Intense-field dissociation dynamics of D2+ molecular ions using ultrafast laser pulses

The dynamics of dissociation of pre-ionized D2+ molecules using intense (10^12–10^15 W cm-2), ultrashort (50 fs), infrared (? = 790 nm) laser pulses are examined. Use of an intensity selective scan technique has allowed the deuterium energy spectrum to be measured over a broad range of intensity. It is found that the dominant emission shifts to lower energies as intensity is increased, in good agreement with corresponding wavepacket simulations. The results are consistent with an interpretation in terms of bond softening, which at high intensity (approximately >3 × 10^14 W cm-2) becomes dominated by dissociative ionization. Angular distribution measurements reveal the presence of slow molecular dissociation, an indication that vibrational trapping mechanisms occur in this molecule.

Rethinking the identity artist-researcher, from the project “Dialogues with women art teachers”

The questioning of identity and the various roles that artists have begun to explore, from the last century, are fundamental aspects in this article. Today it is difficult to speak of the artist as individual isolated innate talent working in his studio, but the various social, political and cultural effects, have moved the artists to become part of the social world and to generate artistic practices that visualize and manifest critically these concerns. To explain these transits deeper, we will share part of the personal artistic practice and reflections, and how it has begun to intertwine with the doctoral research, through the art project “Dialogues with women art teachers”. From the experience as an artist and researcher in training, we will share what this project of artistic inquiry is about and reflect their points with the notion of `artistic practice as research´ developed by Graeme Sullivan (2010, 2011). On the other hand, we will seek to reflect how the identities of `artist´ and `academic´ are in constant dialogue. This art project seeks to show that these identities are not in a fixed position, but rather reflect, from the place of an artist, how through the various shifts in different disciplines, can conceive an identity ‘in-between’. The latter refers to the ability to understand the processes of being a woman, artist and researcher who travels and forms its identity among both disciplines.

Spatial Perception and Cognition in Multichannel Audio for Electroacoustic Music

Listeners experience electroacoustic music as full of significance and meaning, and they experience spatiality as one of the factors contributing to its meaningfulness. If we want to understand spatiality in electroacoustic music, we must understand how the listener’s mental processes give rise to the experience of meaning. In electroacoustic music as in everyday life, these mental processes unite the peripheral auditory system with human spatial cognition. In the discussion that follows we consider a range of the listener’s mental processes relating space and meaning from the perceptual attributes of spatial imagery to the spatial reference frames for places and navigation. When considering multichannel loudspeaker systems in particular, an important part of the discussion is focused on the distinctive and idiomatic ways in which this particular mode of sound production contributes to and situates meaning. These idiosyncrasies include the phenomenon of image dispersion, the important consequences of the precedence effect and the influence of source characteristics on spatial imagery. These are discussed in close relation to the practicalities of artistic practice and to the potential for artistic meaning experienced by the listener.

Meaning in Electroacoustic Music and the Everyday Mind

The key question posed here is how listeners experience meaning when listening to electroacoustic music, especially how they experience it as art. This question is addressed by connecting electroacoustic listening with the ways that the mind constructs meaning in everyday life. Initially, the topic of the everyday mind provides a framework for discussing cognitive schemas, mental spaces, the Event schema and auditory gist. Then, specific idioms of electroacoustic music are examined that give rise to artistic meaning. These include the creative binding of circumstances with events and the conceptual blending that creates metaphorical meaning. Finally, the listener's experience of long-term events is discussed is relation to the location event-structure metaphor.

The influence of wear paths produced by hip replacement patients during normal walking on wear rates

Variation in wear paths is known to greatly affect wear rates in vitro, with multidirectional paths producing much greater wear than unidirectional paths. This study investigated the relationship between multidirectional motion at the hip joint, as measured by aspect ratio, sliding distance, and wear rate for 164 hip replacements. Kinematic input from three-dimensional gait analysis was used to determine the wear paths. Activity cycles were determined for a subgroup of 100 patients using a pedometer study, and the relationship between annual sliding distance and wear rate was analyzed. Poor correlations were found between both aspect ratio and sliding distance and wear rate for the larger group and between annual sliding distance and wear rate for the subgroup. However, patients who experienced a wear rate <0.08 mm/year showed a strong positive correlation between the combination of sliding distance, activity levels, and aspect ratio and wear rate (adjusted r2?=?55.4%). This group may represent those patients who experience conditions that most closely match those that prevail in simulator and laboratory tests. Although the shape of wear paths, their sliding distance, and the number of articulation cycles at the hip joint affect wear rates in simulator studies, this relationship was not seen in this clinical study. Other factors such as lubrication, loading conditions and roughness of the femoral head may influence the wear rate.

"The pride of noise": drums and their repercussions in early modern England

This article draws on a wide range of literary and archival sources in order to explore the cultural resonances of drumming in England during the 16th and 17th centuries. It concentrates not on instrument design and playing techniques but on the varied meanings that contemporaries attached to the ubiquitous sound of the drum. The discussion begins and ends with the unmistakable military associations of drumming. In between, consideration is also given to a range of interconnected but sometimes contradictory resonances that appear to have endowed drums with considerable cultural significance. Drums spoke, for example, of authority and they worked hard to impose order in urban streets. They also played their part in the contemporary culture of punishment, and many miscreants were subjected to the humiliation of public percussion. Beyond this, drums were particularly potent in their ability to express masculinity, and female drummers were rare and remarkable. The primal potency of the instrument also rendered it valuable to the insubordinate, and rioters—like soldiers— were regularly called together 'by the drum'. Lastly, the sound of the drum was sometimes intensely festive and could also be used to publicize special events such as dramatic performances and the display of curiosities. The repercussions of drumming were thus varied, and confusion sometimes resulted when the different possibilities became entangled.