Angular distribution of Z(0 power) bosons in Z+jet events at the square root of S = 7 TeV

For the first time, the Z0 boson angular distribution in the center-of-momentum frame is measured in proton-proton collisions at [special characters omitted] = 7 TeV at the CERN LHC. The data sample, recorded with the CMS detector, corresponds to an integrated luminosity of approximately 36 pb–1 . Events in which there is a Z0 and at least one jet, with a jet transverse momentum threshold of 20 GeV and absolute jet rapidity less than 2.4, are selected for the analysis. Only the Z0's muon decay channel is studied. Within experimental and theoretical uncertainties, the measured angular distribution is in agreement with next-to-leading order perturbative QCD predictions.

A Search for a New Particle Decaying to Pairs of Weak Gauge Bosons with the ATLAS Detector

A search for new heavy resonances decaying to boson pairs (WZ, WW or ZZ) using 20.3 inverse femtobarns of proton-proton collision data at a center of mass energy of 8 TeV is presented. The data were recorded by the ATLAS detector at the Large Hadron Collider (LHC) in 2012. The analysis combines several search channels with the leptonic, semi-leptonic and fully hadronic final states. The diboson invariant mass spectrum is studied for local excesses above the Standard Model background prediction, and no significant excess is observed for the combined analysis. 95$\%$ confidence limits are set on the cross section times branching ratios for three signal models: an extended gauge model with a heavy W boson, a bulk Randall-Sundrum model with a spin-2 graviton, and a simplified model with a heavy vector triplet. Among the individual search channels, the fully-hadronic channel is predominantly presented where boson tagging technique and jet substructure cuts are used. Local excesses are found in the dijet mass distribution around 2 TeV, leading to a global significance of 2.5 standard deviations. This deviation from the Standard Model prediction results in many theory explanations, and the possibilities could be further explored using the LHC Run 2 data.

Non-equilibrium thermodynamics of harmonically trapped bosons

We apply the framework of non-equilibrium quantum thermodynamics to the physics of quenched small-size bosonic quantum gases in a harmonic trap. By studying the temporal behaviour of the Loschmidt echo and of the atomic density profile within the trap, which are informative of the non-equilibrium physics and the correlations among the particles, we establish a link with the statistics of (irreversible) work done on the system. This highlights interesting connections between the degree of inter-particle entanglement and the non-equilibrium thermodynamics of the system.

Scalar field dark matter and the Higgs field

We discuss the possibility that dark matter corresponds to an oscillating scalar field coupled to the Higgs boson. We argue that the initial field amplitude should generically be of the order of the Hubble parameter during inflation, as a result of its quasi-de Sitter fluctuations. This implies that such a field may account for the present dark matter abundance for masses in the range 10^-6 - 10^-4 eV, if the tensor-to-scalar ratio is within the range of planned CMB experiments. We show that such mass values can naturally be obtained through either Planck-suppressed non-renormalizable interactions with the Higgs boson or, alternatively, through renormalizable interactions within the Randall–Sundrum scenario, where the dark matter scalar resides in the bulk of the warped extra-dimension and the Higgs is confined to the infrared brane.

Bosonization and entanglement spectrum for one-dimensional polar bosons on disordered lattices

Ultra cold polar bosons in a disordered lattice potential, described by the extended Bose-Hubbard model, display a rich phase diagram. In the case of uniform random disorder one finds two insulating quantum phases-the Mott-insulator and the Haldane insulator-in addition to a superfluid and a Bose glass phase. In the case of a quasiperiodic potential, further phases are found, e.g. the incommensurate density wave, adiabatically connected to the Haldane insulator. For the case of weak random disorder we determine the phase boundaries using a perturbative bosonization approach. We then calculate the entanglement spectrum for both types of disorder, showing that it provides a good indication of the various phases.

