This book introduces the phenomenology and theory of hadron form factors in a consistent manner, deriving step-by-step the key equations, defining the form factors from the matrix elements of hadronic transitions and deriving their symmetry relations. Explained are several general concepts of particle theory and phenomenology exemplified by hadron form factors. The main emphasis here is on learning the analytical methods in particle phenomenology. Many examples of hadronic processes involving form factors are considered, from the pion (...) electromagnetic scattering to heavy B-meson decays. In the second part of the book modern techniques of the form factor calculation, based on the method of sum rules in the theory of strong interactions, quantum chromodynamics, are introduced in an accessible manner. This book will be a useful guide for graduate students and early-career researchers working in the field of particle phenomenology and experiments. Features: The first book to address the phenomenology of hadron form factors at a pedagogical level in one coherent volume. Contains up-to-date descriptions of the most important form factors of the electroweak transitions investigated in particle physics experiments. (shrink)

The quantum mechanical description of the evolution of an unstable system defined initially as a state in a Hilbert space at a given time does not provide a semigroup (exponential) decay, law. The Wigner–Weisskopf survival amplitude, describing reversible quantum transitions, may be dominated by exponential type decay in pole approximation at times not too short or too long, but, in the two channel case, for example, the pole residues are not orthogonal, and the evolution does riot correspond to a semigroup (...) (experiments on the decay of the neutral K-meson system strongly support the semigroup evolution postulated, by Lee, Oehme and Yang, and Yang and Wu). The scattering theory of Lax and Phillips, originally developed for classical wave equations, has been recently extended to the description of the evolution of resonant states in the framework of quantum theory. The resulting evolution law of the unstable system is that of a semigroup, and the resonant state is a well-defined function in the Lax–Phillips Hilbert space. In this paper we apply this theory to a relativistically covariant quantum field theoretical form of the (soluble) Lee model. We construct the translation representations with the help of the wave operators, and show that the resulting Lax–Phillips S-matrix is an inner function (the Lax–Phillips theory is essentially a theory of translation invariant subspaces). In the special case that the S-matrix is a rational inner function, we obtain the resonant state explicitly and analyze its particle (V, N, θ) content. If there is an exponential bound, the general case differs only by a so-called trivial inner factor, which does not change the complex spectrum, but may affect the wave function of the resonant state. (shrink)

Habitat fragmentation produces isolated patches characterized by increased edge effects from an originally continuous habitat. The shapes of these patches often show a high degree of irregularity: their shapes deviate significantly from regular geometrical shapes such as rectangular and elliptical ones. In fractal theory, the geometry of patches created by a common landscape transformation process should be statistically similar, i.e. their fractal dimensions and their form factors should be equal. In this paper, we analyze 49 woodlot fragments (Pinus sylvestris (...) L.) in the Belgian Kempen region to study the direct relationship between a transformation process and the concomitant patch geometry. Although the fractal dimension of the woodlots is scattered (i.e. they are not statistically similar), the perimeter-area relation of the fragments is characterized by a single, ‘dimension-like’ exponent. This exponent suggests a certain shape homogeneity among the patches, which is confirmed by the absence of hierarchical levels associated with sharp increases of the fractal dimension at scale transitions. The interaction of different natural (soil factor, vegetation type) and anthropogenic (afforestation, urbanization) processes during patch development is assumed to have generated this feature. Comparison of the area and perimeter fractal dimension with an ecological index for habitat quality, the interior-to-edge ratio, shows that the fractal dimension is suitable for predicting interior habitat presence, which is more likely for patches with smooth perimeters and compact areas. The ratio of the area to the perimeter fractal dimension confirms this observation, with high values for high interior-to-edge ratios, characteristic for regularly shaped patches. (shrink)

