Analysis of diffractive dissociation of K - into K - pi + pi - on a liquid hydrogen target at the COMPASS spectrometer

The systematic exploration of excited meson and baryon states was the central topic of the COMPASS physics program in the years 2008 and 2009 at the CERN facility. A hadron beam of 190 GeV/c particle momentum was impinging on a 40 cm long liquid hydrogen target to create excited states of beam particles by diffractive processes. The presented work is about the study of the process $K^- p rightarrow K^- pi^+ pi^- p_{recoil}$ where special emphasis is put on how kaons were distinguished from pions with the CEDAR detectors in the initial channel as well as with the RICH detector in the final states. At the end formed 270 000 events an invariant K pi pi mass distribution of overlapping resonances. In addition a detailed MC simulation study of 44 million decays in the range of 0.8 < m(K pi pi) [GeV/c^2] < 3.0 was performed and analysed for acceptance corrections.All information was combined into a mass independent partial wave analysis to observe resonances of individual particles. The main contribution was found in the JP = 0+, 1+, 2- and 2+ spin-parity states.

Measurement of the unpolarized K+ Lambda and K+ Sigma 0 electroproduction cross-section off the proton with KAOS-spectrometer

The new stage of the Mainz Microtron, MAMI, at the Institute for Nuclear Physics of the Johannes Gutenberg-University, operational since 2007, allows open strangeness experiments to be performed. Covering the lack of electroproduction data at very low Q2, p(e,K+)Lambda and p(e,K+)Sigma0, reactions have been studied at Q^2 = 0.036(GeV/c)^2 andrnQ^2 = 0.05(GeV=c)^2 in a large angular range. Cross-section at W=1.75rnGeV will be given in angular bins and compared with the predictions of Saclay-Lyon and Kaon Maid isobaric models. We conclude that the original Kaon-Maid model, which has large longitudinal couplings of the photon to nucleon resonances, is unphysical. Extensive studies for the suitability of silicon photomultipliers as read out devices for a scintillating fiber tracking detector, with potential applications in both positive and negative arms of the spectrometer, will be presented as well.

The scintillating fiber focal plane detector for the use of Kaos as a double arm spectrometer

The upgrade of the Mainz Mikrotron (MAMI) electron accelerator facility in 2007 which raised the beam energy up to 1.5,GeV, gives the opportunity to study strangeness production channels through electromagnetic process. The Kaon Spectrometer (KAOS) managed by the A1 Collaboration, enables the efficient detection of the kaons associated with strangeness electroproduction. Used as a single arm spectrometer, it can be combined with the existing high-resolution spectrometers for exclusive measurements in the kinematic domain accessible to them.rnrnFor studying hypernuclear production in the ^A Z(e,e'K^+) _Lambda ^A(Z-1) reaction, the detection of electrons at very forward angles is needed. Therefore, the use of KAOS as a double-arm spectrometer for detection of kaons and the electrons at the same time is mandatory. Thus, the electron arm should be provided with a new detector package, with high counting rate capability and high granularity for a good spatial resolution. To this end, a new state-of-the-art scintillating fiber hodoscope has been developed as an electron detector.rnrnThe hodoscope is made of two planes with a total of 18432 scintillating double-clad fibers of 0.83 mm diameter. Each plane is formed by 72 modules. Each module is formed from a 60deg slanted multi-layer bundle, where 4 fibers of a tilted column are connected to a common read out. The read-out is made with 32 channels of linear array multianode photomultipliers. Signal processing makes use of newly developed double-threshold discriminators. The discriminated signal is sent in parallel to dead-time free time-to-digital modules and to logic modules for triggering purposes.rnrnTwo fiber modules were tested with a carbon beam at GSI, showing a time resolution of 220 ps (FWHM) and a position residual of 270 microm m (FWHM) with a detection efficiency epsilon>99%.rnrnThe characterization of the spectrometer arm has been achieved through simulations calculating the transfer matrix of track parameters from the fiber detector focal plane to the primary vertex. This transfer matrix has been calculated to first order using beam transport optics and has been checked by quasielastic scattering off a carbon target, where the full kinematics is determined by measuring the recoil proton momentum. The reconstruction accuracy for the emission parameters at the quasielastic vertex was found to be on the order of 0.3 % in first test realized.rnrnThe design, construction process, commissioning, testing and characterization of the fiber hodoscope are presented in this work which has been developed at the Institut für Kernphysik of the Johannes Gutenberg - Universität Mainz.

