Reconstructing the interaction between dark matter and holographic dark energy

We reconstruct the interaction rate between dark matter and the holographic dark energy with the parametrized equation of states and the future event horizon as the infrared cutoff length. It is shown that the observational constraints from the 192 type Ia Supernovae (SnIa) and baryon acoustic oscillation (BAO) measurement permit the negative interaction in the wide region. Moreover, the usual phenomenological descriptions cannot describe the reconstructed interaction well for many cases. The other possible interaction is also discussed.

Three phases of dark-recovery course from photoinhibition resolved by the chlorophyll fluorescence analysis in soybean leaves under field conditions

The chlorophyll fluorescence in soybean leaves was observed by a portable fluorometer CF-1000 under field conditions. On clear days, F-0 increased while F, and F-v/F-m decreased gradually in the morning. At midday F-O reached its maximum while F-v and F-v/F-m reached their minimum. The reverse changes occurred in the afternoon. At dusk these parameters could return to levels near those at dawn. Following exposure to a strong sunlight for more than 3 h, the dark-recovery process displayed three phases: (1) slow increases in F-0, F-v and F-v/F-m within the first hour; (2) a faster decrease in F-0 and faster increases in F-v and F-v/F-m within subsequent two hours; (3) a slow decrease in F-0 and slow increases in F-v and F-v/F-m within the fourth hour. In comparison with darkness, weak irradiance had no stimulating effect on the recovery from photoinhibition. Hence the photoinhibition in soybean leaves is mainly the reflection of reversible inactivation of some photosystem 2 reaction centres, but not the result of D1 protein loss.

Gamma-rays from heavy minimal dark matter

Motivated by the Minimal Dark Matter scenario, we consider the annihilation into gamma rays of candidates in the fermionic 5-plet and scalar 7-plet representations of SU(2)L, taking into account both the Sommerfeld effect and the internal bremsstrahlung. Assuming the Einasto profile, we show that present measurements of the Galactic Center by the H.E.S.S. instrument exclude the 5-plet and 7-plet as the dominant form of dark matter for masses between 1 TeV and 20 TeV, in particular, the 5-plet mass leading to the observed dark matter density via thermal freeze-out. We also discuss prospects for the upcoming Cherenkov Telescope Array, which will be able to probe even heavier dark matter masses, including the scenario where the scalar 7-plet is thermally produced.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

Super-villains of the "real world": the political use of the characterization of villains in Chistopher Nolan's "Dark Knight Trilogy"

It is almost a tradition that celluloid (or digital) villains are represented with some characteristics that remind us the real political enemies of the producer country of the film, or even enemies within the country according to the particular ideology that sustains the film. The case of Christopher Nolan The Dark Knight trilogy, analyzed here, is representative of this trend for two reasons. First, because it gets marked by political radicalization conducted by the US government after the attack of September 11, 2001. Secondly, because it offers a profuse gallery of villains who are outside the circle of friends as the new doctrine “either with us or against us” opened by George Bush for the XXI century. This gallery includes from the very terrorists who justify the War on Terror (Ra's al Ghul, the Joker), to the “radical left” (Bane, Talia al Ghul) including liberal politicians (Harvey Dent), and corrupt that take advantage of the softness of the law to commit crimes with impunity (Dr. Crane, the Scarecrow).