Thermal activation, long-range ordering, and topological frustration of artificial spin ice

Frustrated systems, typically characterized by competing interactions that cannot all be simultaneously satisfied, are ubiquitous in nature and display many rich phenomena and novel physics. Artificial spin ices (ASIs), arrays of lithographically patterned Ising-like single-domain magnetic nanostructures, are highly tunable systems that have proven to be a novel method for studying the effects of frustration and associated properties. The strength and nature of the frustrated interactions between individual magnets are readily tuned by design and the exact microstate of the system can be determined by a variety of characterization techniques. Recently, thermal activation of ASI systems has been demonstrated, introducing the spontaneous reversal of individual magnets and allowing for new explorations of novel phase transitions and phenomena using these systems. In this work, we introduce a new, robust material with favorable magnetic properties for studying thermally active ASI and use it to investigate a variety of ASI geometries. We reproduce previously reported perfect ground-state ordering in the square geometry and present studies of the kagome lattice showing the highest yet degree of ordering observed in this fully frustrated system. We consider theoretical predictions of long-range order in ASI and use both our experimental studies and kinetic Monte Carlo simulations to evaluate these predictions. Next, we introduce controlled topological defects into our square ASI samples and observe a new, extended frustration effect of the system. When we introduce a dislocation into the lattice, we still see large domains of ground-state order, but, in every sample, a domain wall containing higher energy spin arrangements originates from the dislocation, resolving a discontinuity in the ground-state order parameter. Locally, the magnets are unfrustrated, but frustration of the lattice persists due to its topology. We demonstrate the first direct imaging of spin configurations resulting from topological frustration in any system and make predictions on how dislocations could affect properties in numerous materials systems.

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.