The Haber Process :: essays research papers

1. The Haber Process During the first decade of the twentieth century the world-wide demand for ammonia for use in fertilisers (in the form of nitrates) and in the production of explosives for use in mining and warfare could only be satisfied on a large scale from deposits of guano in Chile (2). Though this deposit was of huge size (approximately five feet thick and 385 kilometres long) it represented a rapidly depleting resource when compared to world-wide demand. As a result of this there was much research into how ammonia could be produced from atmospheric nitrogen. The problem was eventually solved by Fritz Haber (1868 - 1934) in a process which came to be known as the "Haber Process" or the "Haber - Bosch Process". Haber developed a method for synthesising ammonia utilising atmospheric nitrogen and had established the conditions for large scale synthesis of ammonia by 1909 and the process was handed over to Carl Bosch for industrial development (1). the reaction is a simple equilibrium reaction which occurs in gaseous state as follows; N2 (g) + 3H2 (g) = 2NH3 (g) heat of enthalpy = -92.6 kJ/mol In predicting how to obtain the highest yield from this reaction we must refer to Le Chatlier's Principle. This states that for an equilibrium reaction the equilibrium will work in the opposite direction to the conditions forced upon it. The conditions most pertinent to the above reaction are temperature and pressure. The pressure exerted by any gas or mixture of gasses in an enclosed space is directly proportional to the number of atoms or molecules of gas regardless of their size or molecular mass. Reference to the above reaction shows that, as the reaction moves to the right the number of molecules and hence the pressure decreases. Therefore the reaction moving to the right (i.e. towards the product required) is favoured by an increase in pressure. With regard to temperature, the reaction moving to the right is exothermic i.e. it gives off energy (in the form of heat). Therefore reference to Le Chatlier's Principle shows that the reaction to the right is favoured by low temperatures. However, when Haber placed the reactants together under these conditions it was shown that the rate of reaction was so slow as to render the process unfeasible as an industrial process. This is because of an unusually high activation energy. The activation energy of a reaction is the energy required by the reactants to achieve an intermediate state required before they form the products.

The Company of Wolves

â€Å"The Company of Wolves† by Angela Carter follows the story line of the classic children’s fairytale â€Å"Little Red Riding Hood† which is known universally in the western world. Despite the relationship between the two stories, â€Å"The Company of Wolves† has cunningly been written with an eerie atmosphere and plot twists to engage the reader. Reinvented into a gothic fantasy, the story highlights Red Riding Hood’s innocence and uses the Wolf as a metaphor for men to position the reader to react differently than the classic fairytale.It becomes obvious to the reader that the story is based upon the well known fairy tale ‘Little Red Riding Hood’ but Carter has twisted the innocent children’s story into a extravagant gothic fantasy which positions the reader to grasp a greater understanding of the events leading up to the climax and the background in general. The stylist choices of magic realism differ from the classic denot ation of fantasy because realistic frameworks of the real world are twisted with the supernatural resulting in murderous, sadistic or brutal situations; in this instance Red Riding Hood engaging in sexual acts with the Wolf.From the beginning the reader is fully aware of the stylistic choice of gothic fantasy, â€Å"One beast and only one beast howls in the woods by night† is typical of gothic tales as woods are usually portrayed as a dangerous and a forbidding setting, but also provides emphasis through repetition of ‘one beast’ and ‘only one’ to draw the reader’s attention onto the fact that the Wolf is important and plays a significant role in the story.A common aspect of gothic tales is winter which is the setting of the story, as shown through distribution of the words ‘snow’, ‘Christmas’, ‘Robin’, ‘blizzard’ and ‘cold’ throughout the story which are classic connotations rel ative to the season. The stylistic