Articles de revues sur le sujet « Microcoil resonator »

State-of-the-art nanomechanical resonators are heralded as a central component for next-generation clocks, filters, resonant sensors, and quantum technologies. To practically build these technologies will require monolithic integration of microchips, resonators, and readout systems. While it is widely seen that mounting microchip substrates into a system can greatly impact the performance of high-Q resonators, a systematic study has remained elusive, owing to the variety of physical processes and factors that influence the dissipation. Here, we analytically analyze a mechanism by which substrates couple to resonators manufactured on them and experimentally demonstrate that this coupling can increase the mechanical dissipation of nanomechanical resonators when resonance frequencies of resonator and substrate coincide. More generally, we then show that a similar coupling mechanism can exist between two adjacent resonators. Since the substrate–mode coupling mechanism strongly depends on both the resonator position on the substrate and the mounting of the substrate, this work provides key design guidelines for high-precision nanomechanical technologies.

In the world of digitization, different objects cooperate with the Internet of Things (IoT); these objects also amplify using sensing and data processing structures. Radio frequency identification (RFID) has been identified as a key enabler technology for IoT. RFID technology has been used in different conventional applications for security, goods storage, transportation and asset management. In this paper, a fully inkjet-printed chipless radio frequency identification (RFID) sensor tag is presented for the wireless identification of tagged objects. The dual polarized tag consists of two resonating structures functioning wirelessly. One resonator works for encoding purpose and other resonator is used as a CO2/temperature sensor. The sensing behavior of the tag relies on the integration of a meandered structure comprising of multi-wall carbon nanotubes (MWCNT). The MWCNT is highly sensitive to CO2 gas. The backscattered response of the square-shaped cascaded split ring resonators (SRR) is analyzed through a radar cross-section (RCS) curve. The overall tag dimension is 42.1 mm × 19.5 mm. The sensing performance of the tag is examined and optimized for two different flexible substrates, i.e., PET and Kapton®HN. The flexible tag structure has the capability to transmit 5-bit data in the frequency bands of 2.36–3.9 GHz and 2.37–3.89 GHz, for PET and Kapton®HN, respectively. The proposed chipless RFID sensor tag does not require any microchip or a power source, so it has a great potential for low-cost and automated temperature/CO2 sensing applications.

Two models of Nd:LSB microchip laser with Cr:YAG saturable absorber have been compared: the travelling wave model and the point model which is deduced from the first one by averaging of all characteristics over the resonator length. It has been shown that the point model is applicable only for a narrow range of laser parameters, in other cases the results of simulations based on these two models differ significantly.

Radio frequency identification (RFID) is a growing technology for monitoring and recognizing objects, persons, or animals via wireless communications. Precisely, RFID can operate longer range and has an ability to be automated without human control. Chipless RFID tag basically is a RFID tag that does not require a microchip in the transponder. The major impediments in designing chipless RFID tag are data encoding and transmission. The passive chipless RFID tag can be fabricated on any substrate material without external operating circuit, which is different compared to a conventional chipped RFID tag. In this paper, 20 resonators are used to design a 20-bit chipless RFID tag, which operates at the ultra-wideband (UWB) frequency range between 3.00 and 10.00 GHz. It is found that the additional resonators can encode data and increase the chipless RFID tag's encoding capacity significantly. In sum, multiple resonators enable the chipless RFID tag to encode data at different operating frequencies.

The reliability and stability of MEMS electrostatic comb resonators have become bottlenecks in practical applications. However, there are few studies that comprehensively consider the nonlinear dynamic behavior characteristics of MEMS systems and devices in a coupled field so that the related simulation accuracy is low and cannot meet the needs of design applications. In this paper, to avoid the computational complexity and the uncertainty of the results of three-field direct coupling and take into the damping nonlinearity caused by coupled fields, a novel electrostatic-fluid-structure three-field indirect coupling method is proposed. Taking an actual microcomb resonant electric field sensor as an example, an electrostatic-fluid-structure multiphysics coupling 3D finite element simulation model is established. After considering the influence of nonlinear damping concerning the large displacement of the structure and the microscale effect, multifield coupling dynamics research is carried out using COMSOL software. The multiorder eigenmodes, resonant frequency, vibration amplitude, and the distribution of fluid load of the microresonator are calculated and analyzed. The simulated data of resonance frequency and displacement amplitude are compared with the measured data. The results show that the fluid load distribution of the microelectrostatic comb resonator along the thickness direction is high in the middle and low on both sides. The viscous damping of the sensor under atmospheric pressure is mainly composed of the incompressible flow damping of the comb teeth, which is an order of magnitude larger than those of other parts. Compared with the measured data, it can be concluded that the amplitude and resonance frequency of the microresonator considering the nonlinear damping force and residual thermal stress are close to the experimental values (amplitude error: 15.47%, resonance frequency error: 12.48%). This article provides a reference for studies on the dynamic characteristics of electrostatically driven MEMS devices.