Measurements of Production Properties of K0S mesons and Lambda hyperons in Proton-Carbon Interactions at 31 GeV/c

Spectra of K0S mesons and Λ hyperons were measured in p+C interactions at 31 GeV/c with the large acceptance NA61/SHINE spectrometer at the CERN SPS. The data were collected with an isotropic graphite target with a thickness of 4% of a nuclear interaction length. Interaction cross sections, charged pion spectra, and charged kaon spectra were previously measured using the same data set. Results on K0S and Λ production in p+C interactions serve as reference for the understanding of the enhancement of strangeness production in nucleus-nucleus collisions. Moreover, they provide important input for the improvement of neutrino flux predictions for the T2K long baseline neutrino oscillation experiment in Japan. Inclusive production cross sections for K0S and Λ are presented as a function of laboratory momentum in intervals of the laboratory polar angle covering the range from 0 up to 240 mrad. The results are compared with predictions of several hadron production models. The K0S mean multiplicity in production processes and the inclusive cross section for K0S production were measured and amount to 0.127 ± 0.005 (stat) ± 0.022 (sys) and 29.0 ± 1.6 (stat) ± 5.0 (sys) mb, respectively.

Improved predictions for μ\to e conversion in nuclei and Higgs-induced lepton flavor violation

Compared to μ→eγ and μ→eee, the process μ→e conversion in nuclei receives enhanced contributions from Higgs-induced lepton flavor violation. Upcoming μ→e conversion experiments with drastically increased sensitivity will be able to put extremely stringent bounds on Higgs-mediated μ→e transitions. We point out that the theoretical uncertainties associated with these Higgs effects, encoded in the couplings of quark scalar operators to the nucleon, can be accurately assessed using our recently developed approach based on SU(2) chiral perturbation theory that cleanly separates two- and three-flavor observables. We emphasize that with input from lattice QCD for the coupling to strangeness fNs, hadronic uncertainties are appreciably reduced compared to the traditional approach where fNs is determined from the pion-nucleon σ term by means of an SU(3) relation. We illustrate this point by considering Higgs-mediated lepton flavor violation in the standard model supplemented with higher-dimensional operators, the two-Higgs-doublet model with generic Yukawa couplings, and the minimal supersymmetric standard model. Furthermore, we compare bounds from present and future μ→e conversion and μ→eγ experiments.

Del orden del cosmos al "yo" disperso : distancias, espacios y experiencias en una perspectiva diacrónica de las escrituras del viaje

El presente trabajo constituye una propuesta para abordar textos referidos al viaje que se basa en analizar la mayor o menor relevancia dada a la distancia recorrida, al exotismo o extrañeza de los espacios visitados y a las experiencias en cuanto modificadoras de la persona del viajero. Las concepciones de diversas épocas sobre el mundo exterior y sobre el interior del "yo" han ejercido una influencia fundamental en la gran variabilidad de estas valoraciones. Pero no se trata de un proceso desarrollado de forma lineal y por lo tanto, en los ejemplos presentados se subrayan las interrelaciones entre pormenores de dicho proceso histórico y los desfases y matices propios de cada texto.

La Nostalgia Operativa: un nuevo romanticismo

Son muchos más de los que creemos, los “edificios modernos” que, abandonados desde hace tiempo, yacen silenciosos y olvidados frente a nuestros ciegos ojos, atentos sólo al simulacro social. La visión de su ruina cuando aparece, no produce en nosotros la misma sensación que la que producen las arquitecturas clásicas del pasado. Esta otra nos desasosiega e inquieta, despertando en nosotros la extrañeza, el desconcierto y, a veces, la culpa. ¿Qué particularidades intervienen y motivan esta contemplación sin nostalgia del pasado? ¿Cómo debemos instalar este fenómeno en el debate arquitectónico actual? Y más específicamente ¿Se puede integrar la ruina moderna en el proceso proyectual contemporáneo?. There are more “modern buildings” than we think that they remain abandoned and forgotten since a long time, in front of our blind eyes, focused only on the social simulacre. The vision of ruin when it appears, does not produce in us the same feeling as that produced by traditional architectures of the past. This one disturbs and us restless, waking us strangeness, confusion and sometimes guilt. What particularities involve and motivate this contemplation without nostalgia for the past? How should we install this phenomenon in the current architectural discussion? And more specifically. Can we integrate modern ruin into the contemporary design process?.