Higgs production in association with top quarks at the LHC

Since it has been found that the MadGraph Monte Carlo generator offers superior flavour-matching capability as compared to Alpgen, the suitability of MadGraph for the generation of ttb¯ ¯b events is explored, with a view to simulating this background in searches for the Standard Model Higgs production and decay process ttH, H ¯ → b ¯b. Comparisons are performed between the output of MadGraph and that of Alpgen, showing that satisfactory agreement in their predictions can be obtained with the appropriate generator settings. A search for the Standard Model Higgs boson, produced in association with the top quark and decaying into a b ¯b pair, using 20.3 fb−1 of 8 TeV collision data collected in 2012 by the ATLAS experiment at CERN’s Large Hadron Collider, is presented. The GlaNtp analysis framework, together with the RooFit package and associated software, are used to obtain an expected 95% confidence-level limit of 4.2 +4.1 −2.0 times the Standard Model expectation, and the corresponding observed limit is found to be 5.9; this is within experimental uncertainty of the published result of the analysis performed by the ATLAS collaboration. A search for a heavy charged Higgs boson of mass mH± in the range 200 ≤ mH± /GeV ≤ 600, where the Higgs mediates the five-flavour beyond-theStandard-Model physics process gb → tH± → ttb, with one top quark decaying leptonically and the other decaying hadronically, is presented, using the 20.3 fb−1 8 TeV ATLAS data set. Upper limits on the product of the production cross-section and the branching ratio of the H± boson are computed for six mass points, and these are found to be compatible within experimental uncertainty with those obtained by the corresponding published ATLAS analysis.

Signatures of doubly charged Higgs in the SU(3)(L) circle times U(1)(N) model at the CERN LHC

The scalar sector of the simplest version of the 3-3-1 electroweak model is constructed with three Higgs triplets only. We show that a relation involving two of the constants of the model, two vacuum expectation values of the neutral scalars, and the mass of the doubly charged Higgs boson leads to important information concerning the signals of this scalar particle.

All one-loop scalar vertices in the effective potential approach

Using the one-loop Coleman-Weinberg effective potential, we derive a general analytic expression for all the derivatives of the effective potential with respect to any number of classical scalar fields. The result is valid for a renormalisable theory in four dimensions with any number of scalars, fermions or gauge bosons. This result corresponds to the zero-external momentum contribution to a general one-loop diagram with N scalar external legs. We illustrate the use of the general result in two simple scalar singlet extensions of the Standard Model, to obtain the dominant contributions to the triple couplings of light scalar particles under the zero external momentum approximation.

Using the Higgs to Probe Naturalness

The extreme sensitivity of the mass of the Higgs boson to quantum corrections from high mass states, makes it 'unnaturally' light in the standard model. This 'hierarchy problem' can be solved by symmetries, which predict new particles related, by the symmetry, to standard model fields. The Large Hadron Collider (LHC) can potentially discover these new particles, thereby finding the solution to the hierarchy problem. However, the dynamics of the Higgs boson is also sensitive to this new physics. We show that in many scenarios the Higgs can be a complementary and powerful probe of the hierarchy problem at the LHC and future colliders. If the top quark partners carry the color charge of the strong nuclear force, the production of Higgs pairs is affected. This effect is tightly correlated with single Higgs production, implying that only modest enhancements in di-Higgs production occur when the top partners are heavy. However, if the top partners are light, we show that di-Higgs production is a useful complementary probe to single Higgs production. We verify this result in the context of a simplified supersymmetric model. If the top partners do not carry color charge, their direct production is greatly reduced. Nevertheless, we show that such scenarios can be revealed through Higgs dynamics. We find that many color neutral frameworks leave observable traces in Higgs couplings, which, in some cases, may be the only way to probe these theories at the LHC. Some realizations of the color neutral framework also lead to exotic decays of the Higgs with displaced vertices. We show that these decays are so striking that the projected sensitivity for these searches, at hadron colliders, is comparable to that of searches for colored top partners. Taken together, these three case studies show the efficacy of the Higgs as a probe of naturalness.

