Computer Piracy in The Music Industry Essay -- mp3 file sharing music

Computer Piracy (The Music Industry) The music industry has had problems with computer piracy for many years now. There have been many programs devoted to giving out free music. Many of these programs are well know, but still very hard to stop. Napster, Kazaa, and the newest program, myTunes Redux are the most popular programs for music sharing. This essay will explain all about these main programs which allow free music to be shared all over the world. File-sharing became big right around the time the Napster file-sharing program came out. Napster is an online service which was invented by an 18-year-old college student that allows a user to see song files residing on the hard drives of other users, and to download copies of any of those songs. (DLC.org) Napster started off at a slow pace, becoming popular at colleges and then it just exploded. Everyone was using this program within a year of its creation. (DLC.org) However, it eventually got busted and the idea of free music was shutdown, or so the music industry thought. Napster continues to be around today, but with a legal persona. After Napster was told to stop there illegal program there were many other programs in the making. Programs even more advanced then Napster. The next program to come along which caused a big stir was a program known as Kazaa. Kazaa took file sharing to the next level by also allowing movie and picture files to be shared rather than just music files. The Kazaa protocol is the brainchild of the Scandinavians Niklas Zennstrà ¶m and Janus Friis and was introduced in March 2001 by their Dutch company Consumer Empowerment. (Wikipedia.org) Like the creators of Napster, Kazaa's owners have been taken to court by m... ...l and is the biggest file sharing program since Napster and Kazaa. There will most likely be a final resolution to this new program by next year. Basically, file sharing programs will always be around. They even are able to avoid law suits by explaining that it is the user who is breaking the law. The world of the music industry needs to understand that there is nothing they can do to stop it. All they can do is try to find ways to work around it. Besides, if someone really enjoys a band, they would go out and support them by buying their cd. In the end, file sharing is part of the world around us and will remain here for many years to come. Works Cited http://www.dlc.org/print.cfm?contentid=646 http://en.wikipedia.org/wiki/Kazaa http://news.com.com/MyTunes+returns+for+iTunes+song+sharing/2100-1027_3- 5349272.html