The nature and factors of the existence of the nation-state in the doctrine of H. Ortega y Gasset are revealed. Ortehovoyi in interpreting the nation-state is a metaphysical strength and unity of past and future, tradition and consolidating new purpose-idea alloy democratic institutions and subconscious zovu blood, land, language, mature nation. As an instrument of the nation, the nation state is a political entity that legitimizes the idea of social order and public self is an initiative of the people and (...) personality. The democratic nature of the nation-state is its indispensable advantage - it gives real grounds separate individual and values harmonious collective resist oppression. Simultaneously, the nation state is the result of integration of peoples to new historical stage of development, volitional act elite, which determine the call-idea and transform it into a state-based form of "call" world capabilities of the people. This creative process is not possible without a high level of social elasticity without close consolidate elites with public miles, without the democratic principles of cooperation, which together store representations, symbolic and real-institutional unity of the body politic of the nation, and is the key to the dichotomy of nation-state - its dynamics and statics. Thus, the concept of nation-state process of reconciliation Madrid provides citizens with the idea of a sovereign political body which defends freedom and respects their interests and concluded lifestyle. Thus, the concept of the nation state H. Ortega y Gasset is the liberal-conservative trait. It is presented as a result of historical passages mature nation and a compromise individual rights of the person will and ability of elites. (shrink)

Evolution is littered with polyphyletic parallelism: many roads lead to functional Romes. We propose consciousness embodies one such example, and represent it here with an equivalence class structure that factors the broad realm of necessary conditions information theoretic realizations of Baars’ global workspace model. The construction suggests many different physiological systems can support rapidly shifting, highly tunable, and even simultaneous temporary assemblages of interacting unconscious cognitive modules. The discovery implies various animal taxa exhibiting behaviors we broadly recognize as conscious are, (...) in fact, expressing different forms of the same underlying phenomenon. The variety of possibilities suggests minds today may be only a small surviving fraction of ancient evolutionary radiations – bush phylogenies of consciousness pruned by selection and chance extinction. Although few traces of the radiations may be found in the fossil record, exaptations and vestiges are scattered across the living mind. (shrink)

The context for biological emergence is modular hierarchical structures; their existence is what enables functional complexity to arise. Because of the openness of organisms to their environment, complete initial data (position, momentum) of all particles making up their structure is insufficient to determine future outcomes, because unpredictable new matter, energy, and information impacts each organism from the exterior. Consequently, through Darwinian evolution, life has developed processes to handle this issue functionally on short time scales as well on longer developmental timescales. (...) Symbolism and technology are the transforming factors handling this issue at the social levels, which is where the most sophisticated outcomes of openness occur. Considering the cosmological context, the issue is, should the universe itself be regarded as an open system over time? I make the case that is indeed so, because radically new outcomes occur such as the existence of aircraft, iPads, and the internet, which could not plausibly have been encoded in some form of data on the Last Scattering Surface in the expanding universe. (shrink)

The N ational Assembly held in the Frankfurt Paulskirche in 1848, which opened w ith high hopes for the unification o f Germ any on parliam entary constitutional principles, was left to die a year later, in the telling phrase o f D onoso Cortes, ‘like a street w om an in the gu tter’. In the period o f reaction that followed, during w hich the Paulskirche convention came to be described as the ‘parliam ent o f pro­ fessors’, (...) one o f its m em bers, Georg G ottfried Gervinus, was accused, in a trial for high treason, o f attem pting to prove the historical inevitability o f the supersession o f monarchical forms by republican forms. This was Gervinus’s second experience as a professorial m artyr. In 1837 he had been one o f the professors at the U niversity o f G ottingen, the ‘Gottingen Seven’, w ho protested the revocation o f the H anoverian constitution. For this he had been banished and given three days to leave the kingdom. The lesson he, and m any other liberal thinkers, learned from these experiences was that the Germ an middle classes were incapable o f perform ing the historical role assigned to them; they lacked the political will to establish a republican order. (shrink)

