Spectral and electroluminescent properties of coordination compounds of terbium (III) with ibuprofen (in solid form, chloroform solutions, and polyvinylcarbazole films)

Spectral properties of terbium (III) complexes with composition of TbL3DL, where L is an anion of d,l-2-(4-isobutylphenyl)propanoic acid (ibuprofen) and DL is 2,2′-dipyridyl (Dipy), 1,10-phenanthroline (Phen), or triphenylphosphine oxide (TPPO), have been studied in a solid form, chloroform solutions, and polyvinylcarbazole (PVC) films. It has been demonstrated that, in PVC films, occupation of the emitting level of terbium (III) involves the participation of polymer. The emission decay lifetimes of terbium in the chloroform solutions and PVC films have been measured. The possibility of the appearance of electroluminescence of complexes in PVC films has been studied

Anomalous Thermal Stability of Metastable C_20 Fullerene

The results of computer simulation of the dynamics of fullerene C_20 at different temperatures are presented. It is shown that, although it is metastable, this isomer is very stable with respect to the transition to a lower energy configuration and retains its chemical structure under heating to very high temperatures, T ~ 3000 K. Its decay activation energy is found to be E_a ~ 7 eV. Possible decay channels are studied, and the height of the minimum potential barrier to decay is determined to be U = 5.0 eV. The results obtained make it possible to understand the reasons for the anomalous stability of fullerene C_20 under normal conditions.Comment: Slightly corrected version of the paper submitted to Phys. Solid Stat

Decay and fusion as two different mechanisms of stability loss for the (C_20)_2 cluster dimer

The thermal stability of the (C_20)_2 cluster dimer consisting of two C_20 fullerenes is examined using a tight-binding approach. Molecular dynamics simulations of the (C_20)_2 dimer at temperatures T = 2000 - 3500 K show that the finite lifetime \tau of this metastable system is determined by two fundamentally different processes, the decay of one of the C_20 fullerenes and the fusion of two C_20 fullerenes into the C_40 cluster. The activation energies for these processes Ea = 3.4 and 2.7 eV, respectively, as well as their frequency factors, have been determined by analyzing the dependence of \tau on T.Comment: Slightly modified version of the paper to appear in JETP Let

Photo- and electroluminescence of new organic semiconductors

The results of investigation of the luminescence under photo- and electroexcitation for four new compounds are presented. The spectral properties and photoluminescence are studied in ethanol, chloroform solutions and in films formed by thermovacuum deposition (TVD). The phosphorescence of compounds is investigated in ethanol at 77K temperature. The phosphorescence times of molecules are given. The electroluminescence is obtained in multilayered structure ITO/PEDOT/NPD/L /Ca/Al. It is shown, that spectral region of the photoluminescence of TVD films and electroluminescence coincide. Relations of electroluminescence efficiency with molecule structure, photoluminescence quantum yield and possibility of thermally activated delayed fluorescence are discussed

Aesthetic Transformations as the Ideological Basis of Soviet Fine Arts in 1917–1922

