the gaze must follow, or rather the line along which it mus t imaginatively shift the figure provisionally and a bit arbitrarily placed here. It is not, in fact, a ques tion of those calligrams that by turns bring into play the subordinatio n of sign to form (a cloud of words and letters taking the shape they designate) , then of form to sign (the figure dis secting itself into alphabetic al elements) .
Despite appea rances, in fo rmi ng a bird, a flower, or rain, the calligram does not say: These things are a do ve, a flower, a downp our. As soon as it begins to do so, to speak and convey meanin g, the bird has already flown, the rain has evaporated . For whoever sees i t , the calli g ram does not say, cannot yet say : This is a fo wer, this is a bird. It is still too much trapped within shape, too much subj ect to representation by resemblance, to fo rmulate such a proposition. And when we read it, the deciphered sentence ("this is a dove, " " this is a rainstorm " ) is not a bird, is no longer a shower.