Universities are expected to be places where knowledge is shared freely among academicians. However, the reality shows that knowledge sharing is barely present within universities these days. As Malaysia shifts towards building a knowledge-based society, academic institutions, particularly the public universities, now face ever-growing faculty demands for sharing quality resources and expertise. As a result, knowledge sharing in academia has become a rising concern. The purpose of this study, then, is to uncover the factors that propel knowledge sharing among academicians (...) in higher learning institutions of Malaysia. Using the Theory of Reasoned Action as the basis for this study’s research framework, data was gathered from 447 academicians in 10 public universities scattered throughout the country. Findings from the Partial Least Squares analysis revealed that extrinsic motivation, reciprocal relationships, sense of self-worth and subjective norm are vital determinants of an academician’s attitude towards knowledge sharing. In turn, this attitude that is formed will largely determine whether the academician engages in knowledge sharing behaviors or not. Besides having a positive effect on attitude, sense of self-worth also exhibited a positive impact on the subjective norm to share knowledge. Consequently, this subjective norm will have an impact upon knowledge sharing behavior. In addition, perceived behavioral control and organizational climate were discovered to have a direct influence on knowledge sharing behaviors. Implications, limitations as well as suggestions for future research are accordingly discussed in this paper. (shrink)

Evolution is littered with paraphyletic convergences: many roads lead to functional Romes. We propose here another example - an equivalence class structure factoring the broad realm of possible realizations of the Baars Global Workspace consciousness model. The construction suggests many different physiological systems can support rapidly shifting, sometimes highly tunable, temporary assemblages of interacting unconscious cognitive modules. The discovery implies various animal taxa exhibiting behaviors we broadly recognize as conscious are, in fact, simply expressing different forms of the same underlying (...) phenomenon. Mathematically, we find much slower, and even multiple simultaneous, versions of the basic structure can operate over very long timescales, a kind of paraconsciousness often ascribed to group phenomena. The variety of possibilities, a veritable rainbow, suggests minds today may be only a small surviving fraction of ancient evolutionary radiations - bush phylogenies of consciousness and paraconsciousness. Under this scenario, the resulting diversity was subsequently pruned by selection and chance extinction. Though few traces of the radiation may be found in the direct fossil record, exaptations and vestiges are scattered across the living mind. Humans, for instance, display an uncommonly profound synergism between individual consciousness and their embedding cultural heritages, enabling efficient Lamarkian adaptation. (shrink)

A conspicuous feature of contemporary modelling practices is the use of the same mathematical forms and modelling methods across different scientific domains. This model transfer raises many philosophical questions concerning, for example, the exact object of transfer, the relationship between the model and the target domain, the specific challenges such transfer confronts, and the ways in which model transfer relates to scientific progress. While the interest in studying model transfer has increased among philosophers of science in recent years, the phenomenon (...) has not yet received its due attention. The literature is scattered and much of it has addressed questions around the factors that might explain model transfer, such as whether the different target phenomena to which a model is applied eventually prove to be structurally and dynamically similar, or whether they have to share more fundamental ontological features that explain the interdisciplinary success of distinct models. This chapter surveys the existing literature on model transfer with the main goal of highlighting the main findings of existing discussions and pointing out open issues whose discussion would improve our understanding of this highly relevant phenomenon in science. (shrink)

Background Medical research in complementary and alternative medicine (CAM) has increased recently, raising ethical concerns about the moral status of CAM. Medical academic journals are responsible for conducting ethical review (ER) of manuscripts to protect the interests of human subjects and to make ethical results available before deciding to publish. However, there has been no systematic analysis of the ER in CAM journals. This study is aim to evaluate the current status of ethical requirements and compliance in CAM journals. Methods (...) This is a cross-sectional study. We reviewed instructions for authors (IFAs) of CAM journals included in the Journal Citation Reports (2021) (https://jcr.clarivate.com) for general information and requirements for ER. We also browsed the manuscripts regarding randomized controlled trials published by CAM journals in Q1 and Q2 section from January to June, 2023, to check the actual situation of ethical requirement. Descriptive statistics and Fisher’s exact test were used for statistical analysis. Results 27 journals and 68 manuscripts were ultimately included. 92.6% (25/27) IFAs included keywords of ER, indicating the presence of ethical considerations. However, no specific ER was required for CAM (n = 0). We categorized journals by Geographic origin, JCR section, Year of electronic JCR, Types of studies, % of OA Gold to explore the factors that could influence CAM journals to have certain ethical review policies. The results showed there was no statistical significance in certain ethical review policy in any classification of journals (p > 0.05). All RCT manuscripts included in the study generally met the requirements of the published journals for ethical review. Conclusions All IFAs discussed ER, but the content was scattered, unfocused, and there were no specific ER requirements regarding CAM. Although the manuscripts basically met the requirements of the journal, it was not possible to get closer to the process of ER in the manuscript. To ensure full implementation of these policies in the future, CAM journals should require authors to provide more details, or to form a list of items necessary for CAM ethical review. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