Da tradução ou não de pronomes e partículas pronominais do Italiano ao Português: algumas escolhas feitas por dois tradutores

Este estudo é movido pela curiosidade quanto a como se resolvem, nas traduções do italiano para o português, questões de colocação pronominal. Encontramos, normal e frequentemente, na língua italiana, principalmente na língua falada, pronomes cujos equivalentes em português existem em gramáticas normativas da língua portuguesa, mas que, na prática, não são utilizados pelos falantes e escritores brasileiros. Encontramos, também, na língua italiana, um significativo número de verbos pronominais (como esserci, volerci, averne etc.) e um considerável número de verbos pronominais múltiplos (como andarsene, farcela, fregarsene etc.) que, juntamente com esses pronomes, constituem, para os professores brasileiros de italiano língua estrangeira (LE), elementos difíceis de trabalhar na sala de aula. Além disso, tais elementos também podem dificultar o trabalho dos tradutores, que devem fazer determinadas escolhas ao traduzi-los para o português. Como são traduzidos os pronomes combinados do italiano nas versões brasileiras? Será que os portugueses, que possuem, por exemplo, tais pronomes utilizam-nos em todos os casos em que os encontramos nos textos de partida? E as partículas pronominais são simplesmente eliminadas no texto de chegada ou são substituídas? Tais aspectos, se observados e organizados, podem levar a uma melhor compreensão das duas línguas em contato e dar subsídios a estudantes, professores e tradutores. Pensando nessa dificuldade, esta pesquisa buscou e listou alguns autores e obras disponíveis para consulta e analisou um corpus com cento e sessenta e três ocorrências de pronomes no italiano, mais sete acréscimos de pronomes no português brasileiro (PB) e/ou português europeu (PE), partindo do romance Uno, nessuno e centomila de Luigi Pirandello e suas respectivas traduções em PB e PE. Nosso objetivo consiste em encontrar respostas úteis à diminuição do estranhamento, por parte de um italiano, que escuta, de um brasileiro, frases sem pronomes (ainda que o italiano as entenda) e/ou a sensação de inadequação e, até mesmo, de desconforto, por parte de um brasileiro, ao produzir frases com todos os pronomes. No corpus analisado, temos uma amostra das escolhas e respectivas traduções propostas pelos tradutores para casos de pronomes reflexivos, de pronomes pessoais do caso reto, de pronomes pessoais do caso oblíquo, de pronomes combinados e de partículas pronominais ne, ci e vi, com manutenções, omissões, trocas por outros pronomes (possessivos, retos, oblíquos, demonstrativos) e, até mesmo, uma espécie de compensação numérica com a inclusão de palavra inexistente no texto de partida.

Vertraute Fremde? Jens Baggesens und H.C. Andersens Reisen durch Deutschland:Fremdheitswahrnehmung und ihre literarische Gestaltung in "Labyrinten" und "Skyggebilleder"

Jens Baggesen and H.C. Andersen are both aspiring young authors when they set out on their respective journeys to Germany. The literary accounts of their travels - Labyrinten and Skyggebilleder - show how the authors perceive a foreign country, which, despite having a culture closely linked to their own, still contains elements that strike them as being unfamiliar and even bizarre. Their curiosity towards the strange features they encounter is accompanied by a strong desire to reaffirm their own national and cultural identity, forever relying on the comfort of the familiar. When confronted with experiences of strangeness and unfamiliarity that threaten to alienate them, both authors develop similar literary strategies. The poetical programmes that both writers implicitly subscribe to are illustrated in the way they perceive strange and alien elements and are therefore fundamentally and intrinsically interlinked with their aesthetic convictions as writers.

