Measurement of branching fractions and CP violation for charmless charged two-body B decays at LHCb

Charmless charged two-body B decays are sensitive probes of the CKM matrix, that parameterize CP violation in the Standard Model (SM), and have the potential to reveal the presence of New Physics. The framework of CP violation within the SM, the role of the CKM matrix, with its basic formalism, and the current experimental status are presented. The theoretical tools commonly used to deal with hadronic B decays and an overview of the phenomenology of charmless two-body B decays are outlined. LHCb is one of the four main experiments operating at the Large Hadron Collider (LHC), devoted to the measurement of CP violation and rare decays of charm and beauty hadrons. The LHCb detector is described, focusing on the technologies adopted for each sub-detector and summarizing their performances. The status-of-the-art of the LHCb measurements with charmless two-body B decays is then presented. Using the 37/pb of integrated luminosity collected at sqrt(s) = 7 TeV by LHCb during 2010, the direct CP asymmetries ACP(B0 -> Kpi) = −0.074 +/- 0.033 +/- 0.008 and ACP(Bs -> piK) = 0.15 +/- 0.19 +/- 0.02 are measured. Using 320/pb of integrated luminosity collected during 2011 these measurements are updated to ACP(B0 -> Kpi) = −0.088 +/- 0.011 +/- 0.008 and ACP(Bs -> piK) = 0.27 +/- 0.08 +/- 0.02. In addition, the branching ratios BR(B0 -> K+K-) = (0.13+0.06-0.05 +/- 0.07) x 10^-6 and BR(Bs -> pi+pi-) = (0.98+0.23-0.19 +/- 0.11) x 10^-6 are measured. Finally, using a sample of 370/pb of integrated luminosity collected during 2011, the relative branching ratios BR(B0 -> pi+pi-)/BR(B0 -> Kpi) = 0.262 +/- 0.009 +/- 0.017, (fs/fd)BR(Bs -> K+K-)/BR(B0 -> Kpi)=0.316 +/- 0.009 +/- 0.019, (fs/fd)BR(Bs -> piK)/BR(B0 -> Kpi) = 0.074 +/- 0.006 +/- 0.006 and BR(Lambda_b -> ppi)/BR(Lambda_b -> pK)=0.86 +/- 0.08 +/- 0.05 are determined.

Das moderne Buch: Harry Graf Kesslers Ästhetik der Lebenskunst im Spiegel der Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker

Die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker wurde seit 1904 bis in die Zwanziger Jahre hinein im Insel Verlag in Leipzig publiziert. Die Buchreihe hat nicht nur für den Verlag und die Druckerei Poeschel in der sie gedruckt wurde eine ganze Reihe von Neuerungen nach sich gezogen, auch für den deutschen Buchmarkt hat die Klassikerausgabe einen Meilenstein bedeutet. Sie hat einige Eigenschaften des Taschenbuches vorweggenommen. Sie orientierte sich an der Qualität bibliophiler Buchpublikationen, aber war dennoch preislich erschwinglich. Zeitgenössische Klassikerausgaben erschienen zumeist mit einem Kommentar. Nicht so die Großherzog Wilhelm Ernst Ausgabe. Der Text wurde zwar von führenden Wissenschaftlern editiert, aber sie war dennoch unkommentiert. Der Text war in einer Jenson-Antiqua gesetzt obwohl die Debatte um individuell gestaltete Künstlerschriften und die Diskussion um die als deutsche Schrift begriffene Fraktur unter den wichtigsten Protagonisten des deutschen Buchgewerbes ihren Höhepunkt noch nicht erreicht hatte. Ziel für die Klassikerausgabe war darüber hinaus, das zur Jahrhundertwende leicht angestaubte Image der Stadt Weimar aufzupolieren. Über das Patronat des Großherzogs hinaus hätte man die Gewinne aus dem Verkauf der Bücher der Permanenten Ausstellung für die Anschaffung von modernen Kunstobjekten zur Verfügung stellen wollen, die unter der Leitung von Harry Graf Kessler stand. Sieht man den Inhalt der Werke der in der Klassikerreihe erschienen Dichter Goethe, Schiller und Körner in einem ästhetischen Kontext mit dem der Philosophen Schopenhauer und Kant, wird im Spiegel der Formalästhetik der Klassikerausgabe Graf Kesslers Bildungs- und Kulturbegriff erkennbar, der sich in den Jahren nach der Jahrhundertwende zu seinem Lebenskunstideal verdichtete. Der zerrütteten Existenz der Zeitgenossen, wie Friedrich Nietzsche sie beschrieben hatte, sollte der Inhalt der Ausgabe in seiner modernen Form eine moderne Wertehaltung entgegensetzen. Die Lektüre der Klassiker sollte den deutschen Philister „entkrampfen“ und ihm ein Stück der verloren geglaubten Lebensfreude wieder zurück bringen, in dem dieser auch die Facetten des Lebensleids als normal hinnehmen und akzeptieren lernte. Die Klassikerausgabe repräsentierte aus diesem Grund auch den kulturellen und politischen Reformwillen und die gesellschaftlichen Vorstellungen die der Graf für ein modernes Deutschland als überfällig erachtete. Die Buchreihe war aus diesem Grund auch ein politisches Statement gegen die Beharrungskräfte im deutschen Kaiserreich. Die Klassikerreihe wurde in der buchhistorischen Forschung zwar als bedeutender Meilenstein charakterisiert und als „wichtiges“ oder gar „revolutionäres“ Werk der Zeit hervorgehoben, die Ergebnisse der Forschung kann man überspitzt aber in der Aussage zusammenfassen, dass es sich bei der Großherzog Wilhelm Ernst Ausgabe um einen „zufälligen Glückstreffer“ deutscher Buchgestaltung zu handeln scheint. Zumindest lassen die Aussagen, die bisher in dieser Hinsicht gemacht wurden, keine eindeutige Einordnung zu, außer vielleicht der, dass die Klassiker von der englischen Lebensreform inspiriert wurden und Henry van de Velde und William Morris einen Einfluss auf ihre äußere Form hatten. Gerade die Gedankenansätze dieser Beiden nutzte Graf Kessler aber für eigene Überlegungen, die ihn schließlich auch zu eigenen Vorstellungen von idealer Buchgestaltung brachten. Da für Kessler auch Gebrauchsgegenstände Kunst sein konnten, wird das Konzept der Klassikerausgabe bis zur Umsetzung in ihrer `bahnbrechenden´ Form in das ideengeschichtliche und ästhetische Denken des Grafen eingeordnet. Die Klassiker werden zwar in buchhistorischen Einzeluntersuchungen bezüglich ihrer Komponenten, dem Dünndruckpapier, ihrem Einband oder der Schrifttype exponiert. In buchwissenschaftlichen Überblicksdarstellungen wird ihr Einfluss hingegen weniger beachtet, denn verschiedene Kritiker bezogen sie seit ihrem ersten Erscheinen nicht als deutsches Kulturgut mit ein, denn sie lehnten sowohl die englischen Mitarbeiter Emery Walker, Edward Johnston, Eric Gill und Douglas Cockerell wie auch ihre Gestaltung als „welsche“ Buchausgabe ab. Richtig ist, die Großherzog Wilhelm Ernst Ausgabe hatte dieselbe Funktion wie die von Graf Kessler in Weimar konzipierten Kunstausstellungen und die dortige Kunstschule unter der Leitung seines Freundes Henry van de Velde. Auch das für Weimar geplante Theater, das unter der Leitung von Hugo von Hofmannsthal hätte stehen sollen und die Großherzog Wilhelm Ernst Schule, hätten dieselben Ideen der Moderne mit anderen Mitteln transportieren sollen, wie die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker.