The Greek economic crisis resonates across Europe as synonymous with corruption, poor government, austerity, financial bailouts, civil unrest, and social turmoil. The search for accountability on the local level is entangled with competing rhetorics of persuasion, fear, and complex historical consciousness. Internationally, the Greek crisis is employed as a trope to call for collective mobilization and political change. Drawing on ethnographic research conducted in Trikala, central Greece, this article outlines how accountability for the Greek economic crisis is understood in local and international arenas. Trikala can be considered a microcosm for the study of the pan-European economic turmoil as the “Greek crisis“ is heralded as a warning on national stages throughout the continent.

This paper draws from resources in the work of Deleuze to critically examine the notion of organicism and holistic relations that appear in historical forerunners that Jung identifies in his work on synchronicity. I interpret evidence in Jung’s comments on synchronicity that resonate with Deleuze’s interpretation of repetition and time and which challenge any straightforward foundationalist critique of Jung’s thought. A contention of the paper is that Jung and Deleuze envisage enchanted openings onto relations which are not constrained by the presupposition of a bounded whole, whether at the level of the macrocosm or the microcosm. Openings to these relations entail the potential for experimental transformation beyond sedentary habits of thought which are blocked by a disenchanting ‘image of thought’ that stands in need of critique. Other examples of enchanted openings in Jung’s work are signposted in an effort to counter their marginalisation in some post-Jungian critiques and to signal their potential value from a Deleuzian perspective.

“The other Civil War” is how many Minnesotans think of the U.S.-Dakota Conflict of 1862, fought for six weeks in the recently established state as the Civil War raged elsewhere (Nichols). These hostilities between groups of Dakota Indians and the U.S. government were triggered by a containable incident near Acton, Minnesota, in which four hungry young Dakotas apparently challenged five white settlers over food and then killed them. But some Indians decided against containment, and the Conflict instead escalated into a contest for traditional Dakota cultural identity and cohesion. Of course, the Dakotas' sense of siege had been exacerbated for years by “the historically familiar rapacious traders, ethnocentric missionaries, white men's decimating diseases, inept Indian Bureau officials, equivocating United States government representatives, and deplorably conflicting military policies,” as well the growing number of “land-hungry settlers” (Russo, 99). When the war ended in late September 1862, about five hundred whites and a considerable, but unknown, number of Dakotas and crossbloods were dead (Anderson and Woolworth, 1). The U.S. government unilaterally abrogated treaties with the Dakotas – regardless of individuals' actual involvement in the Conflict – removed or imprisoned them, conducted hasty and illegal trials, and sent thirtyeight to the gallows in Mankato, Minnesota, on December 26, 1862. It is believed to be the largest mass execution in American history. Although little known outside the state, this short but intense war has been called “a microcosm of the tragedy of Indian–white relations in America,” and its repercussions still resonate over a century later (Nichols, 4).

AbstractThis work reports a method to select the optimal working frequency in transversal bulk resonator acoustophoretic devices by electrical impedance measurements. The impedance spectra of acoustophoretic devices are rich in spurious resonance peaks originating from different resonance modes in the system not directly related to the channel resonance, why direct measurement of the piezoelectric transducer impedance spectra is not a viable strategy. This work presents, for the first time, that the resonance modes of microchip integrated acoustophoresis channels can be identified by sequentially measuring the impedance spectra of the acoustophoretic device when the channel is filled with two different fluids and subsequently calculate the Normalized Differential Spectrum (NDS). Seven transversal bulk resonator acoustophoretic devices of different materials and designs were tested with successful results. The developed method enables a rapid, reproducible and precise determination of the optimal working frequency.

