CP trajectory diagram - a tool for a pictorial representation of CP and matter effects in neutrino oscillations

We introduce a CP trajectory diagram in bi-probability space as a powerful tool for a pictorial representation of the genuine CP and the matter effects in neutrino oscillations. The existence of correlated ambiguity in the B is uncovered. The principles of tuning the beam energy for a determination of CP-violating phase delta and the sign of Deltam(13)(2) given baseline distance are proposed to resolve the ambiguity and to maximize the CP-odd effect. We finally point out, quite contrary to what is usually believed, that the ambiguity may be resolved with similar to 50% chance in the super-JHF experiment despite its relatively short baseline of 300 km. (C) 2003 Elsevier B.V. B.V. All rights reserved.

Greek painting; the development of pictorial representation from archaic to Graeco-Roman times.

Introduction signed: Gisela M.A. Richter.

The Visual Representation of a Systematic Metaphor in a UK Media Text

Much has been written on the organizational power of metaphor in discourse, eg on metaphor ‘chains’ and ‘clusters’ of linguistic metaphor in discourse (Koller 2003, Cameron & Stelma 2004, Semino 2008) and the role of extended and systematic metaphor in organizing long stretches of language, even whole texts (Cameron et al 2009, Cameron & Maslen 2010, Deignan et al 2013, Semino et al 2013). However, at times, this work belies the intricacies of how a single metaphoric idea can impact on a text. The focus of this paper is a UK media article derived from a HM Treasury press release on alleviating poverty. The language of the article draws heavily on orientational (spatial) metaphors, particularly metaphors of movement around GOOD IS UP. Although GOOD IS UP can be considered a single metaphoric idea, the picture the reader builds up as they move line by line through this text is complex and multifaceted. I take the idea of “building up a picture” literally in order to investigate the schema of motion relating to GOOD IS UP. To do this, fifteen informants (Masters students at a London university), tutored in Cognitive Metaphor Theory, were asked to read the article and underline words and expressions they felt related to GOOD IS UP. The text was then read back to the informant with emphasis given to the words they had underlined, while they drew a pictorial representation of the article based on the meanings of these words, integrating their drawings into a single picture as they went along. I present examples of the drawings the informants produced. I propose that using Metaphor-led Discourse Analysis to produce visual material in this way offers useful insights into how metaphor contributes to meaning making at text level. It shows how a metaphoric idea, such as GOOD IS UP, provides the text producer with a rich and versatile meaning-making resource for constructing text; and gives a ‘mind-map’ of how certain aspects of a media text are decoded by the text receiver. It also offers a partial representation of the elusive, intermediate ‘deverbalized’ stage of translation (Lederer 1987), where the sense of the source text is held in the mind before it is transferred to the target language. References Cameron, L., R. Maslen, Z. Todd, J. Maule, P. Stratton & N. Stanley. 2009. ‘The discourse dynamic approach to metaphor and metaphor-led analysis’. Metaphor and Symbol, 24(2), 63-89. Cameron, L. & R. Maslen (eds). 2010. Metaphor Analysis: Research Practice in Applied Linguistics, Social Sciences and Humanities. London: Equinox. Cameron, L. & J. Stelma. 2004. ‘Metaphor Clusters in Discourse’. Journal of Applied Linguistics, 1(2), 107-136. Deignan, A., J. Littlemore & E. Semino. 2013. Figurative Language, Genre and Register. Cambridge: Cambridge University Press. Koller, V. 2003. ‘Metaphor Clusters, Metaphor Chains: Analyzing the Multifunctionality of Metaphor in Text’. metaphorik.de, 5, 115-134. Lederer, M. 1987. ‘La théorie interprétative de la traduction’ in Retour à La Traduction. Le Francais dans Le Monde. Semino, E. 2008. Metaphor in Discourse. Cambridge: Cambridge University Press. Semino, E., A. Deignan & J. Littlemore. 2013. ‘Metaphor, Genre, and Recontextualization’. Metaphor and Symbol. 28(1), 41-59.

Electron capture of tetracyanoethylene oxide in the gas phase. Rearrangement of the parent radical anion to form [(NC)(3)C](-). A joint experimental and ab initio study

Capture of an electron by tetracyanoethylene oxide can initiate a number of decomposition pathways. One of these decompositions yields [(NC)3C]− as the ionic product. Ab initio calculations (at the B3LYP/6-31+G∗ level of theory) indicate that the formation of [(NC)3C]− is initiated by capture of an electron into the LUMO of tetracyanoethylene oxide to yield the anion radical [(NC)2C–O–C(CN)2]−· that undergoes internal nucleophilic substitution to form intermediate [(NC)3C–OCCN]−·. This intermediate dissociates to form [(NC)3C]− (m/z 90) as the ionic product. The radical (NC)3C· has an electron affinity of 4.0 eV (385 kJ mol−1). Ab initio calculations show that [(NC)3C]− is trigonal planar with the negative charge mainly on the nitrogens. A pictorial representation of this structure is the resonance structure formed from three degenerate contributing structures (NC)2–CCN−. The other product of the reaction is nominally (NCCO)·, but there is no definitive experimental evidence to indicate whether this radical survives intact, or decomposes to NC· and CO. The overall process [(NC)2C–O–C(CN)2]−· → [(NC)3C]− + (NCCO)· is calculated to be endothermic by 21 kJ mol−1 with an overall barrier of 268 kJ mol−1.