Il Lessico d’amore nei primi tre libri delle Odi di Orazio

Il presente studio si è posto come obiettivo quello di redigere un lessico dei termini d’amore nella poesia di Orazio, e, specificamente, dei lemmi presenti nei primi tre libri delle Odi. L’interesse per la lirica del Venosino ci ha indotti ad affrontarne la lettura non solo considerando quelle che sono le tematiche diremo topiche della sua poetica ( modus, angulus, mors, tempus, cura, solo per citare quelle più significative ), ma anche quelle meno note, quale appunto il tema dell’amore, oggetto di questo lavoro. Si è proceduto così all’analisi di ogni singolo libro di ogni ode, catalogandone ed analizzandone rispettivamente tutte le occorrenze di quei termini che abbiamo ritenuto essere propri del lessico amoroso. Il commento ad ogni libro è stato supportato dagli studi di Nisbet-Hubbard per il primo ed il secondo libro delle Odi ( cfr. R.G.M. Nisbet-M. Hubbard, A commentary on Horace: Odes Book 1, Oxford 1970; R.G.M. Nisbet-M. Hubbard, A commentary on Horace: Odes Book 2, Oxford 1978 ) e Nisbet-Rudd per il terzo ( cfr. R.G.M. Nisbet-Rudd, A commentary on Horace: Odes Book 3, Oxford, 2003 ). Trattandosi di un lessico è stato altresì fondamentale il contributo dell’ Index uerborum amatorium ( Cfr. R. Pichon, De sermone amatorio apud Latinos elegiarum scriptores, Paris 1902 ) e del ThLL. Si è infine proceduto ad individuare quei termini maggiormente significativi nell’ambito della poesia d’amore in generale, il cui riflesso è presente anche nella poesia oraziana, con una particolare attenzione al rapporto che intercorre tra Orazio e la tradizione neoterica ed elegiaca e al lessico dei colori, che vanta numerose occorrenze nella poesia d’amore, soprattutto in riferimento alla bellezza muliebre e maschile e che quindi appare di rilevante importanza per comprendere l’estetica della poesia oraziana nel ritrarre la forma degli amanti che popolano i suoi più celebri versi d’amore.

Analisi dello spettro di massa invariante j/psi pi+ pi- in collisioni p-p a sqrt(s) = 8 tev con il rivelatore cms

In questo lavoro di tesi è stato studiato lo spettro di massa invariante del sistema J/psi pi+ pi-, m(J/psi pi+ pi-), in collisioni protone-protone a LHC, con energia nel centro di massa sqrt(s)) pari a 8 TeV, alla ricerca di nuovi stati adronici. Lo studio è stato effettuato su un campione di dati raccolti da CMS in tutto il 2012, corrispondente ad una luminosità integrata di 18.6 fb-1. Lo spettro di massa invariante m(J/psi pi+ pi-), è stato ricostruito selezionando gli eventi J/psi->mu+ mu- associati a due tracce cariche di segno opposto, assunte essere pioni, provenienti da uno stesso vertice di interazione. Nonostante l'alta statistica a disposizione e l'ampia regione di massa invariante tra 3.6 e 6.0 GeV/c^2 osservata, sono state individuate solo risonanze già note: la risonanza psi(2S) del charmonio, lo stato X(3872) ed una struttura più complessa nella regione attorno a 5 GeV/c^2, che è caratteristica della massa dei mesoni contenenti il quark beauty (mesoni B). Al fine di identificare la natura di tale struttura, è stato necessario ottenere un campione di eventi arricchito in adroni B. È stata effettuata una selezione basata sull'elevata lunghezza di decadimento, che riflette la caratteristica degli adroni B di avere una vita media relativamente lunga (ordine dei picosecondi) rispetto ad altri adroni. Dal campione così ripulito, è stato possibile distinguere tre sottostrutture nello spettro di massa invariante in esame: una a 5.36 GeV/c^2, identificata come i decadimenti B^0_s-> J/psi pi+ pi-, un'altra a 5.28 GeV/c^2 come i candidati B^0-> J/psi pi+ pi- e un'ultima allargata tra 5.1 e 5.2 GeV/c^2 data da effetti di riflessione degli scambi tra pioni e kaoni. Quest'ultima struttura è stata identificata come totalmente costituita di una combinazione di eventi B^0-> J/psi K+ pi- e B^0_s-> J/psi K+ K-.

La goutte et la feuille. Transfigurations de la beauté naturelle dans la littérature européenne: Chateaubriand, Hölderlin et Leopardi.