The Lorentz transformation (LT) is explained by changes occurring in the wave characteristics of matter as it changes inertial frame. This explanation is akin to that favoured by Lorentz, but informed by later insights, due primarily to de Broglie, regarding the underlying unity of matter and radiation. To show the nature of these changes, a massive particle is modelled as a standing wave in three dimensions. As the particle moves, the standing wave becomes a travelling wave having two factors. One (...) is a carrier wave displaying the dilated frequency and contracted ellipsoidal form described by the LT, while the other (identified as the de Broglie wave) is a modulation defining the dephasing of the carrier wave (and thus the failure of simultaneity) in the direction of travel. The superluminality of the de Broglie wave is thus explained, as are several other mysterious features of the optical behaviour of matter, including the physical meaning of the Schrödinger equation and the relevance to scattering processes of the de Broglie wave vector. Consideration is given to what this Lorentzian approach to relativity might mean for the possible existence of a preferred frame and the origin of the observed Minkowski metric. (shrink)

Along with urban development globally, the NIMBY crisis has been a complex social problem, which requires urgent remedial action. The inevitable management of Municipal Solid Waste has been one of the toughest risk management tasks in the worldwide modernization process. At present, certain fuzzy and unstructured results and methods have been formed for MSW-NIMBY crisis response, mainly focusing on the sociology and politics which scatter in complex and sensitive reports and news. Aiming at enhancing the effectiveness of data mining from (...) specific sparse text of MSW-NIMBY crisis, an improved knowledge extraction method is developed. Through rule-based text mining and complex network analysis, the Entity Relationship network of MSW-NIMBY crisis is reconstructed. Meanwhile, a novel transitivity for relationship between entities in semantic analysis is proposed to improve the feasibility and accuracy of information extraction. Characteristics and regularity of MSW-NIMBY crisis evolution and experience of crisis governance could be identified effectively. Results show that knowledge integration and ER transitivity can enhance knowledge recognition and major other factors, which could help formulate the governance strategies of NIMBY crisis from academic texts. (shrink)

Many published instruments for assessing adolescent adjustment can be implemented in the school context. However, most of them fail to include a comprehensive and positive theoretical perspective of adolescent development and, even when they do, priority is often given to the clinical perspective, or problems with ecological validity and cost-effectiveness emerge. The Magallanes Adaptation Scale is a 90-item Likert-instrument designed for Spanish-speaking adolescents in order to screen several adjustment areas from a holistic and positive perspective of development. Although some evidence (...) of its psychometric robustness has been tested, no confirmatory analysis of its structure has been published. This paper analyzes the items and the factor structure (exploratory factor analysis and confirmatory factor analysis, using the split-half method) of the scales. Participants were 948 Spanish adolescents (49.84% girls) aged between 11 and 17 and stratified sampled. Thirty-six items were removed from the item analysis. The results of the exploratory factor analysis revealed five factors, excluding mother’s adaptation. Several models were tested during the confirmatory factor analyses, with a 24-item second-order four-factor solution being found to have the best adjustment indicators. The short version proposed in this paper can constitute a helpful tool with screening purposes to help school teachers to assess students’ overall development beyond mere academic performance, although further validity research is needed. (shrink)

In discussing the cultural history of the 19th century, Walter Benjamin diagnosed the emergence of the modern novel and its form of narration as the sign of a fracturing experience. The split in experience is related to the scattering of a homogeneous idea of space and time, constituted especially during the Enlightenment and in the German historicism. Benjamin's claim reflected the fracturing temporality of modern communities as well as the transformations in the understanding of the meaning of tradition. (...) Here, I begin by discussing Benjamin's conceptions of experience and memory in detail. Secondly, I consider his ideas on history in the framework of challenging the new forms of narration. In the end, I consider the loss of a unified community, especially by indicating ways in which the after-modern community reflects the relationship between aesthetics and politics in Jean-François Lyotard's thought. Key Words: Benjamin • community • experience • history • Lyotard • memory • narrative • remembrance • time. (shrink)

