Large dielectric constant and band gap are essential for insulating materials used in applications such as capacitors, transistors and photovoltaics. Of the most common polymers utilized for these applications, polyvinyldiene fluoride (PVDF) offers a good balance between dielectric constant, >10, and band gap, 6 eV, but suffers from being a ferroelectric material. Herein, we investigate a series of aliphatic organotin polymers, p­[DMT­(CH2) n ], to increase the dipolar and ionic part of the dielectric constant while maintaining a large band gap. We model these polymers by performing first-principles calculations based on density functional theory (DFT), to predict their structures, electronic and total dielectric constants and energy band gaps. The modeling and experimental values show strong correlation, in which the polymers exhibit both high dielectric constant, ≥5.3, and large band gap, ≥4.7 eV with one polymer displaying a dielectric constant of 6.6 and band gap of 6.7 eV. From our work, we can identify the ideal amount of tin loading within a polymer chain to optimize the material for specific applications. We also suggest that the recently developed modeling methods based on DFT are efficient in studying and designing new generations of polymeric dielectric materials.

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Super Political Action Committees (PACs) are new organizations within American politics allowing for unlimited donations to candidate campaigns. Super PACs helped make the 2012 Republican primary the most well-funded primary in American history. Both candidates and Super PACs spend much of their money on televised campaign ads. My study of the 2012 Republican primary expands existing literature concerning political impression management by examining advertising imagery in the era of Super PACs. I developed a typology of performance types from a qualitative content analysis of television advertisements for both candidates and Super PACs. The significance of Super PACs as they interact and overlap with the images of candidate ads calls for analysis of the changing front stage in the political realm.

This article is an attempt to show the dialectical nature of Guy Debord’s (1967/1994, The Society of the Spectacle, Aldgate Press) concept of the spectacle, showing how its employment as a resistance technique by electronic dance music (EDM) subculturalists would also help shape it into a corporately organized culture industry (Horkheimer & Adorno, 1944/1969). In doing so, we show the overlap between the French Internationalist approach and that of the Frankfurt School, and how the combination of these two concepts provides for a more nuanced conceptualization in which the agency of social actors ultimately resulted in the shaping of the subculture into a culture industry. In other words, we attempt to address the critique that the approaches endorsed by both schools are overly deterministic in their approach. We attempt to overcome this limitation by showing how promoters’ decisions to compromise with law enforcement agencies resulted in changes drastically altering the music subculture.

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