AbstractSpectral domain optical coherence tomography (OCT) is a widely employed, minimally invasive bio-medical imaging technique, which requires a broadband light source, typically implemented by super-luminescent diodes. Recent advances in soliton based photonic integrated frequency combs (soliton microcombs) have enabled the development of low-noise, broadband chipscale frequency comb sources, whose potential for OCT imaging has not yet been unexplored. Here, we explore the use of dissipative Kerr soliton microcombs in spectral domain OCT and show that, by using photonic chipscale Si3N4 resonators in conjunction with 1300 nm pump lasers, spectral bandwidths exceeding those of commercial OCT sources are possible. We characterized the exceptional noise properties of our source (in comparison to conventional OCT sources) and demonstrate that the soliton states in microresonators exhibit a residual intensity noise floor at high offset frequencies that is ca. 3 dB lower than a traditional OCT source at identical power, and can exhibit significantly lower noise performance for powers at the milli-Watt level. Moreover, we demonstrate that classical amplitude noise of all soliton comb teeth are correlated, i.e., common mode, in contrast to superluminescent diodes or incoherent microcomb states, which opens a new avenue to improve imaging speed and performance beyond the thermal noise limit.

RFID is a short distance communication system which comprises of a RFID tag, a RFID reader and a personal computer with desired software that can maintain the related information. These RFID tags can be of active or passive types. This paper focuses on design, simulation and fabrication of passive ultra-high frequency RFID tag (microchip and an antenna) which resonates at the frequency 866 MHz in the Industrial Scientific Medical Band. The nested H-slot inverted-F microstrip antenna structure is used for the design of passive RFID tag. It examines the specific tag geometry and its characteristics to optimize the PIFA antenna and in turn RFID tag’s performance.

RFID is a short distance communication system which comprises of a RFID tag, a RFID reader and a personal computer with desired software that can maintain the related information. These RFID tags can be of active or passive types. This paper focuses on design, simulation and fabrication of passive ultra-high frequency RFID tag (microchip and an antenna) which resonates at the frequency 866 MHz in the Industrial Scientific Medical Band. The nested H-slot inverted-F microstrip antenna structure is used for the design of passive RFID tag. It examines the specific tag geometry and its characteristics to optimize the PIFA antenna and in turn RFID tag’s performance.

The Lugiato-Lefever Equation (LLE), first developed to provide a description of spatial dissipative structures in optical systems, has recently made a significant impact in the integrated photonics community, where it has been adopted to help understand and predict Kerr-mediated nonlinear optical phenomena such as parametric frequency comb generation inside microresonators. The LLE is essentially an application of the nonlinear Schrodinger equation (NLSE) to a damped, driven Kerr nonlinear resonator, so that a periodic boundary condition is applied. Importantly, a slow-varying time envelope is stipulated, resulting in a mean-field solution in which the field does not vary within a round trip. This constraint, which differentiates the LLE from the more general Ikeda map, significantly simplifies calculations while still providing excellent physical representation for a wide variety of systems. In particular, simulations based on the LLE formalism have enabled modeling that quantitatively agrees with reported experimental results on microcomb generation (e.g., in terms of spectral bandwidth), and have also been central to theoretical studies that have provided better insight into novel nonlinear dynamics that can be supported by Kerr nonlinear microresonators. The great potential of microresonator frequency combs (microcombs) in a wide variety of applications suggests the need for efficient and widely accessible computational tools to more rapidly further their development. Although LLE simulations are commonly performed by research groups working in the field, to our knowledge no free software package for solving this equation in an easy and fast way is currently available. Here, we introduce pyLLE, an open-source LLE solver for microcomb modeling. It combines the user-friendliness of the Python programming language and the computational power of the Julia programming language.