Hepatocyte growth factor, a potent mitogen for epithelial and other cell types, and scatter factor, a stimulant of epithelial cell motility are identical. In addition to these mitogenic and motogenic functions, the factor has been shown to be an epithelial morphogen and also has antiproliferative effects in some cancer cell lines. The membrane receptor for hepatocyte growth factor/scatter factor has been identified as the c‐met proto‐oncogene product.

This essay considers Simone Weil's experiences in factories and her social–political reflections on work, time and energy, in conjunction with arguments from theorists Melissa Gregg, Theodor Adorno and Sara Ahmed, to raise questions about supposedly humane interventions, including the cultivation of resilience, in the contemporary workplace. The transition from time‐sense in factory work at the turn of the century is examined, along with the growth of corporate time management ideologies and practices in the mid–late 20th century, and finally, the associated (...) forms of disciplining resilience/elasticity in the worker that bring together certain notions of time, space and psychological investments. (shrink)

The article describes techniques for organizing an English lesson that help reduce stress and increase students ' motivation. Comprehensive and continuous use of the described methods is the most important condition for a comfortable stress-free environment in the classroom, which forms a healthy and successful student. The article also contains recommendations for creating a comfortable emotional background in the English lesson by means of special mini-exercises, games, and chants aimed at attracting students attention.

The scattering number and isolated scattering number of a graph have been introduced in relation to Hamiltonian properties and network vulnerability, and the isolated scattering number plays an important role in characterizing graphs with a fractional 1-factor. Here we investigate the computational complexity of one variant, namely, the weighted isolated scattering number. We give a polynomial time algorithm to compute this parameter of interval graphs, an important subclass of perfect graphs.

Psychopathy refers to a range of complex behaviors and personality traits, including callousness and antisocial behavior, typically studied in criminal populations. Recent studies have used self-reports to examine psychopathic traits among noncriminal samples. The goal of the current study was to examine the underlying factor structure of the Self-Report of Psychopathy Scale–Short Form (SRP-SF) across complementary samples and examine the impact of gender on factor structure. We examined the structure of the SRP-SF among 2,554 young adults from (...) three undergraduate samples and a high-risk young adult sample. Using confirmatory factor analysis, a four-correlated factor model and a four-bifactor model showed good fit to the data. Evidence of weak invariance was found for both models across gender. These findings highlight that the SRP-SF is a useful measure of low-level psychopathic traits in noncriminal samples, although the underlying factor structure may not fully translate across men and women. (shrink)

Undoubtedly the Penrose-Hameroff Orch OR model may be considered as a good theory for describing information processing mechanisms and holistic phenomena in the human brain, but it doesn’t give us satisfactory explanation of human perception. In this work a new approach explaining our perception is introduced, which is in good agreement with Orch OR model and other mainstream science theories such as string theory, loop quantum gravity and holographic principle. It is shown that human perception cannot be explained in the (...) terms of elementary particles and we should introduce new indivisible holistic objects with geometry based on smooth infinitesimal analysis - elastic membranes. The example of such a membrane is our Universe which is an indivisible whole. It is shown that our perception may be considered as the result of elastic oscillations of two dimensional (2D) elastic membranes with closed topology embedded in our bodies. Only one elastic membrane responsible for its perceptions will correspond to the selected organism, but there may be other membranes, even at the cell level. In other words, reality may be considered as the process of time evolution of holistic energetically very weak macro objects - elastic membranes with the geometry based on smooth infinitesimal analysis. An embedded membrane in this multidimensional world will look different for the external and internal observers: from the outside it will look like a material object with smooth infinitesimal geometry, while from the inside our Universe-like space-time fabric. When interacting with elementary particles and other membranes, a membrane will transform their energy into its elastic energy (a new form of energy) - the energy of stretching of the infinitesimal segments. The theory postulates that these elastic deformations will not be observable from the point of view of the internal observer. Heisenberg’s uncertainty principle will work in this physics only from the point of view of the internal observer. For the external observer each embedded elastic membrane may be stretched and even a very small region will become observable. For example, living organisms play the role of internal observers of the Universe, and at the same time they serve as external observers for 2D membranes embedded into our Universe. We can observe our 2D self-membranes through our perceptions, which are encoded in elastic oscillations of the elastic membrane. According to the theory, elastic membranes occupy energetically favorable positions around microtubules involved into Orch OR. The theory not only gives us a really multidimensional holistic picture of reality, but it also provides us with a new method for understanding such phenomena as perception, self-awareness and will. (shrink)