choice made by Carter in relation to the classic fairy style creates an eerie atmosphere and positions the reader to question if they really know the plot of the story.Little Red Riding Hood is portrayed as an innocent little girl in the classic fairy tale which is carried through into Carters version with a few twists. Initially Little Red’s innocence is clearly defined as her virginal status is described using metaphors as ‘She is an unbroken egg; she is a sealed vessel’ and her physical appearance resembles that of a young girl ‘hair like lint, pale forehead, scarlet cheeks’. Since she has ‘started her woman’s bleeding’ it is safe to assume that her shawl is symbolic to represents just that or her innocence as she nters this period of her life. As the story progresses Little Red does not hesitate to hand over her basket when ‘he [the Wolf] offered to carry her basket’, assuming th e basket is a symbol used to represents her virginity this scene illustrates how uneducated girls in this era were about sex and the risk it posed to them. Little Red is not hesitant about handing over her basket because she has no clue about what the Wolf is doing, although she does not know what was about to happen to her he certainly does.At this specific point in the story the reader is positioned to re-evaluate the innocence of the girl, questioning whether the wolf is taking advantage of her or whether she knows what she wants. Regarding Little Red’s shawl representing her innocence, nearing the end of the story the Wolf exclaims in reply to her asking what to do with it choice of diction, â€Å"Throw it into the fire, dear one.You won’t need it again,† clearly distinguishes that he has taken her innocence and virginity and that there is no way for it to be reversed; ‘fire’ representing an irreversible doing. The innocence of Little Red has in evitably been taken away and no long exists to the reader, the reader will no longer be able to read the original version without the constant reminder of Little Red’s deterioration of innocence in Carters version. Carter, being a classic feminist, has shaped the Wolf into a metaphor of the negative side to men.To begin ‘One beast and only one beast howls in the woods’, in particularly the repetition of ‘one’ and ‘only one’ provides emphasis upon the fact that there is only one wolf and that he is an important asset to the story, perhaps the fact that the story could not function without this male character which makes him very important and dominant. Carter has used this to mirror her opinion that men, or some men, have a mindset that a women’s life could not function without them. The wolf is quick to ‘offer[ered] to carry her basket’, which is a symbol of her virginity.These actions demonstrate Carters opinion on m en thinking they can dominate women especially since the Wolf knew exactly what he was doing relative to Little Red who was oblivious to his actions because she is uneducated on sex. The Wolf is conveyed by the reader as a vicious sexual predator out to claim young girl’s virginity, which positions them to feel sympathetic for Little Red who represents women. The dominancy of the Wolf taking the girls virginity is pursued near the end of the story as the Wolf orders her to, â€Å"Throw it [shawl] on the fire, dear one.You won’t need it again,† which is significant because the shawl represents her virginity which has now been burnt. The diction of the phrase ‘dear one’ is effective because it demonstrates how a man can pretend to care about a girls feelings and be sweet in order to manipulate her into doing something to his advantage. By this point in the story the reader has been positioned to view the Wolf differently from the one that gets killed in the traditional story to a dominant male character who has no respect for Little Red.Once the reader has read â€Å"The Company of Wolves† they definitely won’t be able to see the classic â€Å"Little Red Riding Hood† in the same light again. Reinvented into a gothic fantasy, the story highlights Red Riding Hood’s innocence and uses the Wolf as a metaphor for men to position the reader to react differently than the classic fairytale. The story however does not necessarily have only negative outcomes because it could make the reader to think deeper about how other characters in different fairytales have been portrayed and how they can challenge the expectations they have been placed in.

