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Lead investor James Morton said: "Following extensive due diligence our investor group believes Evince has a unique practical approach to realising electronics using synthetic diamond.
Evince, which is based in Netpark near Sedgefield, has made a commercially viable model of a high-voltage switch that it says could make renewable energy generation able to supply power much more cheaply than current silicon switches.
Evince says that replacing the silicon devices used today with its transistor devices could generate global efficiency savings equivalent to 500 million tonnes of carbon dioxide annually.
Evince chairman Dr Neil Loxley said: "The development of a working device using our diamond diode is a major milestone in the development of the company.
Evince plans to use the cash to further develop the semiconductors with a view to raising further investment.
Evince is pioneering a semiconductor device with the potential to make sustainable energy generation more efficient and commercially viable.
These features evince that OLED displays have a promising future in the small displays portable devices market," notes Senior Research Analyst, Deepa Doraiswamy.
Setting aside Cyndia Susan Clegg's recent warning in a review essay in this journal (RQ 54 [2001]: 221-45) that scholars publishing on early print culture must evince demonstrable expertise in several of the fields prescribed by the newly formed Society for the History of Authorship, Reading, and Publishing (SHARP), I welcome the appearance of Kallendorf's straightforward case study as a model of its kind in this demanding new field.
The new paintings here, as mysterious as they are lucid, evince a power not easily matched by anything else he's made to date.
Chapter 3, "The Cultural Background of Lo cunto de li cunti," examines the relations between popular Neapolitan culture and Basile's previous works in dialect: his Lettere (which evince a vivid nostalgia for Naples) and Le muse napoletane, a series of nine eclogues aimed at preserving the memory of Neapolitan culture.
Not only is he the wrong age--over sixty when his work finally began to filter out over the Belgian border in the early '90s, now in his seventies for his first retrospective, comprising some seventy-five paintings from 1963 to the present--but his work doesn't seem to have much to do with the big issues of recent painting: Although not programmatically abstract nor based on reduction to the monochrome or the mechanization of the painting process, neither does it evince any special fixation on the medium's relation to the photographic image, popular culture, the readymade, or linguistic signification.
Yet the production's exquisite final moments evince the psychological subtlety missing elsewhere.