Советское изобразительное искусство репрезентирует собой уникальный период в истории развития российского искусства. Большое значение для его становления и развития имели эстетико-философские воззрения второй половины XIX- начала XX вв. Цель данного исследования состоит в систематизации ключевых взглядов на эстетику искусства ведущих идеологов дореволюционного (1890–1917 гг.) и раннего социалистического (1917–1922 гг.) периодов, оказавших влияние на становление и развитие советского изобразительного искусства 1917–1922 гг. Исследование проводилось на основе анализа содержания трудов, посвященных эстетике искусства, таких идеологов, как В. С. Соловьев, Н. А. Бердяев, Н. Г. Чернышевский, Г. В. Плеханов, А. В. Луначарский, а также работ, программных речей и манифестов художников авангардистов, в том числе В. В. Кандинского, К. С. Малевича, И. Зданевича. В результате анализа текстов были выявлены и систематизированы ключевые эстетические взгляды идеологов на природу и задачи искусства. Авторами отмечается, что сосуществование различных эстетических взглядов на природу искусства в сравнительно небольшой период времени конца XIX – начала XX вв. предопределило стремительное развитие российского искусства в дореволюционный период. Кроме того, это способствовало выявлению господствующей и наиболее приемлемой для российской культуры эстетики социалистического реализма. Все те трансформации, которые происходили в области эстетики искусства в дореволюционный период, таким образом, стали основой для развития социалистического изобразительного искусства в 1917–1922 гг.Soviet fine art represents a unique period in the history of the development of Russian art. The aesthetic and philosophical views of the second half of the 19th and early 20th centuries were of great importance for its formation and development. The purpose of this study is to systematize the key views on the aesthetics of art by the leading ideologists of the pre-revolutionary (1890–1917) and early socialist (1917–1922) periods that influenced the formation and development of Soviet fine art in 1917–1922. The study was based on the analysis of the content of works devoted to the aesthetics of art, such ideologists as V. S. Solovyov, N. A. Berdyaev, N. G. Chernyshevsky, G. V. Plekhanov, A. V. Lunacharsky, as well as works program speeches and manifestos of avant-garde artists, including V. V. Kandinsky, K. S. Malevich, I. Zdanevich. As a result of the analysis of the texts, the key aesthetic views of the ideologists on the nature and tasks of art were identified and systematized. The authors note that the coexistence of different aesthetic views on the nature of art in a relatively short period of time in the late XIX – early XX centuries predetermined the rapid development of Russian art in the pre-revolutionary period. In addition, this contributed to the identification of the dominant and most acceptable aesthetics of socialist realism for Russian culture. All those transformations that took place in the field of aesthetics of art in the pre-revolutionary period, thus, became the basis for the development of socialist fine arts in 1917–192

The Image of Artificial Intelligence in Cinema: Transformations in the 1980s‑2010s

Статья посвящена актуальной теме образа искусственного интеллекта в кинематографе как осмысления отношения к внедрению высоких технологий в жизнь человека и как средства осмысления человеком не только искусственного интеллекта, но и самого себя. В качестве репрезентативных этапов авторами выбраны исторические периоды 1980–1990-х, 2000-х и 2010-х гг. Методологической основой исследования выступил и философско-искусствоведческий и сравнительный анализ кинофильмов. В качестве материала для исследования выбраны популярные в свое время и ставшие классикой киноленты: «Бегущий по лезвию» (Р. Скотт, 1981 г.), «Призрак в доспехах» (М. Осии, 1995 г.), «Искусственный разум» (С. Спилберг, 2001), «Прометей» (Р. Скотт, 2012), «Чужой: Завет» (Р. Скотт, 2017). Исследование показывает, что основными вопросами, которые поднимает кинематограф 1980–2010-х гг. в связи с образом искусственного интеллекта, можно назвать вопросы взаимодействия человека и созданного им андроида, характера их отношений, возможного равенства. Кинорепрезентанты демонстрируют актуальность тем степени признания человечности антропоморфного робота, его самосознания, статуса в человеческом обществе, этики отношений людей и машин. Образ искусственного интеллекта развивается от представлений о нем как о во многом равном человеку к репрезентации его как угрозы для положения человека в миреThe article is devoted to the actual topic of the image of artificial intelligence in cinematography as an understanding of the attitude to the introduction of high technologies in human life and as a means of understanding not only artificial intelligence, but also oneself. The historical periods of the 1980s – 1990s, 2000s and 2010s are chosen as representative stages. The methodological basis of the study was also a philosophical, art history and comparative analysis of films. As a material for the study, films that were popular in their time and became classics were chosen: «Blade Runner» (R. Scott, 1981), «Ghost in the Shell» (M. Oshii, 1995), «Artificial Intelligence» (S. Spielberg, 2001), «Prometheus» (R. Scott, 2012), «Alien: Covenant» (R. Scott, 2017). The study shows that the main questions that the cinema of the 1980s‑2010s raises in connection with the image of artificial intelligence can be called the issues of interaction between a person and the android he created, the nature of their relationship, and possible equality. Film representatives demonstrate the relevance of the degree of recognition of the humanity of an anthropomorphic robot, its self-awareness, status in human society, and the ethics of relations between people and machines. The image of artificial intelligence is developing from ideas about it as in many respects equal to a person to its representation as a threat to the position of a person in the worl