AbstractThe developing advances of microresonator-based Kerr cavity solitons have enabled versatile applications ranging from communication, signal processing to high-precision measurements. Resonator dispersion is the key factor determining the Kerr comb dynamics. Near the zero group-velocity-dispersion (GVD) regime, low-noise and broadband microcomb sources are achievable, which is crucial to the application of the Kerr soliton. When the GVD is almost vanished, higher-order dispersion can significantly affect the Kerr comb dynamics. Although many studies have investigated the Kerr comb dynamics near the zero-dispersion regime in microresonator or fiber ring system, limited by dispersion profiles and dispersion perturbations, the near-zero-dispersion soliton structure pumped in the anomalous dispersion side is still elusive so far. Here, we theoretically and experimentally investigate the microcomb dynamics in fiber-based Fabry-Perot microresonator with ultra-small anomalous GVD. We obtain 2/3-octave-spaning microcombs with ~10 GHz spacing, >84 THz span, and >8400 comb lines in the modulational instability (MI) state, without any external nonlinear spectral broadening. Such widely-spanned MI combs are also able to enter the soliton state. Moreover, we report the first observation of anomalous-dispersion based near-zero-dispersion solitons, which exhibits a local repetition rate up to 8.6 THz, an individual pulse duration <100 fs, a span >32 THz and >3200 comb lines. These two distinct comb states have their own advantages. The broadband MI combs possess high conversion efficiency and wide existing range, while the near-zero-dispersion soliton exhibits relatively low phase noise and ultra-high local repetition rate. This work complements the dynamics of Kerr cavity soliton near the zero-dispersion regime, and may stimulate cross-disciplinary inspirations ranging from dispersion-controlled microresonators to broadband coherent comb devices.