La goutte et la feuille . Transfigurations de la beauté naturelle dans la littérature européenne : Chateaubriand , Hölderlin et Leopardi . La thèse se présente comme une étude morphologique de l'esthétique de la nature à la fin de 18 ans. Siècle. Le dénominateur commun est une étude comparative des paradigmes scientifiques et des images symboliques utilisés dans la littérature européenne . Sous ce point de vue la thèse identifie les formes originaires de la goutte et de la feuille comme un point de contact entre des moments culturels distincts, même si entrelacés. Un passage particulièrement important du travail est l'analyse structurelle du paysage . Le paysage est le point culminant d'accès aux secrets de l'écriture romantique. Le paysage commence avec la représentation classique du jardin édénique et se termine avec la forêt exotique américaine. Celle-ci est décrite par Chateaubriand, en tant qu’objet d’une KOINONIE stylistique à l’immensité sublime du désert et l'océan . Hölderlin place avec la beauté naturelle devient une harmonie secrète et sombre dans l'inconscient symbolique de l'âme humaine . Leopardi est l'auteur du désenchantement , et pourtant il est encore capable de pressentir empathiquement la mesure de l’imagination envers la beauté naturelle. Avec Léopards , cependant, s’accomplit la séparation finale entre l’EPOS de la beauté naturelle et l’ETHOS de la nature . Cette dernière est une grandeur morale, et au fait elle représente le moment de la dissolution nihiliste, notamment magnitude de l’esthétique typiquement romantique . Après Chateaubriand , Leopardi , et Hölderlin beauté naturelle ne seront plus transfigurant .

Asymmetric drift and halo flattening in disk galaxies

The main result in this work is the solution of the Jeans equations for an axisymmetric galaxy model containing a baryonic component (distributed according to a Miyamoto-Nagai profile) and a dark matter halo (described by the Binney logarithmic potential). The velocity dispersion, azimuthal velocity and some other interesting quantities such as the asymmetric drift are studied, along with the influence of the model parameters on these (observable) quantities. We also give an estimate for the velocity of the radial flow, caused by the asymmetric drift. Other than the mathematical beauty that lies in solving a model analytically, the interest of this kind of results can be mainly found in numerical simulations that study the evolution of gas flows. For example, it is important to know how certain parameters such as the shape (oblate, prolate, spherical) of a dark matter halo, or the flattening of the baryonic matter, or the mass ratio between dark and baryonic matter, have an influence on observable quantities such as the velocity dispersion. In the introductory chapter, we discuss the Jeans equations, which provide information about the velocity dispersion of a system. Next we will consider some dynamical quantities that will be useful in the rest of the work, e.g. the asymmetric drift. In Chapter 2 we discuss in some more detail the family of galaxy models we studied. In Chapter 3 we give the solution of the Jeans equations. Chapter 4 describes and illustrates the behaviour of the velocity dispersion, as a function of the several parameters, along with asymptotic expansions. In Chapter 5 we will investigate the behaviour of certain dynamical quantities for this model. We conclude with a discussion in Chapter 6.

Misura dell'angolo γ a LHCb

L’esperimento LHCb al CERN di Ginevra è stato appositamente progettato per effettuare misure di precisione nel settore della fisica del sapore, per verificare la validità delle previsioni del Modello Standard. Il Modello Standard descrive le trasformazioni dello stato di flavour dei quark secondo lo schema di mixing compendiato nella matrice unitaria di Cabibbo-Kobayashi-Maskawa. La verifica dell’unitarietà della matrice di mixing è dunque uno dei campi d’indagine più importanti nella fisica delle particelle. I modelli teorici che estendono il Modello Standard prevedono infatti meccanismi alternativi a quello CKM per la trasformazione del flavour che implicherebbero una violazione della unitarietà. Allo scopo di studiare la dinamica del flavour l’esperimento LHCb realizza misure della violazione della simmetria di coniugazione di carica e parità CP. Le misure di violazione della simmetria CP permettono di determinare i valori dei parametri complessi della matrice CKM (modulo e fase). Esse si basano sulla misura delle asimmetrie di decadimento di stati coniugati di carica di mesoni costituiti da quark charm (mesoni D) e beauty (mesoni B) in stati finali costituiti da particelle scelte opportunamente. Di particolare importanza in questo programma di ricerca è la misura della fase del termine Vub della matrice CKM, denominata γ. Scopo della tesi è lo studio dei metodi di misura della fase γ. La tesi è organizzata in quattro capitoli. Nei primi tre capitoli sono state poste le basi teoriche per la comprensione della fenomenologia delle interazioni deboli e della sua descrizione nel Modello Standard. È stata discussa in dettaglio la dinamica del sistema dei mesoni neutri e la violazione della simmetria CP dovuta sia al decadimento sia alla oscillazione. Dopo l’inquadramento teorico, nel quarto e ultimo capitolo, sono stati presentati i tre modelli teorici generalmente utilizzati per la misura della fase γ e impiegati dagli esperimenti dedicati alla fisica del flavour. I metodi proposti sono quelli più importanti, che fino ad oggi hanno consentito di misurare γ. Al momento LHCb ha ottenuto la migliore misura di γ, con un errore relativo del 13%, combinando le tre metodologie di analisi. Si prevede che l’esperimento LHCb possa migliorare significativamente la precisione di misura raccogliendo nel prossimo futuro un campione di eventi di dimensione un’ordine di grandezza maggiore dell’attuale.