The S.T.A.B. Trial - Standardised Testing of Artificial Blood. A comparative study of various products that may be used as artificial blood for high fidelity simulation training in the critical care setting

Aim: In the current climate of medical education, there is an ever-increasing demand for and emphasis on simulation as both a teaching and training tool. The objective of our study was to compare the realism and practicality of a number of artificial blood products that could be used for high-fidelity simulation. Method: A literature and internet search was performed and 15 artificial blood products were identified from a variety of sources. One product was excluded due to its potential toxicity risks. Five observers, blinded to the products, performed two assessments on each product using an evaluation tool with 14 predefined criteria including color, consistency, clotting, and staining potential to manikin skin and clothing. Each criterion was rated using a five-point Likert scale. The products were left for 24 hours, both refrigerated and at room temperature, and then reassessed. Statistical analysis was performed to identify the most suitable products, and both inter- and intra-rater variability were examined. Results: Three products scored consistently well with all five assessors, with one product in particular scoring well in almost every criterion. This highest-rated product had a mean rating of 3.6 of 5.0 (95% posterior Interval 3.4-3.7). Inter-rater variability was minor with average ratings varying from 3.0 to 3.4 between the highest and lowest scorer. Intrarater variability was negligible with good agreement between first and second rating as per weighted kappa scores (K = 0.67). Conclusion: The most realistic and practical form of artificial blood identified was a commercial product called KD151 Flowing Blood Syrup. It was found to be not only realistic in appearance but practical in terms of storage and stain removal.

Getting creative in health care

Health care accounts for a substantial and growing share of national expenditures, and Australia’s health-care system faces some unprecedented pressures. This paper examines the contribution of creative expertise and services to Australian health care. They are found to be making a range of contributions to the development and delivery of health-care goods and services, the initial training and ongoing professionalism of doctors and nurses, and the effective functioning of health-care buildings. Creative activities within health-care services are also undertaken by medical professionals and patients. Key functions that creative activities address are innovation and service delivery in information management and analysis, and making complex information comprehensible or more useful, assisting communication and reducing psycho-social and distance-mediated barriers, and improving the efficiency and effectiveness of services.

Measuring creative employment : implications for innovation policy

Both creative industries and innovation are slippery fish to handle conceptually, to say nothing of their relationship. This paper faces, first, the problems of definitions and data that can bedevil clear analysis of the creative industries. It then presents a method of data generation and analysis that has been developed to address these problems while providing an evidence pathway supporting the movement in policy thinking from creative output (through industry sectors) to creative input to the broader economy (through a focus on occupations/activity). Facing the test of policy relevance, this work has assisted in moving the ongoing debates about the creative industries toward innovation thinking by developing the concept of creative occupations as input value. Creative inputs as 'enablers' arguably has parallels with the way ICTs have been shown to be broad enablers of economic growth. We conclude with two short instantiations of the policy relevance of this concept: design as a creative input; and creative human capital and education.

The creative sector in New Zealand : mapping and economic role : report to New Zealand Trade and Enterprise

