ultrasound technician schools
Agreement Reached to Accelerate Development of EUV Inspection Tool to
Target Mask Defects for 22 nm Half-Pitch Node and Below
ALBANY, N.Y. JENA, Germany — SEMATECH and Carl Zeiss today announced their agreement to design and
develop the industry’s first-ever actinic aerial image metrology system
(AIMS™) for defect review of EUV photomasks. The AIMS™ EUV platform
represents a critical tool for the development and manufacturing of
defect-free extreme ultraviolet lithography (EUVL) masks targeted at the
22 nm technology node and beyond. A first production-worthy version of
the platform is scheduled for early 2014, in line with the expected
introduction of EUV lithography into high-volume manufacturing by 2015.
In collaboration with SEMATECH’s EUVL Mask Infrastructure (EMI)
consortium, Carl Zeiss will investigate a concept and feasibility plan
for a tool that emulates the aerial image formed by a EUV lithography
scanner supporting the 22 nm half-pitch (HP) node requirements with
extendibility to the 16 nm HP node.
“Major industry transitions such as the introduction of EUV lithography
require collaborative innovations that involve coordination across the
supply chain,” said Dan Armbrust, president and CEO of SEMATECH. “This
agreement represents a significant achievement for SEMATECH’s EMI
consortium, and illustrates our continuing commitment to develop and
deliver the infrastructure required for this critical next-generation
technology.”
“The development of production-worthy metrology solutions is critical to
accelerating EUVL and represents another significant step toward
readiness for commercialization of EUV for high-volume-manufacturing,”
said John Warlaumont, vice president of Advanced Technologies, SEMATECH.
“Carl Zeiss has been a valued partner of SEMATECH for many years, given
their leadership in providing state-of-the-art tool components and
system solutions that are manufacturing friendly. We are very pleased to
partner with Carl Zeiss on driving the development of a high-resolution
EUV defect review tool that will collectively support the needs of the
semiconductor industry and EUV stakeholders.”
Cinema possesses a rich history of collaboration between artists of sound, narrative, and image. However, traditional tendencies to perceive music as a strictly supportive background or accompaniment have been subjected to in-depth critique only recently. Abigail Childs interactions with musicians in Is This What You Were Born For? (1981-89) and Bill Morrisons partnership with composer Michael Gordon in Decasia (2001) exemplify (but by no means exhaust the possibilities of) the broader range of collaborative textures that cinema has always suggested. Not coincidentally, these works represent the influence on cinema of two popular music practices: the ubiquitous re-mixing that has emerged from hip-hop culture and the group composition typical of many rock bands. Abigail Child (also a poet, critic, and scholar) has had an influential career as an experimental filmmaker since the mid-1970s when she turned from professional documentary work to the creation of independent films focusing on gender, sexuality, class, and the critical possibilities of montage. Recycling found footage from a wide variety of sources, such as porn, industrial films, and home movies, and progressing cinematic techniques often associated primarily with the historical avant-garde of the early twentieth century, Child has created an oeuvre of incredible beauty and continuing social relevance. Her films are shown at major art museums and in experimental cinema venues and can be obtained through a variety of distribution channels. Is This What You Were Born For?, the series of short films Child created in the 1980s, underscores her exploration of interdisciplinary collaboration and these endeavors have had on her work. Michael Gordons award-winning career as a composer has resulted in a variety of notable intermedia collaborations, including for example operas with diegetic film components progressing beyond the more familiar application of projection as scenery and non-narrative music performances incorporating video. Gordon is a founding member of the highly regarded new music organization Bang on a Can, a group dedicated to facilitating the composition and performance of new music, often with an interdisciplinary dimension and independently of conservative academic contexts. Decasia, Gordons internationally celebrated collaboration with filmmaker Bill Morrison, is a symphony for full orchestra paired with a montage of archival nitrate footage in various states of intriguing and evocative decomposition. The final version of the film, edited to fit the live recording of the symphony performance, was featured in the 2002 Sundance Film Festival. Decasia synaesthetically elucidates subtleties inherent to myriad generative tensions: progress/tradition, memory/time, darkness/illumination, and mini-malism/totalism.
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