First time measurements of polarization observables for the charged cascade hyperon in photoproduction

The parity violating weak decay of hyperons offers a valuable means of measuring their polarization, providing insight into the production of strange quarks and the matter they compose. Jefferson Lab's CLAS collaboration has utilized this property of hyperons, publishing the most precise polarization measurements for the Λ and Σ in both photoproduction and electroproduction to date. In contrast, cascades, which contain two strange quarks, can only be produced through indirect processes and as a result, exhibit low cross sections thus remaining experimentally elusive.^ At present, there are two aspects in cascade physics where progress has been minimal: characterizing their production mechanism, which lacks theoretical and experimental developments, and observation of the numerous excited cascade resonances that are required to exist by flavor SU(3) F symmetry. However, CLAS data were collected in 2008 with a luminosity of 68 pb−1 using a circularly polarized photon beam with energies up to 5.45 GeV, incident on a liquid hydrogen target. This dataset is, at present, the world's largest for meson photoproduction in its energy range and provides a unique opportunity to study cascade physics with polarization measurements.^ The current analysis explores hyperon production through the γ p → K+K +Ξ− reaction by providing the first ever determination of spin observables P, Cx and Cz for the cascade. Three of our primary goals are to test the only cascade photoproduction model in existence, examine the underlying processes that give rise to hyperon polarization, and to stimulate future theoretical developments while providing constraints for their parameters. Our research is part of a broader program to understand the production of strange quarks and hadrons with strangeness. The remainder of this document discusses the motivation behind such research, the method of data collection, details of their analysis, and the significance of our results.^

Resistance is futile: the borg, the hive, and corporate hegemony

The Borg, a collective of humanoid cyborgs linked together in a hive-mind and modeled on the earthly superorganisms of ant colonies and beehives, has been the most feared alien race in the Star Trek universe. The formidable success of the Borg in assimilating their foes corresponds to the astounding success of superorganisms in our own biosphere. Yet the Borg also serves as a metaphor for another collective of biological entities known as the corporation. In the Anthropocene epoch, corporations have become the most powerful force on the planet; their influence on the social world and the environment exceeds any government and may determine the continued sustainability of human life. Corporations have been described as people and as machines, but neither metaphor accurately describes their essence or contributes to an understanding that might resist their power. This paper reframes our understanding of the corporation by examining the metaphors that are used to describe it, and by suggesting an entirely new metaphor viewing the Borg and the corporation through the lens of sociobiology. I will argue that the corporation is a new form of superorganism that has become the dominant species on the planet and that the immense, intractable power of a globalized, corporate hive-mind has become the principal obstacle to addressing the planetary emergency of climate change. Reframing our metaphoric understanding of corporations as biological entities in the planetary biosphere may enable us to imagine ways to resist their increasing dominance and create a sustainable future. 