Ways of Seeing"Images … define our experiences more precisely in areas where words are inadequate." (Berger 33)"Different skins, you know, different ways of seeing the world." (Morrison)The research question animating this article is: 'How does an individual creative worker re-present themselves as a contemporary - and evolving - brand?' Berger notes that the "principal aim has been to start a process of questioning" (5), and the raw material energising this exploration is the life's work of Richard Morrison, the creative director and artist who is the key moving force behind The Morrison Studio collective of designers, film makers and visual effects artists, working globally but based in London. The challenge of maintaining currency in this visually creative marketplace includes seeing what is unique about your potential contribution to a larger project, and communicating it in such a way that this forms an integral part of an evolving brand - on trend, bleeding edge, but reliably professional. One of the classic outputs of Morrison's oeuvre, for example, is the title sequence for Terry Gilliam's Brazil.Passion cannot be seen yet Morrison conceives it as the central engine that harnesses skills, information and innovative ways of working to deliver the unexpected and the unforgettable. Morrison's perception is that the design itself can come after the creative artist has really seen and understood the client's perspective. As he says: "What some clients are interested in is 'How can we make money from what we're doing?'" Seeing the client, and the client's motivating needs, is central to Morrison's presentation of self as a brand: "the broader your outlook as a creative, the more chance you have of getting it right". Jones and Warren draw attention to one aspect of this dynamic: "Wealthy and private actors, both private and state, historically saw creative practice as something that money was spent on - commissioning a painting or a sculpture, giving salaries to composers to produce new works and so forth. Today, creativity has been reimagined as something that should directly or indirectly make money" (293). As Berger notes, "We never look at just one thing; we are always looking at the relation between things and ourselves…The world-as-it-is is more than pure objective fact, it includes consciousness" (9, 11). What is our consciousness around the creative image?Individuality is central to Berger's vision of the image in the "specific vision of the image-maker…the result of an increasing consciousness of individuality, accompanying an increasing awareness of history" (10). Yet, as Berger argues "although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing" (10). Later, Berger links the meanings viewers attribute to images as indicating the "historical experience of our relation to the past…the experience of seeking to give meaning to our lives" (33). The seeing and the seeking go hand in hand, and constitute a key reason for Berger's assertion that "the entire art of the past has now become a political issue" (33). This partly reflects the ways in which it is seen, and in which it is presented for view, by whom, where and in which circumstances.The creation of stand-out images in the visually-saturated 21st century demands a nuanced understanding of ways in which an idea can be re-presented for consumption in a manner that makes it fresh and arresting. The focus on the individual also entails an understanding of the ways in which others are valuable, or vital, in completing a coherent package of skills to address the creative challenge to hand. It is self-evident that other people see things differently, and can thus enrich the broadened outlook identified as important for "getting it right". Morrison talks about "little core teams, there's four or five of you in a hub… [sometimes] spread all round the world, but because of the Internet and the way things work you can still all be connected". Team work and members' individual personalities are consequently combined, in Morrison's view, with the core requirement of passion. As Morrison argues, "personality will carry you a long way in the creative field".Morrison's key collaborator, senior designer and creative partner/art director Dean Wares lives in Valencia, Spain whereas Morrison is London-based and their clients are globally-dispersed. Although Morrison sees the Internet as a key technology for collaboratively visualising the ways in which to make a visual impact, Berger points to the role of the camera in relation to the quintessential pre-mechanical image: the painting. It is worth acknowledging here that Berger explicitly credits Walter Benjamin, including the use of his image (34), as the foundation for many of Berger's ideas, specifically referencing Benjamin's essay "The work of art in the age of mechanical reproduction". Noting that, prior to the invention of the camera, a painting could never be seen in more than one place at a time, Berger suggests that the camera foments a revolutionary transformation: "its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings" (19). This disruption is further fractured once that camera-facilitated image is viewed on a screen, ubiquitous to Morrison's stock in trade, but in Berger's day (1972) particularly associated with the television:The painting enters each viewer's house. There it is surrounded by his wallpaper, his furniture, his mementoes. It enters the atmosphere of his family. It becomes their talking point. It lends its meaning to their meaning. At the same time it enters a million other houses and, in each of them, is seen in a different context. Because of the camera, the painting now travels to the spectator, rather than the spectator to the painting. In its travels, its meaning is diversified. (Berger, 19-20)Even so, that image, travelling through space and time is seen on the screen in a sequential and temporal context: "because a film unfolds in time and a painting does not. In a film the way one image follows another, their succession constructs an argument which becomes irreversible. In a painting all its elements are there to be seen simultaneously." Both these dynamics, the still and the sequence, are key to the work of a visual artist such as Morrison responsible for branding a film, television series or event. But the works also create an unfolding sequence which tells a different story to each recipient according to the perceptions of the viewer/reader. For example, instead of valorising Gilliam's Brazil, Morrison's studio could have been tagged