Open-closed superstring amplitudes using vertex operators in AdS(5) x S-5

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Dietary patterns are associated with general and central obesity in elderly living in a Brazilian city

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Baryon and meson density of states

In a finite size bag like picture consisting of quarks (2 flavour) and gluons with SU(3) colour singlet restriction on the partition function and the chemical potential μ ≠ 0 with the constraint that the baryon number b = 0 and b = 1 for mesons and baryons, respectively we find a very good agreement with baryon density of states upto 2 GeV and with mesonic ones upto 1.3 GeV. Similar to a hadron-scale string theory our calculation also suggests that beyond 1.3 GeV there should exist exotic mesons.

Type IIB R4H4g-4 conjectures

We propose SL(2, ℤ) (and SL(3, ℤ))-invariant conjectures for all R4H4g-4 couplings of Type IIB strings on ℝ10 (and ℝ8×T2), generalizing conjectures of Green and Gutperle (and Kiritsis and Pioline) for the R4 coupling. A strong check for our conjectures is that on T2 at weak coupling, they reproduce the multiloop scattering amplitudes which had been previously computed using N = 2 strings in the N = 4 topological formalism. Applications to (p, q) string production in a background H field, generalizing Schwinger's computation for pair production in a constant F field, are suggested. © 1998 Elsevier Science B.V.

Hilbert space of curved βγ systems on quadric cones

We clarify the structure of the Hilbert space of curved βγ systems defined by a quadratic constraint. The constraint is studied using intrinsic and BRST methods, and their partition functions are shown to agree. The quantum BRST cohomology is non-empty only at ghost numbers 0 and 1, and there is a one-to-one mapping between these two sectors. In the intrinsic description, the ghost number 1 operators correspond to the ones that are not globally defined on the constrained surface. Extension of the results to the pure spinor superstring is discussed in a separate work.

A new limit of the AdS(5) x S-5 sigma model

Using the pure spinor formalism, a quantizable sigma model has been constructed for the superstring in an AdS(5) X S-5 background with manifest PSU(2,2 vertical bar 4) invariance. The PSU(2,2 vertical bar 4) metric g(AB) has both vector components gab and spinor components g, 3, and in the limit where the spinor components g, 3 are taken to infinity, the AdS5 X S5 sigma model reduces to the worldsheet action in a flat background. In this paper, we instead consider the limit where the vector components g(ab) are taken to infinity. In this limit, the AdS5 X S5 sigma model simplifies to a topological A-model constructed from fermionic N=2 superfields whose bosonic components transform like twistor variables. Just as d=3 Chern-Simons theory can be described by the open string sector of a topological A-model, the open string sector of this topological A-model describes d=4 N=4 super-Yang-Mills. These results might be useful for constructing a worldsheet proof of the Maldacena conjecture analogous to the Gopakumar-Vafa-Ooguri worldsheet proof of Chern-Simons/conifold duality.

Balanço econômico da operação de semeadura da cultura da soja em diferentes arranjos espaciais

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Some aspects of abelian and nonabelian T-duality and the gauge/gravity correspondence

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Cultura, arte e sociedade: reflexões a partir da linguagem corporal da capoeira angola e suas linhas desenhadas no espaço

Dance-fight-game, art, religiosity, therapy, entertainment, ritual act, in short, "a way of being", are some of the various definitions/qualities attributed to the afro-brazilian cultural manifestation called "Capoeira Angola". Multivocal polysemic in its essence, Capoeira Angola is expressed in different languages which ranges from the types of touches of the musical instruments that make up the orchestra, through different types of songs, until we get the non-verbal communication established by the bodies of "capoeiristas" in the game and/or in the training body situation. The aim of this paper is to think of the line drawing in space, a significant problem in the execution of body movements of this practice. To address the relationship between line, efficiency and aesthetics of body movements, it is developed an ethnography in the Academy of João Pequeno de Pastinha-Sports Center of Capoeira Angola, based on anthropological interpretative approach, in which the concept of culture is semiotic.

Complex modal analysis of a vertical rotor through finite element method

Natural frequencies were analyzed (axial, torsional and flexural) and frequency response of a vertical rotor with a hard disk at the edge through the classical and complex modal analysis. The mathematical modeling was based on the theory of Euler-Bernoulli beam. The equation that rules the movement was obtained through the Lagrangian formulation. The model considered the effects of bending, torsion and axial deformation of the shaft, besides the gravitational and gyroscopic effects. The finite element method was used to discretize the structure into hollow cylindrical elements with 12 degrees of freedom. Mass, stiffness and gyroscopic matrices were explained consistently. This type of tool, based on the use of complex coordinates to describe the dynamic behavior of rotating shaft, allows the decomposition of the system in two submodes, backward and forward. Thus, it is possible to clearly visualize that the orbit and direction of the precessional motion around the line of the rotating shaft is not deformed. A finite element program was developed using Matlab ®, and numerical simulations were performed to validate this model.

Entrando na partida: a formulação de políticas de comunicação e cultura para jogos digitais no Brasil entre 2003 e 2014

Pós-graduação em Comunicação - FAAC

Cordas cósmicas e gravitação planar de ordem superior

The possibility of generalizing gravity in 2+1 dimensions to include higher-derivative terms, thereby allowing for a dynamical theory, opens up a variety of new interesting questions. This is in great contrast with pure Einstein gravity which is a generally covariant theory that has no degrees of freedom - a peculiarity that, in a sense, renders it a little insipid and odorless. The research on gravity of particles moving in a plane, that is, living in flatland, within the context of higher-derivative gravity, leads to novel and interesting effects. For instance, the generation of gravity, antigravity, and gravitational shielding by the interaction of massive scalar bosons via a graviton exchange. In addition, the gravitational deffection angle of a photon, unlike that of Einstein gravity, is dependent of the impact parameter. On the other hand, the great drawback to using linearized general relativity for describing a gravitating string is that this description leads to some unphysical results such as: (i) lack of a gravity force in the nonrelativistic limit; (ii) gravitational deffection independent of the impact parameter. Interesting enough, the effective cure for these pathologies is the replacement of linearized gravity by linearized higher-derivative gravity. We address these issues here

The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2

The volumes in The Critical Reception of Beethoven's Compositions by His German Contemporaries bring to light contemporary perceptions of Beethoven's music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven's music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, have been compiled from German-language periodicals published between 1783 and 1830. They present a wide spectrum of insights into the perceptions that Beethoven's contemporaries had of his monumental music. This is the second in a projected four-volume series. It begins with Opus 55, the Eroica, and ends with Opus 72, Fidelio.

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton