Topological insulating phases from two-dimensional nodal loop semimetals

Starting from a minimal model for a two-dimensional nodal loop semimetal, we study the effect of chiral mass gap terms. The resulting Dirac loop anomalous Hall insulator’s Chern number is the phase-winding number of the mass gap terms on the loop.We provide simple lattice models, analyze the topological phases, and generalize a previous index characterizing topological transitions. The responses of the Dirac loop anomalous Hall and quantum spin Hall insulators to a magnetic field’s vector potential are also studied both in weak- and strong-field regimes, as well as the edge states in a ribbon geometry.

2 D game ediror on-line : A edição de videojogos em contexto web

Descreve-se, no presente trabalho, os esforços envidados no sentido de criar uma solução informática generalista, para os problemas mais recorrentes do processo de produção de videojogos 20, baseados em sprites, a correr em plataformas móveis. O sistema desenvolvido é uma aplicação web que está inserida no paradigma cloud­computing, usufruindo, portanto, de todas as vantagens em termos de acessibilidade, segurança da informação e manutenção que este paradigma oferece actualmente. Além das questões funcionais, a aplicação é ainda explorada do ponto de vista da arquitetura da implementação, com vista a garantir um sistema com implementação escalável, adaptável e de fácil manutenção. Propõe-se ainda um algoritmo que foi desenvolvido para resolver o problema de obter uma distribuição espacial otimizada de várias áreas retangulares, sem sobreposições nem restrições a nível das dimensões, quer do arranjo final, quer das áreas arranjadas. ABSTRACT: This document describes the efforts taken to create a generic computing solution for the most recurrent problems found in the production of two dimensional, sprite­based videogames, running on mobile platforms. The developed system is a web application that fits within the scope of the recent cloud-computing paradigm and, therefore, enjoys all of its advantages in terms of data safety, accessibility and application maintainability. In addition, to the functional issues, the system is also studied in terms of its internal software architecture, since it was planned and implemented in the perspective of attaining an easy to maintain application, that is both scalable and adaptable. Furthermore, it is also proposed an algorithm that aims to find an optimized solution to the space distribution problem of several rectangular areas, with no overlapping and no dimensinal restrictions, neither on the final arrangement nor on the arranged areas.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.