History of bootlegging Essay

1. Background on Bootlegging It has been said that â€Å"at its real level music belongs to everyone†. To claim ownership over music has been the subject of much analysis since music, after all, is available to each individual through our sense of hearing. Maintaining control or possession of â€Å"our† music is not as clear cut as meting out our rights to our land or property. To listen to a song someone else has written, for instance, does not necessarily constitute stealing or trespassing on someone else’s property. The best way to ensure our right and title over our musical creations is to get a copyright over the original piece. Yet it is not uncommon for a listener or a music lover or fan to record a favorite song or a particularly memorable concert attended. People record songs, concerts, and videos and keep such recordings for personal use, or make copies thereof to give to their friends. Songs and videos are also easily downloaded from the Internet. Fans also record different songs and performances, from different albums or concerts, into one CD or online play list to make their own personal collection. The problem is when such recordings are distributed and sold for profit without the artist and the record company’s consent. Generally, copyright violations involving musical creations may be distinguished into three different types : 1) professional counterfeit recordings (unauthorized duplication of sound and art work) 2) professional pirate recordings (unauthorized duplication of the sound, but with original art work, usually sold as â€Å"greatest hits† compilations 3) bootleg recordings (unauthorized recording of live performances) Bootlegging, as it was traditionally defined, involves â€Å"the illegal distribution or production of liquor and other highly taxed goods† In the 1920s, the United States had a Prohibition against alcohol, thus people resorted to bootlegging, or buying and selling an illegal product, from bootleggers. Organized crime consisting of gangs and mobsters in Chicago and New York, such as Al Capone, were deeply involved in bootlegging. In the music industry, music bootlegging involves the taking and trading of unauthorized live recordings of live musical performers — either from concert or studio outtakes. Bootleg music albums are recordings transferred from tape to vinyl or CD. They become a bootleg product when a bootlegger undertakes to create an artifact or when a non-commercial recording is transformed into a commercial product in the form of an LP or a CD. Bootleg recordings are usually done without the artist’s consent ; however, making a recording of a concert is not illegal per se. Although an individual cannot legally record an officially release CD or cassette tape on to a blank tape, he or she may make an unauthorized recording of a concert and keep it for personal use. However, the sale of such a recording is deemed illegal.  The problems with bootlegging is that it prevents the artist and the record company from maintaining quality control over their product , and it prevents them from collecting their royalties to their right to their music. 2. Changes in Copyright Laws Copyright is defined as â€Å"a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of ‘original works of authorship’† . The U. S. has passed significant copyright laws to protect an artist’s right to his or her original creations. These creations include not only musical works, but literary, dramatic, artistic and certain intellectual creations. The U. S. Constitution itself provides that â€Å"the Congress shall have power†¦ to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries. † The State thus allows Congress to pass copyright laws to protect an artist’s rights to his or her musical creations. The U. S. Copyright Act was amended in 1976 so that it now covers new technological advancements and extended the term of protection to cover the life of the author plus 70 more years. Copyright laws allow the author, artist, or whoever holds the copyright to a creation to sue those who infringe on their copyrights for damages. The complainant has to prove infringement of copyright by a) proving ownership of the copyright and b) copying by the infringer-defendant. In compliance with its Constitutional mandate of protecting original works of authorship, the Congress has passed several laws concerning music copyright infringement, piracy and bootlegging. Some of the relevant laws will be discussed in this section. The Audio Home Recording Act allows music retailers to sell all analog and digital recording formats. It also gives a consumer the right to use such recordings provided such use is for non-commercial purposes, and in such cases, no copyright infringement lawsuit may be brought against a consumer. The consumer and retailer is also exempt from making royalty payments on digital audio recording devices and media; the burden falls on U. S. manufacturers and importers only who must pay for digital audio devices designed or marketed primarily for making digital audio recordings for private use, whether or not these are incorporated in some other device. These royalty payments are administered and monitored by the U. S. Register of Copyrights and the Librarian of Congress, with the proceeds split between the featured artists and the record company, or between the songwriters and music publishers, depending on the circumstances. Musical artists or musicians thus receive royalties which are based on record sales and airplay during a prescribed period. The U. S. is also a signatory of both the World Intellectual Property Organization Copyright Treaty and the Performances and Phonograms Treaty. In accordance with these international agreements, the U. S.  