Ib Theatre Ri Noh Costume Essay

Noh is known as the classical lyrics drama of Japan. Noh is a combination of serveral dance and drama forms that came before it. (Noh and Kyogen) It embraces the people’s love for the religious and cultral traditions that involve the mix of Japanese Dengaku and Sarugaku (which is a mix between a style of dance and mime). (Noh and Kyogen) Noh is fundamentally a symbolic theatre that focuses on the representation and appreciation of ritual traditions and the appreciation of culture. A tradtitional romantic play in Noh theater is Hanjo (Lady Han). The story of Hanjo is about a yujo named Hanago that works in an inn. A man named Yoshida no Shosho came into the inn for the night on his journey east. Hanago and Yoshida no Shosho fell in love and exchanged fans before he leaves for his journey. After Shosho is gone Hanago becomes nicknamed Hanjo becuase of her deranged and obsessive love for Shosho with the only memories of him being his fan. In this love story, the fans are a representation of the giving of their hearts to one another (connecting to the plot of which this story was derived from); in which the only memory that the women has of her lost lover is the fan. Throughout the play Hanjo constantly has Shosho’s fan in her posession and the more she waves the fan in the play, the more deranged she becomes thoughout the play. (Keene) One of the main aspects of Noh theater is the use of masks and to a Noh actor, the mask gives the actor behind the mask the responsibilty â€Å"to be the living embodiment of the qualities he is called upon to represent†. Toki) The masks in No theater that are commonly usedare the masks that were created between the fourteenth century and the seventeenth century and are prefered to be used in a performance rather than modern mask for the modern mask lacking in origionality compared to the classic. (Toki) In Noh theater, generally the Shite (main actor/ protagonist) actor is the only actor masked in the play, but in certain instances the Shitez-zure (assistant of the Shite) will also wear a mask but only when representing a female character. Toki) Even though the Shite is the only actor to be wearing a mask, the Shite will not wear a mask when representing a character in a earthly or a realistic piece of work and theatrical make-up is rerely and often not used during Noh performances. (Toki) The most common masks that are used are masks that represent female characters. The female mask are used to represent women of all ages and symbolize at times the beauty of the women or the ghost/ spirits of dead women. Toki) Different masks are used to represent the three main type of women, which are catagorized by age. (Toki) Young women are represented by ko-omote, magojiro, and waka-onna; the middle-Aged women are represented by Shakumi, Fukai, and Zoh; and finally the Old women are represented by uba and rojo. (Toki) Yet on occasion the Hannya mask is used in order to represent the vengeful women and conveys negative expressions and attitude. (Toki) When it comes to the costume design for Noh performances there are four different catagorities that the costumes can be organized into: costumes that are worn as undergarments, those worn over the under garments, costumes resembling skirts, and costumes that divide the actors upper section and the lower section of the body. (Toki) A Shite costume with five layers and outer garment of brocade creates an imposing figure on stage that can be even more imposing when a red or white wig is added. (Toki) A very typical gown style worn by women is the Karaori, which is woven with threads of gold, silver and other colors. Toki) Like most costumes in Noh theater, the use of color is major in determining the characters in the play. (Toki) Using red in the color scheme of any of the costume is best fit for a young character. (Toki) The most common costume for woman characters is the kinagashi (worn flowing), as well as the most common way of wearing kimono. (Toki) The outer robe over the under robe hanging from the shoulds to the ground and tied at the waist. (Toki) Another costume in Noh theater is the nuihaku (embroidery, foil) that can be used for both male and female characters. Komparu) A short-sleeved robed with a gold-â€Å"foil† or a silver- â€Å"foil† woven into the costume and â€Å"embroidery†, taking on the style of the satin-weave base. (Komparu) This costume is worn in the style of the koshimaki and includes the aslpects of being draped down from the waist, also resembling the nugi-sage. (Komparu) The nugi-sage (removed and draped) is a costume that will often symbolize a women that is mad. The right sleeve of the outer robe is removed and draped down the back, representing the decaying mind state of the women that is becoming mentally unfit. Komparu) Karaori (Chinese Weave), even though being influenced by the woven style of Chinese clothing is a good representation of Japanese Noh costumes. (Komparu) The robes can be manipulated in order to classify the different characters. It could either include the traditional color red in order to represent the young women characters or can be used without red in order to symbolise the middle-aged and older characters. In order to create the representation of a women’s skin, resort to the surihaku (foil applique). Komparu) Using the same style of the short-sleeved nuihaku with the gold-foil or silver-foil being woven into the costume with red indicates that the character is a woman. (Komparu) Another critical representation of women characters are the styles of katsura (wigs) supported by the katsura obi (wig bands). (Komparu) The narrow bands are long strands that are tied around the outside of the wig and are left hanging down the actors back. (Komparu) The bands still include the aspects of the gold-foil or silver-foil with the choice of red or not. The koshi obi (hip bands) can be used for both male and female characters. (Komparu) This resembles the mizu-goromo or is used with nuihaku in the style of koshimaki (draped from the waist). (Komparu) This costume is wrapped around the hips over a three quarter length. The tradtional styles of wigs that are used to indicate women character are the katsura, which is generally tied back or can be lengenthed to be the naga-katsura- (long wig) by attaching the long hair to a small square cloth and tied onto the actors head then rearranged for the performances. Other styles include the kasshiki-katsura (the religious wig), the midare-bin (untidy or disordered wig), and the uba-katsura (old woman’s wig). (Komparu) For the costume design for Hanjo there are certain aspects from each of the traditional costumes that could come together to create a beautiful costume along with conveying ,the character, Hanjo going mad without her lover, Shosho. The most fitting costume style would be the mugi-sage (removed and draped), which is generally known for symbolizing the concept of a mad woman with the disordanized and rugged look of the right sleeve of the outer robe slipped of and left to hang down the back of the character. The colors of the robe would include the same aspects of the nuihaku and the surihaku with the silver-foil woven into the fabric and the traditional red to indicate that the character is a young woman. The headress of Hanjo would include the idare-bin (disheveled tresses) style of wig in order to help convey the slow affect of Hanjo becoming mad without her lover; and the traditional katsura obi (wig band) with a red trim will support the headress itself and the concept of a female character. For props, Hanjo will hold bamboo grass in her hand which symbolizes a mad women. Along with the bamboo grass, Hanjo will hold a fan that will be a representation of Shosho’s fan that she recieved and will be used to be waved more rapidly to symbolize Hanjo’s madness.

