Fabrication of Capacitive Micromachined Ultrasonic Transducers Using a Boron Etch-Stop Method

Capacitive Micromachined Ultrasonic Transducers (CMUTs) fabricated using Silicon-On-Insulator (SOI) wafers often have large thickness variation of the flexible plate, which causes variation in both pull-in voltage and resonant frequency across the CMUT array. This work presents a bond and boron etch-stop scheme for fabricating the flexible plate of a CMUT. The proposed fabrication method enables precise control of the plate thickness variation and is a low cost alternative to the SOI-based process. N-type silicon wafers are doped with boron to a surface concentration of > 1020 cm−3 using solid planar diffusion predeposition at 1125 °C for 30, 60, and 90 min. Process simulations are used to predict the boron doping profiles and validated with secondary ion mass spectrometry measurements. The doped wafers are fusion-bonded to a silicon dioxide surface and thinned down using an 80 °C, 20 wt% potassium hydroxide solution with isopropyl alcohol added to increase the etch selectivity to the highly doped boron layer. The resulting plate thickness uniformity is estimated from scanning electron micrographs to a mean value of 2.00μm±2.5%. The resonant frequency in air for a 1-D linear CMUT array is measured to 12MHz±2.5%. Furthermore, hydrophone measurements show that the fabricated devices can be used to emit sound pressure in the ultrasonic frequency domain

Tracing postrepresentational visions of the city: representing the unrepresentable Skateworlds of Tyneside

In any visualisation of the city more is left unseen than made visible. Contemporary visualisations of the city are increasingly influenced by quantification, and thus anything which cannot be quantified is hidden. In contrast, we explore the use of ‘lo-fi’, doodled, participatory maps made by skateboarders in Tyneside, England, as a means to represent their cityscape. Drawing on established work an skateboarding and recent developments in cartography, we argue that skateboarders understand the city from a postrepresentational perspective. Such a framing presents a series of challenges to map their worlds which we explore through a processual account of our mapmaking practice. In this process we chart how skateboarders’ mappings became part of a more significant interplay of performance, identity, visualisation, and exhibition. The paper makes contributions to the emerging field of postrepresentational cartography and argues that its processual focus provides useful tools to understand how visions of the city are produced