with Annaud's Enemy at the Gates or, even, the contemporary Sky series, Niel Jordan's Riviera. Knowing this sequence, and that the back catalogue begins with The Who's Quadrophenia (1979), changes the way we see what the Morrison Studio is doing now.Ways of WorkingRichard Morrison harnesses an evolutionary metaphor to explain his continuing contribution to the industry: "I've adapted, and not been a dinosaur who's just sunk in the mud". He argues that there is a need to explore where "the next niche is and be prepared for change 'cause the only constant thing in life is change. So as a creative you need to have that known." Effectively, adaptation and embracing innovation has become a key part of the Morrison Studio's brand. It is trumpeted in the decision that Morrison and Ware made when they decided to continue their work together, even after Ware moved to Spain. This demonstrated, in an age of faxes and landlines, that the Morrison Studio could make cross country collaboration work: the multiple locations championed the fact that they were open for business "without boundaries".There was travel, too, and in those early pre-Internet days of remote location Morrison was a frequent visitor to the United States. "I'd be working in Los Angeles and he'd be wherever he was […] we'd use snail mail to actually get stuff across, literally post it by FedEx […]." The intercontinental (as opposed to inter-Europe) collaboration had the added value of offering interlocking working days: "I'd go to sleep, he wakes up […] We were actually doubling our capacity." If anything, these dynamics are more entrenched with better communications. Currah argues that Hollywood attempts to manage the disruptive potential of the internet by "seeking to create a 'closed' sphere of innovation on a global scale […] legitimated, enacted and performed within relational networks" (359). The Morrison Studio's own dispersed existence is one element of these relational networks.The specific challenge of technological vulnerability was always present, however, long before the Internet: "We'd have a case full of D1 tapes" - the professional standard video tape (1986-96) - "and we'd carefully make sure they'd go through the airport so they don't get rubbed […] what we were doing is we were fitting ourselves up for the new change". At the same time, although the communication technologies change, there are constants in the ways that people use them. Throughout Morrison's career, "when I'm working for Americans, which I'm doing a lot, they expect me to be on the telephone at midnight [because of time zones]. […] They think 'Oh I want to speak to Richard now. Oh it's midnight, so what?' They still phone up. That's constant, that never goes away." He argues that American clients are more complex to communicate with than his Scandinavian clients, giving the example that people assume a UK-US consistency because they share the English language. But "although you think they're talking in a tongue that's the same, their meaning and understanding can sometimes be quite a bit different." He uses the example of the A4 sheet of paper. It has different dimensions in the US than in the UK, illustrating those different ways of seeing.Morrison believes that there are four key constants in his company's continuing success: deadlines; the capacity to scope a job so that you know who and how many people to pull in to it to meet the deadline; librarian skills; and insecurity. The deadlines have always been imposed on creative organisations by their clients, but being able to deliver to deadlines involves networks and self-knowledge: "If you can't do it yourself find a friend, find somebody that's good at adding up, find somebody that's good at admin. You know, don't try and take on what you can't do. Put your hand up straight away, call in somebody that can help you". Chapain and Comunian's work on creative and cultural industries (CCIs) also highlights the importance of "a new centrality to the role of individuals and their social networks in understanding the practice of CCIs" (718).Franklin et al. suggest that this approach, adopted by The Morrison Studio, is a microcosm of the independent film sector as a whole. They argue that "the lifecycle of a film is segmented into sequential stages, moving through development, financing, production, sales, distribution and exhibition stages to final consumption. Different companies, each with specialized project tasks, take on responsibility and relative financial risk and reward at each stage" (323). The importance that Morrison places on social networks, however, highlights the importance of flexibility within relationships of trust - to the point where it might be as valid to engage someone on the basis of a history of working with that person as on the basis of that person's prior experience. As Cristopherson notes, "many creative workers are in vaguely defined and rapidly changing fields, seemingly making up their careers as they go along" (543).The skills underlying Morrison's approach to creative collaboration, however, include a clear understanding of one's own strength and weaknesses and a cool evaluation of others, "just quietly research people". This people-based research includes both the capabilities of potential colleagues, in order to deliver the required product in the specified time frame, along with research into creative people whose work is admired and who might provide a blueprint for how to arrive at an individual's dream role. Morrison gives the example of Quentin Tarantino's trajectory to directing: "he started in a video rental and all he did is watch lots and lots of films, particularly westerns and Japanese samurai films and decided 'I can do that'". One of his great pleasures now is to mentor young designers to help them find their way in the industry. That's a strategy that may pay dividends into the future, via Storper and Scott's "traded and untraded interdependencies" which are, according to Gornostaeva, "expressed as the multiple economic and social transactions that the participants ought to conduct if they wish to perpetuate their existence" (39).As for the library skills, he says that they are crucial but a bit comical:It's a bit like being a constant librarian in old-fashioned terms, you know, 'Where is that stuff stored?' Because it's not stored in a plan chest anymore where you open the drawer and there it is. It's now stored in, you know, big computers, in a cloud. 