Narrative Writing & Tupac Essay

American rapper, actor, activist, poet 2Pac was truly one of hip hop’s most distinctively talented artists and indeed, a dynamically influential figure who conveyed his introspective thoughts through such vibrantly resonating music and lyrics. However, 2Pac’s journey to glory and recognition was filled only with many intricacies and hardships but fuelled only by gifted ability, wit, heart and sheer passion. Many could either label him from anywhere as both a thug and gangster or a natural born leader and poet—but 2pac emphasized: â€Å"Measure a man by his actions fully, with his whole life from the beginning to the end† (qtd. in Lazin). Born Tupac Amaru Shakur (June 16, 1971) in East Harlem, New York, 2pac was named after a proud Inca chief from South America by his mother who was a key member of the Black Panther. Due to her significant affiliation with the movement, Afeni Shakur was incarcerated during her pregnancy to her son. 2pac admits the absolute admiration he has for his mother for being able to withstand all adversity and eventually giving birth to him, affectionately mentioning her as a â€Å"strong black woman†(Lazin). 2pac values his mother’s teaching of raising him and his sister to be community-oriented and socially aware, amidst the financial shortcomings they faced. 2pac categorizes their financial status then as being â€Å"stone broke† as they did not have luxuries or even necessities which he thought they needed. Growing up, 2pac had no real father figure to look up to—he stresses such longing in saying that â€Å"You need a man to teach you how to be a man† (qtd. in Lazin). Due to his troubles to gain a steady source of income, his mother decided to move to Baltimore. There, 2pac was enrolled in the Baltimore School of Arts and spent three years there learning assorted facets of art and meeting various individuals-turned-friends. In the process of education, 2pac pin points one major flaw of lack of shedding light into life’s reality. In his observation of the social and economic inequality, he states, â€Å"Rich people should live like poor people, and poor people should live like rich people. They should change every week† (qtd. in Lazin). In attempt to escape poverty and violence, 2pac moved to California only to realize the same poverty element shared by the â€Å"black community. † Yet, amidst it all, he stayed strong. After having decided to move out of his mother’s house and authority, with no other choice, 2pac resorted to the ways of street life in which he cites how he found father-figures in the form of drug-dealers, pimps, and criminals. It was in the streets that his rather sharp tongue was cultivated: â€Å"The words that I say are the words that don’t come out from a mother’s mouth or a father’s mouth† (2Pac qtd. in Lazin). Eventually dropping out from high school, 2Pac had a short turn in selling drugs but was advised later on by the same people— his co-drug dealers, who later stood as financial sponsors for him to follow his dreams in music. 2pac professionally started in an early nineties hip hop group known as the â€Å"Digital Underground. † Shock G, leader of the group, gave opportune chances for 2Pac as he was starting out—free style raps during performances and songs, having him belong in the group as a roadie and taking him in. After having some songs under his belt and being recognized for his talent by major music labels and prominent figures such as Interscope and Ted Field, â€Å"2Pacalypse Now† was released as his first platinum album in which he tackled major social issues and expressed and stimulated the pain he dealt with throughout his childhood. This was the beginning of a series of albums that were not only of commercial and critical success but also were of social significance. As 2Pac’s fame grew, he opted to stretch his skills for the silver-screen, through films such as â€Å"Juice† (1992), â€Å"Poetic Justice† (1993), and â€Å"Above the Rim† (1994) which displayed both his aggressive and sensitive strengths in his character and also, acting prowess. As his messages of social awareness come across even more, 2Pac stressed his personal take and concept of how he wants to empower the youth, the oppressed, and the ill-fated through his idealistic but rather controversial theme of â€Å"Thug Life. † However, there were rather social distortions in between 2Pac’s and the media’s meaning. Hence, in a subjective interpretation, 2Pac explains that this idea has nothing to do with the dictionary’s definition of thug; rather, it pertains to the underdog who chooses to overcome each life’s seemingly hopeless obstacles with pride, dignity, and courage. His fame was often accompanied by many sorts of controversy which included a violent altercation with a limousine driver, clashes with rightist group members like C. Dolores Tucker and William Bennett, to the news and media pertaining to his lyrics content, and even assault, which took quite heavy blows upon him. Most especially on life and freedom threatening occurrences, after being a victim of a shooting, he was later convicted to serve a prison sentence due to losing to charges of rape. His prison stint, only gave rose to strength and experience in him becoming a better man of insight in life’s truths. In addition, while serving his sentence, his music still crossed-over to the hearts and minds of millions. With all of these, he realized his irresponsible actions, mistakes, and rather wrong decision making of what to say, what to do, and how to act. After being bailed out through a record deal with CEO with a criminal past, Suge Knight and his music label, Death Row Records, 2Pac was freed and at once focused on getting his music on the rise again. Despite having freedom, 2Pac had to face an assortment of financial battles, just as so as he would not to go back to jail. As 2Pac music rode the Death Row banner high and proud, together with peers such as Dr. Dre and Snoop Doggy Dogg, a feud between East Coast and West Coast rapper grew, but 2Pac stresses that such tension was rooted only and mainly on two men—him and East Coast rapper Notorious B. I. G. 2Pac understood the effects of such strain of which he felt responsible for and said that â€Å"I hope we would exercise greater restraint,† pertaining to the situation (qtd. in Lazin). Amidst all the past difficulties and pressing danger, 2Pac kept a strong outlook on life: â€Å"I felt that the only thing that could kill me is death, and even then, my music will live forever† (qtd. in Lazin). While in Las Vegas, after a Mike Tyson-Bruce Seldon bout, a car pulled up alongside were Suge Knight, and 2Pac was positioned then open fired upon by four gunmen as they were supposedly headed to a night club. After undergoing two surgeries, having a lung removed and despite having a surge of praying fans outside the hospital of which were he stayed, 2Pac passed away with his truth message and true music of which he left behind to us. His legacy would never be forgotten for his music captured continuing struggles of the common man who only demanded for change, progress, and the right to have a better future. Tupac Amaru Shakur indeed was a warrior and prophet, despite the controversy, despite the media frenzy he had to go through, and despite everything else. Indeed, his message is powerful: â€Å"I’m not saying I’m going to change the world, but I guarantee you that I will spark the brains that will change the world. So, keep you head up† (2Pac qtd. in Lazin). Works Cited Lazin, Lauren. Tupac: Resurrection. Los Angeles, California: Paramount Pictures, 2003.