Active Translation into English and Italian of Hosseini's adaptation of the Persian epic,"Shahname"

This thesis proposes a translation from Persian into Italian and English of an ancient Persian epic called Shahname, or literally “The Book of Kings,” by Ferdosi, first published in the 11th century CE. The translation proposed, however, is not based on the original book by Ferdosi, which is written all in verse, but rather, an edited, shorter, and simplified version written in prose, by Mohamad Hosseini, first published in 2013. Nonetheless, in his version, Hosseini included some of the verses from the original poems in order to show the value and the beauty of Ferdosi’s writing. Many translations of Ferdosi’s book have been made into English, but only one translation has been made into Italian, by one Italo Pizzi, in 8 volumes, all in verse, in 1886. This thesis analyses and discusses the choices made for the two translations presented into English and Italian. My project is not only to propose translations of Hosseini’s version, but to also introduce the reader to the Persian culture, and to the life of the most famous Iranian epic writer, Ferdosi, and his masterpiece, Shahname.

Traduzione di materiale informativo del Parco del Corno alle Scale

The Regional Park Corno alle Scale, while often criticized for a lack of effort focussing on attracting tourism to the area, still maintains a vast potential for satisfying the visitors' curiosity for areas of natural beauty, outdoor activities, hand crafted artefacts, and local cuisine. With the intent of promoting the area of Corno alle scale in a more comprehensive and appealing fashion, this paper has two main parts. Four brochures have been translated detailing the history of the villages dotted around the regional park, their main features, the local flora and fauna, the full range of outdoor activities available in the area, and also the main seasonal attraction, the ski resort. Secondly the translation strategies will be commented.

The Lady Footballers and the British Press, 1895

Nettie Honeyball and Florence Dixie founded the British Ladies Football Club (BLFC) in 1894 with the aim to provide football-playing opportunities for girls and young women, but also as a means of making money. Theirs, in effect, was an attempt to create a professional football league for women. Public interest in 'the lady footballers' was enormous, at least in its early stages, and generated considerable attention from the press. Overall, press coverage of the BLFC was negative (football is a man's sport; football is a working-class sport; women are physically incapable of playing the game; women shouldn't appear publicly in bifurcated garments, etc.), with only a few notable exceptions. Did the stance adopted depend on the political leaning of the newspaper? Or were the reporters simply reflecting the social and economic realities of their time, struggling to 'explain' a marginal group - women athletes, or more specifically, middle-class women football players - engaging in a working-class male game? This article examines the press coverage of the BLFC. The double standard evident in the newspaper coverage was, on the surface, as one might expect: if a woman played well, she was a freak, possibly a man in disguise; if she didn't play well, it proved that women shouldn't play football. But on closer examination, the double standard was actually rather nuanced: if she played well and looked the part of a woman, she could be subject to praise; yet if she played well and didn't conform to the standard of feminine beauty, she faced ridicule, and her gender called into question.

