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A high temperature source (2800 K) has been developed to produce a free jet expansion of copper vapor (Tsource=2500 K, Psource∼100 Torr). The supersonic beam formed under these conditions was characterized through analysis of the laser induced excitation spectrum for the B 1Σu+←X 1Σg+ band system of Cu2. Excitation was accomplished with an argon ion pumped stilbene cw dye laser. The Cu2 formed in the expansion was characterized by a vibrational temperature, Tvib=950±100 K and a rotational temperature, Trot=800±50 K. A new band system attributed to diatomic or triatomic copper has been observed.

Numerous researchers have employed Csikszentmihalyi's flow theory in their analyses of the behavior of Web users. Flow is a state of consciousness that is experienced by people who are deeply involved in an enjoyable activity such as surfing the Net. The experience is characterized by some common elements such as concentration on the task at hand, a sense of control, a merging of action and awareness, a distorted sense of time, and the autotelic experience, to mention a few. A recognized precondition for flow is that the challenges an individual faces in a particular activity must be matched by the skills he or she uses in meeting those challenges. This paper discusses the roles that challenge and skill play in the flow experiences of Web users.

Autoethnography -a qualitative research method that combines characteristics of ethnography and autobiography -is gaining momentum within the creative and performing arts as a research tool, partly because of the opportunity it provides for writers, artists, performers and others to reflect critically upon their personal and professional creative experiences. In recent years, 'analytic autoethnography' has been proposed as an alternative to traditional 'evocative autoethnography' for researchers who want to practise autoethnography within a realist or analytic tradition. However, questions remain about how this alternative method should be applied in practice. This article takes some steps toward answering those questions by exploring how autoethnographers in the creative arts can employ analytic strategies from the grounded theory tradition in their work. This methodological discussion might benefit artistresearchers who identify themselves as autoethnographers, but who want to use analytic reflexivity to improve theoretical understandings of their creative practice.