The Significance of Minor Characters in A&P

Minor characters are crucial to a reader’s understanding of any story. In John Updike’s short story, â€Å"A&P† this idea is very apparent. In this short story, two of the minor characters are quite important. These two minor characters are Queenie, a young women shopper and Lengel, the manager of the A&P. Qeenie and Lengel are vital minor characters, as Updike uses them for the reader’s understanding of the young adult main character, Sammy, including his personality and motivations, which provides further understanding of the story. In John Updike’s â€Å"A&P† Queenie is the lead girl if a group of girls who walk into the A&P. â€Å"She kind of led them† (17), as Updike puts it. These girls, including Queenie, are all wearing bathing suits, which at the time the story was written, was considered quite risque. Sammy refers to this girl as Queenie because as he puts it, â€Å"- and then the third one, that wasn’t so tall. â€Å"She was the queen† (17). Based on how much Sammy talks about her and the way he does it, Queenie is his favorite girl of the group. Lengel is the manager of the A&P. According to Sammy, â€Å"Lengel’s pretty dreary, teaches Sunday school and the rest, but he doesn’t miss much. † (19) He’s a quiet man, â€Å"as I say, he doesn’t say much† (19), but he starts the controversy that eventually leads to Sammy quitting his job. The way Sammy thinks of and talks about Queenie reveals parts of his personality and motivations. As for Lengel, the manor which Sammy interacts and when Sammy interacts with him reveals parts of Sammy’s personality and motivations, as it does with Queenie. Throughout â€Å"A&P,† Queenie and Lengel enlighten the reader’s understanding of Sammy’s personality. Queenie, as the lead girl, has Sammy’s hormones raging throughout the story and shows the reader how Sammy is quite fond of women, but also disrespectfully defaces them by analyzing every part of their body’s as pieces of meat, not as respectful young woman. Updike reveals this when Sammy refers to Queenie by saying, â€Å"She just walked straight on slowly, on these long white prima-donna legs† (17). Sammy also illustrates this idea when he says, â€Å"You never know how girls work (do you think it’s a mind in there or just a little buzz like a bee in a glass jar? )† (17). The fact that Sammy is has no respect for women is undoubtedly true. Author, Patrick W. Shaw explains this in his short story criticism, â€Å"Checking Out Faith and Lust: Hawthorne’s ‘Young Goodman Brown’ and Updike’s ‘A & P’†. Shaw states, â€Å"He punctuates his juvenile thoughts with chauvinistic asides and double entendres† (1). When Sammy talks about his manager, Lengel, he does not seem to respect him, which is another reason why Sammy is disrespectful and not only towards women. An example of this is when Lengel comes in from the outside lot, Sammy says, â€Å"is about to scuttle into that door marked manager  behind which he hides all day when the girls touch his eye† (19). For a regular employee to talk about his manager in such a way suggests that Sammy does not have much respect for Lengel. That quote also illustrates that Sammy also is a jokingly juvenile young man. The way in which Sammy talks to and about Queenie and Lengel shows very little respect. The fact that Lengel is Sammy’s boss and Queenie is a woman who he doesn’t know says to the reader, Sammy does not feel obligated to show respect for anyone, regardless of who they are or what their status is. This is another large piece of Sammy’s personality, revealed by these two minor characters. Queenie and Lengel also enlighten the reader’s understanding of Sammy’s motivations, which are to stand up to Lengel in order to be a hero to these girls. Sammy shows this after Queenie and Lengel have an altercation, regarding her and her friend’s bathing suits and how the suits aren’t appropriate attire for a food market. This leaves Queenie feeling pretty embarrassed. As Queenie leaves the store, Sammy says, â€Å"The girls, and who’d blame them, are in a hurry to get out, so I say, I quit to Lengel quick enough for them to hear, hoping they’ll stop and watch me, their unsuspected hero† (20). This is a clear example of how Queenie brings out that Sammy really sticks up for the girls as an attempt to get their attention and come across as a sort of hero to them. This reason for Sammy sticking up for the girls shows, that is his real motivation. During the same situation, Lengel also brings out Sammy’s motivation, as his words are the reason the girls feel embarrassed and leave. Lengel’s conversation with Queenie was about the girl’s attire in the store. Lengel starts by saying to the girls’, â€Å"Girls, this isn’t the beach† (19). He then explains how they should be dressed more decently in the store because it is the policy. After the girls leave and Sammy says, â€Å"I quit† (20). Lengel addresses Sammy and tells him not to do that again. Sammy still refuses; he puts his apron on the counter and walks out. When he gets outside to the lot, he is still motivated to find the girls as he says, â€Å"I look around for my girls, but they’re gone, of course† (20). The fact that Queenie is who Sammy sticks up for, along with the fact that Lengel is the reason Sammy feels as if he has to stick up for Queenie show Sammy motivation. This motivation is to be a sort of hero to Queenie by confronting Lengel and even quitting his job, in hopes that Queenie and her friends will recognize his efforts and appreciate him. The idea that Sammy wants to be a sort of hero to the Queenie and the girls, also is felt by Harriet Blodgett as in her critical essay in The Explicator. Blodgett writes, â€Å"Sammy plays a mythic role, too, seeing himself as the distressed damsels’ proverbial knight in shining armor† (1). In addition, in the book â€Å"John Updike Revisited†, by James A. Schiff, the idea that Sammy is a hero like character is also present. Schiff writes, â€Å"Updike’s apparent intention was to cast his protagonist heroically, via Sammy’s hope that the girls might at some point materialize† (116-117). Minor characters are a very important part of any story, as they provide a lot of information about others things such as, the main character. In John Updike’s â€Å"A&P,† this remains true. Throughout the story, two minor characters, Queenie and Lengel, reveal Sammy’s personality and motivations. Qeenie and Lengel are vital minor characters, as Updike uses them for the reader’s understanding of the main character, Sammy, including his personality and motivations, which provides further understanding of the story.