Monica Colvin-Adams,1 Nonyelum Harcourt,1 Robert LeDuc,2 Ganesh Raveendran,1 Yassir Sonbol,3 Robert Wilson,1 Daniel Duprez11Cardiovascular Division, University of Minnesota, Minneapolis, MN, USA; 2Division of Biostatistics University of Minnesota, Minneapolis, MN, USA; 3Cardiovascular Division, St Luke's Hospital System, Sugar Land, TX, USAObjective: Arterial elasticity is a functional biomarker that has predictive value for cardiovascular morbidity and mortality in nontransplant populations. There is little information regarding arterial elasticity in heart transplant recipients. This study aimed to characterize small and large artery elasticity in heart (...) transplant recipients in comparison with an asymptomatic population free of overt cardiovascular disease. A second goal was to identify demographic and clinical factors associated with arterial elasticity in this unique population.Methods: Arterial pulse waveform was registered noninvasively at the radial artery in 71 heart transplant recipients between 2008 and 2010. SAEs and LAEs were derived from diastolic pulse contour analysis. Comparisons were made to a healthy cohort of 1,808 participants selected from our prevention clinic database. Multiple regression analyses were performed to evaluate associations between risk factors and SAE and LAE within the heart transplant recipients.Results: LAE and SAE were significantly lower in heart transplant recipients than in the normal cohort. Female sex and history of ischemic cardiomyopathy were significantly associated with reduced LAE and SAE. Older age and the presence of moderate cardiac allograft vasculopathy were also significantly associated with reduced SAE. Transplant duration was associated with increased SAE.Conclusion: Heart transplants are associated with peripheral endothelial dysfunction and arterial stiffness, as demonstrated by a significant reduction in SAE and LAE when compared with a healthy population. Furthermore, cardiac allograft vasculopathy is associated with a significant reduction in SAE, suggesting a potential use in screening heart transplant recipients at risk for developing this complication.Keywords: heart transplant, endothelial function, arterial elasticity, cardiac allograft vasculopathy. (shrink)

The purpose is to solve the problem that the current research on the impact of the microstructure of mental elasticity and its constituent factors on the development of the mental elasticity of children is not comprehensive, and the traditional artificial analysis method of mental problems has strong subjectivity and low accuracy. First, the structural equation model is used to study the microstructure of poor children's mental elasticity, and to explore the structural relationship and functional path between the mental elasticity of (...) children and the self-efficacy of their mental health, psychological anxiety, and attachment. Second, a prediction model of mental problems of children in plight based on the backpropagation neural network is constructed. Finally, middle schools in the representative areas of Northwest China are selected as the research unit. The relevant research data are collected by issuing questionnaires, and the data set is constructed to verify the performance of the model. The experimental results show that the average prediction errors of the BPNN model and the support vector regression model are 1.87 and 5.4, respectively. The error of BPNN is 65.4% lower than that of SVR, so BPNN has a better performance. The prediction results of the test set show that the actual error and the relative error of the BPNN model are controlled in the range of 0.01, and the prediction accuracy is high. The structural equation model has a high fitting degree. The results of the questionnaire analysis show that attachment, self-efficacy, and psychological anxiety exert a significant direct impact on mental elasticity. This exploration aims to conduct a micro investigation on the relationship among the three core variables in the resilience research of children in plight, and analyze their resilience, to provide a theoretical basis for the resilience intervention design of vulnerable groups. (shrink)