'Where did we put that file? Did we dump it down? Have we marked it up? […] Where's it gone? What did we do it on?'While juggling the demands of technology, people and product The Morrison brand involves both huge confidence and chronic insecurity. The confidence is evident in the low opinion Morrison has of the opportunities offered by professional disruptor sites such as 99designs: "I can't bear anything like that. I can see why it's happening but I think what you're doing is devaluing yourself even before you start […] it would destroy your self-belief in what you're doing". At the same time, Morrison says, his security is his own insecurity: "I'm always out hunting to see what could be next […] the job you finish could be your last job."Ways of BrandingChristopherson argues that there is "considerable variation in the occupational identities of new media workers among advanced economies. In some economies, new media work is evolving in a form that is closer to that of the professional [in contrast to economies where it is] an entrepreneurial activity in which new media workers sell skills and services in a market" (543). For The Morrison Studio, its breadth, history and experience supports their desire to be branded as professional, but their working patterns entirely resonate with, and are integrated within, the entrepreneurial. Seeing their activity in this way is a juxtaposition with the proposition advanced by Berger that:The existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for a full democracy which entails, among other things, the overthrow of capitalism; or else he lives, continually subject to an envy which, compounded with his sense of powerlessness, dissolves into recurrent day-dreams (148).The role of the brand, and its publicity, is implicated by Berger in both the tension between what an individual is and what s/he would like to be; and in the creation of an envy that subjugates people. For Berger, the brand is about publicity and the commodifying of the future. Referring to publicity images, Berger argues that "they never speak of the present. Often they refer to the past and always they speak of the future". Brands are created and marketed by such publicity images that are often, these days, incorporated within social media and websites. At the same time, Berger argues that "Publicity is about social relationships, not objects [or experiences]. Its promise is not of pleasure, but of happiness: happiness as judged from the outside by others. The happiness of being envied is glamour." It is the dual pressure from the perception of the gap between the individual's actual and potential life, and the daydreaming and envy of that future, that helps construct Berger's powerless individual.Morrison's view, fashioned in part by his success at adapting, at not being a dinosaur that sinks into the mud, is that the authenticity lies in the congruence of the brand and the belief. "A personal brand can help you straight away but as long as you believe it […] You have to be true to what you're about and then it works. And then the thing becomes you [… you] just go for it and, you know, don't worry about failure. Failure will happen anyway".Berger's commentary on publicity is partially divergent from branding. Publicity is generally a managed message, on that is paid for and promoted by the person or entity concerned. A brand is a more holistic construction and is implicated in ways of seeing in that different people will have very different perceptions of the same brand. Morrison's view of his personal brand, and the brand of the Morrison Studio, is that it encompasses much more than design expertise and technical know-how. He lionises the role of passion and talks about the importance of ways of managing deadlines, interlocking skills sets, creative elements and the insecurity of uncertainty.For the producers who hire Morrison, and help build his brand, Berger's observation of the importance of history and the promise for the future remains key to their hiring decisions. Although carefully crafted, creative images are central to the Morrison Studio's work, it is not the surface presentation of those images that determines the way their work is perceived by people in the film industry, it is the labour and networks that underpin those images. While Morrison's outputs form part of the visual environment critiqued in Ways of Seeing, it is informed by the dynamics of international capitalism via global networks and mobility. Although one of myriad small businesses that help make the film industry the complex and productive creative sphere that it is, Morrison Studios does not so much seek to create a public brand as to be known and valued by the small group of industry players upon whom the Studio relies for its existence. Their continued future depends upon the ways in which they are seen.ReferencesBenjamin, Walter. Illuminations: Essays and Reflections. United States of America, 1969.Berger, John. Ways of Seeing. London: Penguin Books, 1972.Brazil. Dir. Terry Gilliam. Universal Pictures. 1985. Film. Chapain, Caroline, and Roberta Comunian. "Enabling and Inhibiting the Creative Economy: The Role of the Local and Regional Dimensions in England." Regional Studies 44.6 (2010): 717-734. Christopherson, Susan. "The Divergent Worlds of New Media: How Policy Shapes Work in the Creative Economy." Review of Policy Research 21.4 (2004): 543-558. Currah, Andrew. "Hollywood, the Internet and the World: A Geography of Disruptive Innovation." Industry and Innovation 14.4 (2007): 359-384. Enemies at the Gates. Dir. Jean-Jacques Annaud. Paramount. 2001. FilmFranklin, Michael, et al. "Innovation in the Application of Digital Tools for Managing Uncertainty: The Case of UK Independent Film." Creativity and Innovation Management 22.3 (2013): 320-333. Gornostaeva, Galina. "The Wolves and Lambs of the Creative City: The Sustainability of Film and Television Producers in London." Geographical Review (2009): 37-60. Jones, Phil, and Saskia Warren. "Time, Rhythm and the Creative Economy." Transactions of the Institute of British Geographers 41.3 (2016): 286-296. Morrison, Richard. Personal Interview. 13 Oct 2016.The Morrison Studio. The Morrison Studio, 2017. 16 June 2017 <https://themorrisonstudio.com/>.Quadrophenia. Dir. Franc Roddam. Brent Walker Film Distributing. 1979. Film.Riviera. Dir. Neil Jordan. Sky Atlantic HD. 2017. Film.Storper, Michael, and Scott, Allen. "The Geographical Foundations and Social Regulation of Flexible Production Complexes". The Power of Geography: How Territory Shapes Social Life. Eds. Jennifer Wolch and Michael Dear. New York: Routledge, 1989. 21-40.