Diffraction-limited performance and focusing of high harmonics from relativistic plasmas

When a pulse of light reflects from a mirror that is travelling close to the speed of light, Einstein's theory of relativity predicts that it will be up-shifted to a substantially higher frequency and compressed to a much shorter duration. This scenario is realized by the relativistically oscillating plasma surface generated by an ultraintense laser focused onto a solid target. Until now, it has been unclear whether the conditions necessary to exploit such phenomena can survive such an extreme interaction with increasing laser intensity. Here, we provide the first quantitative evidence to suggest that they can. We show that the occurrence of surface smoothing on the scale of the wavelength of the generated harmonics, and plasma denting of the irradiated surface, enables the production of high-quality X-ray beams focused down to the diffraction limit. These results improve the outlook for generating extreme X-ray fields, which could in principle extend to the Schwinger limit.

Efficient extreme UV harmonics generated from picosecond laser pulse interactions with solid targets

The generation of high harmonics created during the interaction of a 2.5 ps, 1053 nm laser pulse with a solid target has been recorded for intensities up to 10(19) W cm(-2). Harmonic orders up to the 68th at 15.5 nm in first order have been observed with indications up to the 75th at 14.0 nm in second-order diffraction. No differences in harmonic emission between s and p polarization of the laser beam were observed. The power of the 38th high harmonic at 27.7 nm is estimated to be 24 MW.

Coherence and bandwidth measurements of harmonics generated from solid surfaces irradiated by intense picosecond laser pulses

We present measurements of the transverse and longitudinal coherence lengths of the fourth harmonic of a 1053-nm, 2.5-ps laser generated during high-intensity (up to 10(19) W cm(-2)) interactions with a solid target. Coherence lengths were measured by use of a Young's double-slit interferometer. The effective source size, as defined by the Van Cittert-Zernicke theorem, was found to be 10-12 mu m, and the coherence time was observed to be in the range 0.02-0.4 ps.

High-order harmonics of 248.6-nm KrF laser from helium and neon ions

We report high harmonic generation from a 248.6-nm KrF laser giving harmonic orders up to the 37th (67 Angstrom) in a helium gas jet and the 35th (71 Angstrom) in neon, for laser intensities up to 4 x 10(17) W/cm(2) in 380-fs pulses. These observations are interpreted using theoretical modeling that identifies the ion species He+, Ne+, and Ne2+ as the sources of the highest harmonics.

Music in mind, a randomized controlled trial of music therapy for young people with behavioural and emotional problems: study protocol

Aims. This article is a report of a trial protocol to determine if improvizational music therapy leads to clinically significant improvement in communication and interaction skills for young people experiencing social, emotional or behavioural problems. Background. Music therapy is often considered an effective intervention for young people experiencing social, emotional or behavioural difficulties. However, this assumption lacks empirical evidence. Study design. Musicinmindisamulti-centredsingle-blindrandomizedcontrolledtrial involving 200 young people (aged 8–16 years) and their parents. Eligible participants willhaveaworkingdiagnosiswithintheambitofInternational ClassificationofDisease 10 Mental and Behavioural Disorders and will be recruited over 15 months from six centres within the Child and Adolescent Mental Health Services of a large health and social care trust in Northern Ireland. Participants will be randomly allocated in a 1:1 ratio to receive standard care alone or standard care plus 12 weekly music therapy sessions delivered by the Northern Ireland Music Therapy Trust. Baseline data will be collectedfromyoungpeopleandtheirparentsusingstandardizedoutcomemeasuresfor communicative and interaction skills (primary endpoint), self-esteem, social functioning, depressionandfamilyfunctioning.Follow-updatawillbecollected1and13 weeks afterthefinalmusictherapysession.Acost-effectivenessanalysiswillalsobecarriedout. Discussion. This study will be the largest trial to date examining the effect of music therapy on young people experiencing social, emotional or behavioural difficulties and will provide empirical evidence for the use of music therapy among this population. Trial registration. This study is registered in theISRCTNRegister,ISRCTN96352204. Ethical approval was gained in October 2010.

Compost city: underground music, collapsoscapes and urban regeneration

This paper looks at the recent history of Hulme, Manchester, which during the 1980s was home to many of the most successful bands of the post-punk era. This flourishing of underground music was not planned, however. It emerged, through a complex network of urban forces, some physical, some social. The paper develops the concept of the ‘compost city’ a laissez-faire approach to the management of urban culture, which is oppositional to the current vogue for more hands-on cultural industries management.

The Sound of Becoming: Moving Towards a Virtual Music

In 1985 Jacques Attali proposed a new modality for music. He suggests that there be “not a new music, but a new way of making music... a radically new form of the insertion of music into communication” (Attali 134). What Attali foretold has become a firm reality in contemporary musical practice. One has only to look at any current musical activity to encounter work that relies heavily on real-time interaction and dynamic generation and/or modification of materials. But why is this ontologically different ‘mode of essentially interactive and transformative existence’ (Ziarek 195), this ‘new way of making music’, so attractive to contemporary artists? What is motivating artists to abandon a production model in favor of a model of real-time interactive exploration? I will argue that at the foundation of this new artistic ontology lies Deleuze’s concept of the virtual. It is a recognition of the virtual power of music, that music making can be an act of invention, a process where one can discover something never before experienced.