Przestrzenne formy upamiętniania Zagłady

This book is a synthesizing reflection on the Holocaust commemoration, in which space becomes a starting point for discussion. The author understands space primarily as an amalgam of physical and social components, where various commemorative processes may occur. The first part of the book draws attention to the material aspect of space, which determines its character and function. Material culture has been a long ignored and depreciated dimension of human culture in the humanities and social sciences, because it was perceived as passive and fully controlled by human will, and therefore insignificant in the course of social and historical processes. An example of the Nazi system perfectly illustrates how important were the restrictions and prohibitions on the usage of mundane objects, and in general, the whole material culture in relation to macro and micro space management — the state, cities, neighborhoods and houses, but also parks and swimming pools, factories and offices or shops and theaters. The importance of things and space was also clearly visible in exploitative policies present in overcrowded ghettos and concentration and death camps. For this very reason, when we study spatial forms of Holocaust commemoration, it should be acknowledged that the first traces, proofs and mementoes of the murdered were their things. The first "monuments" showing the enormity of the destruction are thus primarily gigantic piles of objects — shoes, glasses, toys, clothes, suitcases, toothbrushes, etc., which together with the extensive camps’ space try to recall the scale of a crime impossible to understand or imagine. The first chapter shows the importance of introducing the material dimension in thinking about space and commemoration, and it ends with a question about one of the key concepts for the book, a monument, which can be understood as both object (singular or plural) and architecture (sculptures, buildings, highways). However, the term monument tends to be used rather in a later and traditional sense, as an architectural, figurative form commemorating the heroic deeds, carved in stone or cast in bronze. Therefore, the next chapter reconstructs this narrower line of thinking, together with a discussion about what form a monument commemorating a subject as delicate and sensitive as the Holocaust should take on. This leads to an idea of the counter-monument, the concept which was supposed to be the answer to the mentioned representational dilemma on the one hand, and which would disassociate it from the Nazi’s traditional monuments on the other hand. This chapter clarifies the counter-monument definition and explains the misunderstandings and confusions generated on the basis of this concept by following the dynamics of the new commemorative form and by investigating monuments from the ‘80s and ‘90s erected in Germany. In the next chapter, I examine various forms of the Holocaust commemoration in Berlin, a city famous for its bold, monumental, and even controversial projects. We find among them the entire spectrum of memorials – big, monumental, and abstract forms, like Peter Eisenman’s Memorial to the Murdered Jews of Europe or Daniel Liebeskind’s Jewish Museum Berlin; flat, invisible, and employing the idea of emptiness, like Christian Boltanski’s Missing House or Micha Ullman’s Book Burning Memorial; the dispersed and decentralized, like Renata Stih and Frieder Schnock’s Memory Places or Gunter Demnig’s Stumbling Blocks. I enrich descriptions of the monuments by signaling at this point their second, extended life, which manifests itself in the alternative modes of (mis)use, consisting of various social activities or artistic performances. The formal wealth of the outlined projects creates a wide panorama of possible solutions to the Holocaust commemoration problems. However, the discussions accompanying the building of monuments and their "future life" after realization emphasize the importance of the social component that permeates the biography of the monument, and therefore significantly influences its foreseen design. The book also addresses the relationship of space, place and memory in a specific situation, when commemoration is performed secretly or remains as unrealized potential. Although place is the most common space associated with memory, today the nature of this relationship changes, and is what indicates popularity and employment of such terms as Marc Augé’s non-places or Pierre Nora’s site of memory. I include and develop these concepts about space and memory in my reflections to describe qualitatively different phenomena occurring in Central and Eastern European countries. These are unsettling places in rural areas like glades or parking lots, markets and playgrounds in urban settings. I link them to the post-war time and modernization processes and call them sites of non-memory and non-sites of memory. Another part of the book deals with a completely different form of commemoration called Mystery of memory. Grodzka Gate - NN Theatre in Lublin initiated it in 2000 and as a form it situates itself closer to the art of theater than architecture. Real spaces and places of everyday interactions become a stage for these performances, such as the “Jewish town” in Lublin or the Majdanek concentration camp. The minimalist scenography modifies space and reveals its previously unseen dimensions, while the actors — residents and people especially related to places like survivors and Righteous Among the Nations — are involved in the course of the show thanks to various rituals and symbolic gestures. The performance should be distinguished from social actions, because it incorporates tools known from religious rituals and art, which together saturate the mystery of memory with an aura of uniqueness. The last discussed commemoration mode takes the form of exposition space. I examine an exhibition concerning the fate of the incarcerated children presented in one of the barracks of the Majdanek State Museum in Lublin. The Primer – Children in Majdanek Camp is unique for several reasons. First, because even though it is exhibited in the camp barrack, it uses a completely different filter to tell the story of the camp in comparison to the exhibitions in the rest of the barracks. For this reason, one experiences immersing oneself in all subsequent levels of space and narrative accompanying them – at first, in a general narrative about the camp, and later in a specifically arranged space marked by children’s experiences, their language and thinking, and hence formed in a way more accessible for younger visitors. Second, the exhibition resigns from didacticism and distancing descriptions, and takes an advantage of eyewitnesses and survivors’ testimonies instead. Third, the exhibition space evokes an aura of strangeness similar to a fairy tale or a dream. It is accomplished thanks to the arrangement of various, usually highly symbolic material objects, and by favoring the fragrance and phonic sensations, movement, while belittling visual stimulations. The exhibition creates an impression of a place open to thinking and experiencing, and functions as an asylum, a radically different form to its camp surrounding characterized by a more overwhelming and austere space.

The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).