Economic Essay Example | Topics and Well Written Essays - 1000 words - 6

Economic - Essay Example The following table and chart can help us get an idea: â€Å"The main engine of growth is the accumulation of human capital† and â€Å"the main source of differences in living standards among nations is the difference in human capital. Physical capital plays an essential but decidedly subsidiary role† (Bardhan and Udry, 2008, p.266). Human capital has several aspects, including education, training and health. Human capital is considered to be a key determination of economic growth. Investment in human capital benefits individuals and society as a whole. Countries with skilled people grew faster. While develop economics have always emphasized the importance of education in the develop process. Better education generates private gains to the individual and public benefits to society. By the expansion of knowledge it can enable the people to overcome ignorance and superstitions. Without literacy or, to be more precise, perfect education, economic growth in any country is impossible. It can become only lopsided and flawed unless corrective reassures are taken. Jobless growth implies situation where the overall economic growth but does not expand sufficient employment opportunities. ‘Futureless growth’ implies a situation where growth occurs but its effect is not positive on future generation and is adverse. According to Mahatma Gandhi, â€Å"education, which does not teach us to discriminate between good or bad, to assimilate the one and eschew the other, is a misnomer† (Rao, 1991, p.2). The purpose of literacy and education is not only to make our children literate and merely develop individual skills but also to make them appropriate human being with positive and integrated elements of their respective societies. Education means drawing out the best of the body, mind and spirit in man. He believed learning by doing and was of the opinion that the knowledge through education, subjects

Robert Altman ; The Director, and a close analysis of The GingerBread Essay

Robert Altman ; The Director, and a close analysis of The GingerBread Man - Essay Example Serving as a B-24 copilot in the United States Air Force, Altman took the next baby steps toward his future career when he began writing short stories and screenplay drafts at the age of 20 (â€Å"Robert Altman†, 2005). As soon as he was discharged from the military at the end of the World War II, Altman made a bid for his Hollywood dreams by following the path of many who had gone before him and trying to become an actor. He even landed a spot as an extra in â€Å"The Secret Life of Walter Mitty,† then wrote an unaccredited screenplay for United Artists’ â€Å"Christmas Eve† and sold a script he co-wrote with Richard Fleischer to RKO for the 1948 version of â€Å"The Bodyguard† (â€Å"Robert Altman†, 2005). Despite this early promise, Altman eventually went bankrupt in Hollywood and was forced to return home to Kansas City, but he hadn’t given up on his dreams. He began working for the Calvin Company and was given the opportunity to direct his first film, although it was a short one and meant for industrial purposes. Through the Calvin Company, Altman learned valuable filmmaking lessons such as how to shoot rapidly, stay on schedule, work within the confines of both big and low budgets, how to use the camera, the boom mike, the lights, and more technical aspects of the art (â€Å"Robert Altman†, 2005). His first feature film came in the form of a teenage gang drama entitled â€Å"The Delinquents† filmed in Kansas City, edited in Hollywood and sold to United Artists. With this film, Altman was able to catch the eye of Alfred Hitchcock, for whom he began directing a series of television shows. Altman worked in the television arena until 1964, working on shows such as â€Å"Bonanza,† â€Å"The Millionaire† and the â€Å"Kraft Suspense Theatre.† One of the shows he directed for the latter was expanded into a feature length movie and helped pave the way for Altman to break into that genre.

Thin film deposition techniques and substrate cleaning in cleanroom Essay

Thin film deposition techniques and substrate cleaning in cleanroom - Essay Example Any unwanted particles in the environment, such as organic and inorganic substances, dust, micro organisms, human skin, or vapours are regarded as contaminants. Humidity and temperature control is also maintained in a clean room. Contamination in a clean room can also occur from unclean surfaces. Walls, ceilings, or even materials used during experiments or fabrication in a clean room can be a source. It is therefore important that all material and substrates to be used are cleaned prior to their use. There are several ways to clean substrates depending on the material and the type of contamination to be removed. Larger particles, such as glass fragments, can be cleaned through washing. Gentle application of chemicals such as Decon 90 can also used to release any larger particles like dust and grease stuck on the surface. Then, to remove relatively smaller particles, the slides can be placed in an ultrasonic bath with a 20% solution of Decon90 in ultra pure water. Subsequently, 20% solution of Ethanolamine in ultra pure water is used to reactively clean the substrate by removing dirt which is chemically bonded to it. Once this is completed, the substrates are submerged in pure ethanol to get rid of water itself from the surface which is replaced by ethanol. The substrate is then dried on a hot plate or through hot air and to be used within minutes before it absorbs any moisture f rom air. The process described above is just one way of cleaning the substrate. As mentioned earlier, there are several methods available which can be used to suit the material and contaminant. For example, Martinez-Duarte et al (2010: p. 195) mention a host of possibilities. Among wet immersion techniques, diluted hydrofluoric acid, RCA, a process that uses ammonium hydroxide, hydrogen peroxide, water, hydrofluoric and hydrochloric acid, or supercritical cleaning can be used followed by rinsing in a solvent depending on application (Martinez-Duarte et al, 2010: p. 195).