Highly Charged Ion Production Using an Electrode in Biased and Floating Modes

One of the most popular ways to obtain higher beam intensities in ECR ion sources is to install an electrode (usually disc) into the plasma chamber. Examined this method in detail we found that majority of the groups observed the beam intensity improvement by supplying a suitable biased voltage to the electrode and an electron current was injected into the plasma. A few groups observed the enhancement, however, when the electrode operated at floating potential - without being an electron donor. Only a few (and sometimes contradictionary) information was found on the optimised properties of the electrodes, i.e. position, dimension, shape, material. In spite of the great success of the "biased-disc" method, the mechanism is still not completely clear. In this contribution, as one step of understanding, we examine what condition we observed the above mentioned two modes. The experiments were performed at the 18 GHz RIKEN and at the 14.5 GHz ATOMKI ECR ion sources. It was found that effect of the electrode is strongly depends on the local plasma parameters and on the position of the electrode. At certain mirror ratios and electrode positions we needed to negatively bias the electrode and inject electrons into the plasma. The electrode operated as an electron source (Electron Donor ED mode). At higher mirror ratios and other axial positions the electrode works by directly changing the plasma potential dip (Potential Tuner PT mode). These two modes were checked and successfully found both in continuos and in pulsed mode operation. In both (ED and PT) modes we generated higher highly charged ion currents in the RIKEN-ECRIS than without the electrode

Somewhere in Europe (1947): locating Hungary within a shifting geopolitical landscape

Somewhere in Europe/Valahol Európában (Radványi, 1947) was one of the first films made in Hungary after 1945. Financed by the Hungarian Communist Party (MKP), it loudly proclaimed a broad European pertinence in an effort to privilege the universal narrative of childhoods disrupted by the war over narrowly national political concerns. The film’s story of a gang of half-starved children battling for survival in a bombed-out Central European landscape places it squarely within a transnational post-war film-making tradition. Similarities with both Italian neorealism and Soviet socialist realist cinema indicate a shared European experience of the war, but is also attributable to the international training and experience of the film’s personnel. The director Radványi had worked in the Italian industry, while the scriptwriter was the well-known film theorist Béla Balázs, who had worked in Weimar Germany and Soviet Russia. This article argues that in spite of its ostensible commitment to a communist and humanist ideology, the film gives an insight into the Hungarian national obsession with territorial integrity. Hungary’s participation in World War II on the side of the Axis, and its position as a defeated nation under Allied occupation, are seen to complicate the film text. This article contends that in spite its transnational flavour, the film’s focus on lost children wandering a borderless Europe suggests a preoccupation with the country’s uncertain position within a shifting geopolitical landscape. In turn, the film’s official reading by Nemeskürty shows an eagerness to accept the film’s representation of Hungary as a blameless victim of the war, and gives evidence of a need to insert a (false) break between the country’s wartime past as a member of the Axis, and the country’s 1968 present as a member of the Communist world order

Records of "new glume wheat" in France : a review

International audienc