Córdoban Discourses: A Drama of Interreligious Dialogue

SETTING: Cordoba, Spain, 1135 CE, 29th year of the reign of ‘Ali “amir al-muslimin,” second king of the Berber Almoravid dynasty, rulers of Moorish Spain from 1071 to 1147. Cordoba, the capital of Andalus and the center of the Almoravid holdings in Spain, is a bustling cosmopolitan center, a crossroads for Europe and the Middle East, and the meeting-point of three religious traditions. Most significantly, Cordoba at this time is the hub of European intellectual activity. From the square—itself impressively large and surrounded by a massive collonade, the regularity and ordered beauty of which typifies the Moorish taste for symmetry (so beloved of M.C. Escher)—can be seen the huge Cordoban mosque, erected in the 8th-century by Khalif Abd-er-Rahman I to the glory of Allah, oft forgiving, most merciful. It is the second largest building in Islam, and the bastion of the still entrenched but soon to fade Muslim presence in western Europe. SCENE: Three figures sit upon stone benches beneath the westernmost colonnade of the Cordoban mosque, involved in an animated, though friendly discussion on matters of faith and reason, knowledge and God, language and logic. The host is none other than Jehudah Halevi, and his esteemed guests Master Peter Abelard and the venerable Råmånuja, whose obviously advanced age belies his youthful voice, gleaming eye, quick hands, and general exuberance. It is autumn, early evening…

Nature, Poetry, and Liminality in the Poetry of Robert Frost

Explores how Frost examines and configures the divide between life’s imperfections and its rewards. I am particularly interested in how Frost positions both the non-human natural world and poetry itself as intermediary (or liminal) realms that might help us live simultaneously in the worlds of reality and the imagination, or truth and beauty, or heaven and earth.

Dads, Daughters, And Disney: The Historical Trajectory Of Fairy Tale Fathers And Daughters

In my thesis I use a historical approach to close readings of fairy tale texts and movies to study the evolution of fathers, daughters, and marriage within three landmark tales: ¿Cinderella,¿ ¿Sleeping Beauty,¿ and ¿Snow White.¿ Using the works of Giambattista Basile, Charles Perrault, Jacob and Wilhelm Grimm, and Walt Disney and his cohort of animators, I trace the historical trajectory of these three elements, analyzing both the ways they change and develop as history progresses as well as the ways they remain consistent. Through close and comparative readings of primary sources and films, I demonstrate the power structures and familial dynamics evident through the interactions of fathers and daughters. Specifically, I show that through the weakness and ineptitude of fairy tale fathers, fairy tale daughters are able to gain power, authority, and autonomy by using magic and marriage to navigate patriarchal systems. The work I have done is important because it explores how each tale is a product of the story before it and thus that in order for these tales to continue to survive the test of time, we must not only recognize the validity of the academic merit of the Disney stories, but also remember them and others as we forge new paths in the stories we use to teach both children and parents. Specifically, this work is important because it explores the historical trend evident in the evolving relationships between fathers and daughters. This relationship ultimately it reveals the deep underlying need for family within all of us.

Not your mother's Latinas : film representations for a new millennium

This dissertation seeks to contribute to film, feminist and Latino/a studies by exploring the construction and ideological implications of representations of Latinas in four recent, popular U.S. films: Girlfight (Kusama 2000), Maid in Manhattan (Wang 2002), Real Women Have Curves (Cardoso 2002) and Spanglish (Brooks 2004). These films were released following a time of tremendous growth in the population and the political and economic strength of the Latina/o community as well as a rise in popularity and visibility in the 1990s of entertainers like Selena and actresses such as Jennifer Lopez and Salma Hayek. Drawing on the critical concepts of hybridity, Latinidad, and Bakhtinian dialogism, I analyze these films from a cultural and historical perspective to consider whether and to what degree, assuming changes in the situation of Latinas/os in the 1990’s, representations of Latinas have also changed. Specifically, in this dissertation I consider the ways in which the terrain of the Latina body is articulated in these films in relation to competing societal, cultural and familial conflicts, focusing on the body as a site of struggle where relationships collide, interact and are negotiated. In this dissertation I argue that most of the representations of Latinas in these films defy easy categorization, featuring complex characters grappling with economic issues, intergenerational differences, abuse, mother-daughter relationships, notions of beauty, familial expectations and the very real tensions between Latina/o cultural beliefs and practices and the dominant Anglo culture of the United States. Specifically, I argue that narrative and visual representation of Latina bodies in these films reflects a change in the Latinas offered for consumption to film viewers, presenting us with what some critics have called ‘emergent’ Latinas: conflicted and multilayered representations that in some cases challenge dominant ideologies and offer new demonstrations of Latina agency.

A Study on the Origin of Banded Agate

Agate in any of its varieties presents numerous problems in regard to its origin. Many types have been described and their beauty elaborated upon, but little has been written concerning their formation and the problems involved. The genesis of agate implicates an amazing complexity of physical and colloid­al chemistry, as well as, various principles of geology.