Congress passed the Digital Millennium Copyright Act which makes it a crime to a crime to circumvent anti-piracy measures built into many of today’s commercial software and even most music CDs. The Act also limits the copyright infringement liability of ISPs for transmitting information over the Internet, but requires that ISPs remove copyright infringement materials found in users’ web sites. Despite legislative acts and proposed bills by well meaning members of the U. S. Congress, and jurisprudence laid down by the U. S. Supreme Court, infringers still find a way of getting around copyright laws by invoking the â€Å"fair use† doctrine. The U.  S. Code provides that the public is entitled to the â€Å"fair use† of copyrighted material. â€Å"Fair use† is â€Å"a privilege to use copyrighted material in a reasonable manner without consent, notwithstanding the copyright monopoly granted to the owner. † A copyrighted original creation may be reproduced for purposes of criticism, news reporting, comment, teaching, scholarship and research. The Code further provides that there are four factors in determining whether there is â€Å"fair use† of a copyrighted material or not : 1) the purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes ) the nature of the copyrighted work itself 3) the proportion and substantiality of the copyrighted work actually used without authority 4) the potential economic detriment on the value of the work caused by such unauthorized use thereof. What makes it especially difficult to enforce the copyright is that information is so readily available through the Internet. As music is downloaded courtesy of digital technology, consumers are turning to the Internet to get their music rather than going out to music stores to buy the CDs. Bootlegged albums are also easily transmitted and shared through the Internet. Digital technology allows consumer to reproduce identical copies of digital music files, most commonly in compression formats such as MP3s. Such digital advancements not only pave the way for more widespread bootlegging, but for music piracy as well. 3. Advancements in Piracy Technology: File Sharing Piracy, as earlier discussed, is differentiated from bootlegging in that the former involve the unauthorized duplication of the sound, but with original art work. Piracy involves the reproduction and distribution of copies of original recordings. Advancements in digital technology have allowed music piracy to develop at an alarming rate. MP3s enable consumers to compress digitized music into smaller files, while ripping software allows them to copy music from CDs, store these on their hard drives, and then convert these files into compressed formats. Digital file reproduction devices, like CD players, in turn allow consumers to write these files into a CD and in effect create their own albums and compilations of copyrighted creations. Peer-to-peer (P2P) networks have also allowed increased music dissemination, as well as file sharing, as introduced by the infamous Napster software company. P2P networks basically offer users to access the hard drives of other users anywhere in the world by the installation of a piece of software. These networks allow users to search, copy and transfer music files typically through MP3 files. After Napster, subsequent P2P networks version, like KaZaA and Grokstar, which are collectively known as the FastTrack providers, allow users to access multiple individual computers instead of accessing just one single, centralized database of music files. The digital audio workstation (DAW) on the other hand, allows users to indulge in â€Å"sampling† – original music recordings, converted from analog to digital format, which users can import, cut, copy, layer and manipulate to create new musical work. Since samples may be in a band’s entire song, or merely passages from an instrument, in effect it allows not just users but even musicians and DJs to create, layer, expand and redefine music. Recording companies have resorted to copy-protection technology to protect themselves from piracy committed through file sharing and P2P networks. Copy-protected CDs is one answer, but public backlash and concerns about the technology’s effectiveness, have forced recording companies to limit use of such CDs in the U. S. and instead opted to release such CDs abroad in Europe and countries such as Japan. Five major recording companies in the U. S. use copy-protected CDs: BMG Entertainment, Universal Music Group, Warner Music Group, EMI, and Sony. BMG in particular has made us of copy-protection advancements such the MediaMax CD-3 technology from SunnComm Technologies, Inc. located in Phoenix, Arizona. Through MediaMax CD-3, each song is written onto a CD twice. One format is readable by standard CD players while the other format is readable as a Windows media file playable on a computer. The technology allows consumers of BMG records to burn each track only three times per computer. The songs in BMG albums embedded with the MediaMax CD-3 technology may also be emailed to a limited number of people. However, each person in that limited list may only listen to ten times to each song in the album. In other words, songs in such CDs are locked and won’t be played even if they are downloaded from file-sharing networks if it exceeds the allowable number of times a person may listen to the track. Other developments are even more rigid. The CDS-300 developed by Macrovision, located in Santa Clara, California, allows CDs to be burnt and listened to online, but blocks other attempts to make copies or share music online. Recording companies thus are faced with a difficult balancing act. On the one hand, there is the need to respect a consumer’s desire to share, copy and hear songs in different ways. But on the other hand, there is the copyright to take note of and the bottom line – earning revenues through royalties by limiting the number of copies consumers make of copyrighted musical creations.