The New Zealand creative sector was responsible for almost 121,000 jobs at the time of the 2006 Census (6.3% of total employment). These are divided between • 35,751 creative specialists – persons employed doing creative work in creative industries • 42,300 support workers - persons providing management and support services in creative industries • 42,792 embedded creative workers – persons engaged in creative work in other types of enterprise The most striking feature of this breakdown is the fact that the largest group of creative workers are employed outside the creative industries, i.e. in other types of businesses. Even within the creative industries, there are fewer people directly engaged in creative work than in providing management and support. Creative sector employees earned incomes of approximately $52,000 per annum at the time of the 2006 Census. This is relatively uniform across all three types of creative worker, and is significantly above the average for all employed persons (of approximately $40,700). Creative employment and incomes were growing strongly over both five year periods between the 1996, 2001 and 2006 Censuses. However, when we compare creative and general trends, we see two distinct phases in the development of the creative sector: • rapid structural growth over the five years to 2001 (especially led by developments in ICT), with creative employment and incomes increasing rapidly at a time when they were growing modestly across the whole economy; • subsequent consolidation, with growth driven by more by national economic expansion than structural change, and creative employment and incomes moving in parallel with strong economy-wide growth. Other important trends revealed by the data are that • the strongest growth during the decade was in embedded creative workers, especially over the first five years. The weakest growth was in creative specialists, with support workers in creative industries in the middle rank, • by far the strongest growth in creative industries’ employment was in Software & digital content, which trebled in size over the decade Comparing New Zealand with the United Kingdom and Australia, the two southern hemisphere nations have significantly lower proportions of total employment in the creative sector (both in creative industries and embedded employment). New Zealand’s and Australia’s creative shares in 2001 were similar (5.4% each), but in the following five years, our share has expanded (to 5.7%) whereas Australia’s fell slightly (to 5.2%) – in both cases, through changes in creative industries’ employment. The creative industries generated $10.5 billion in total gross output in the March 2006 year. Resulting from this was value added totalling $5.1b, representing 3.3% of New Zealand’s total GDP. Overall, value added in the creative industries represents 49% of industry gross output, which is higher than the average across the whole economy, 45%. This is a reflection of the relatively high labour intensity and high earnings of the creative industries. Industries which have an above-average ratio of value added to gross output are usually labour-intensive, especially when wages and salaries are above average. This is true for Software & Digital Content and Architecture, Design & Visual Arts, with ratios of 60.4% and 55.2% respectively. However there is significant variation in this ratio between different parts of the creative industries, with some parts (e.g. Software & Digital Content and Architecture, Design & Visual Arts) generating even higher value added relative to output, and others (e.g. TV & Radio, Publishing and Music & Performing Arts) less, because of high capital intensity and import content. When we take into account the impact of the creative industries’ demand for goods and services from its suppliers and consumption spending from incomes earned, we estimate that there is an addition to economic activity of: • $30.9 billion in gross output, $41.4b in total • $15.1b in value added, $20.3b in total • 158,100 people employed, 234,600 in total The total economic impact of the creative industries is approximately four times their direct output and value added, and three times their direct employment. Their effect on output and value added is roughly in line with the average over all industries, although the effect on employment is significantly lower. This is because of the relatively high labour intensity (and high earnings) of the creative industries, which generate below-average demand from suppliers, but normal levels of demand though expenditure from incomes. Drawing on these numbers and conclusions, we suggest some (slightly speculative) directions for future research. The goal is to better understand the contribution the creative sector makes to productivity growth; in particular, the distinctive contributions from creative firms and embedded creative workers. The ideas for future research can be organised into the several categories: • Understanding the categories of the creative sector– who is doing the business? In other words, examine via more fine grained research (at a firm level perhaps) just what is the creative contribution from the different aspects of the creative sector industries. It may be possible to categorise these in terms of more or less striking innovations. • Investigate the relationship between the characteristics and the performance of the various creative industries/ sectors; • Look more closely at innovation at an industry level e.g. using an index of relative growth of exports, and see if this can be related to intensity of use of creative inputs; • Undertake case studies of the creative sector; • Undertake case studies of the embedded contribution to growth in the firms and industries that employ them, by examining taking several high performing noncreative industries (in the same way as proposed for the creative sector). • Look at the aggregates – drawing on the broad picture of the extent of the numbers of creative workers embedded within the different industries, consider the extent to which these might explain aspects of the industries’ varied performance in terms of exports, growth and so on. • This might be able to extended to examine issues like the type of creative workers that are most effective when embedded, or test the hypothesis that each industry has its own particular requirements for embedded creative workers that overwhelms any generic contributions from say design, or IT.