The use of animation to promote student learning about the importance of mental well-being for tertiary study success

It is now widely acknowledged that student mental well-being is a critical factor in the tertiary student learning experience and is important to student learning success. The issue of student mental well-being also has implications for effective student transition out of university and into the world of work. It is therefore vital that intentional strategies are adopted by universities both within the formal curriculum, and outside it, to promote student well-being and to work proactively and preventatively to avoid a decline in student psychological well-being. This paper describes how the Queensland University of Technology Law School is using animation to teach students about the importance for their learning success of the protection of their mental well-being. Mayer and Moreno (2002) define an animation as an external representation with three main characteristics: (1) it is a pictorial representation, (2) it depicts apparent movement, and (3) it consists of objects that are artificially created through drawing or some other modelling technique. Research into the effectiveness of animation as a tool for tertiary student learning engagement is relatively new and growing field of enquiry. Nash argues, for example, that animations provide a “rich, immersive environment [that] encourages action and interactivity, which overcome an often dehumanizing learning management system approach” (Nash, 2009, 25). Nicholas states that contemporary millennial students in universities today, have been immersed in animated multimedia since their birth and in fact need multimedia to learn and communicate effectively (2008). However, it has also been established, for example through the work of Lowe (2003, 2004, 2008) that animations can place additional perceptual, attentional, and cognitive demands on students that they are not always equipped to cope with. There are many different genres of animation. The dominant style of animation used in the university learning environment is expository animation. This approach is a useful tool for visualising dynamic processes and is used to support student understanding of subjects and themes that might otherwise be perceived as theoretically difficult and disengaging. It is also a form of animation that can be constructed to avoid any potential negative impact on cognitive load that the animated genre might have. However, the nature of expository animation has limitations for engaging students, and can present as clinical and static. For this reason, the project applied Kombartzky, Ploetzner, Schlag, and Metz’s (2010) cognitive strategy for effective student learning from expository animation, and developed a hybrid form of animation that takes advantage of the best elements of expository animation techniques along with more engaging short narrative techniques. First, the paper examines the existing literature on the use of animation in tertiary educational contexts. Second, the paper describes how animation was used at QUT Law School to teach students about the issue of mental well-being and its importance to their learning success. Finally, the paper analyses the potential of the use of animation, and of the cognitive strategy and animation approach trialled in the project, as a teaching tool for the promotion of student learning about the importance of mental well-being.

Narrative, Memory and the Crisis of Mimesis: the Case of Adam Elsheimer and Giordano Bruno

The triangular space between memory, narrative and pictorial representation is the terrain on which this article is developed. Taking the art of memory developed by Giordano Bruno (1548 – 1600) and the art of painting subtly revolutionised by Adam Elsheimer (1578 – 1610) as test-cases, it is shown how both subvert the norms of mimesis and narration prevalent throughout the Renaissance, how disrupted memory creates “incoherent” narratives, and how perspective and the notion of “place” are questioned in a corollary way. Two paintings by Elsheimer are analysed and shown to include, in spite of their supposed “realism”, numerous incoherencies, aporias and strange elements – often overlooked. Thus, they do not conform to two of the basic rules governing both the classical art of memory and the humanist art of painting: well-defined places and the exhaustive translatability of words into images (and vice-versa). In the work of Bruno, both his philosophical claims and the literary devices he uses are analysed as hints for a similar (and contemporaneous) undermining of conventions about the transparency and immediacy of representation.

Superficialidad máxima. Superficie como posibilidad de sentido: imagen y síntoma

En estas páginas se pretende proponer un modo de entender lo visto siempre como adaptación inmanente, deseo y simbolización, esto es, entenderlo como imagen. Se hará conforme a un concepto de ‘superficie’ que prolonga la lectura que hiciera Didi-Huberman del concepto de imagen-síntoma de Aby Warburg, y se apoya en textos de teoría psicoanalítica de la mano de Jacques Lacan, en un intento no de arruinar la capacidad de hermenéutica del observador, sino de entender la búsqueda del sentido y de la esencia –del arte por ejemplo– como la investigación sobre un conflicto histórico de pérdidas, crisis y memoria. ‘Superficie’ en tanto que masa átona y sin sentido donde el ojo siempre visiona formas: ver superficie es que el ojo siempre adapte lo visto, deseando abrirlo visionariamente en su significado para recabar su verdad oculta, pero paradójicamente cerrándolo. Porque mirar imágenes supone siempre perder visión respecto de una supuesta totalidad en la que se darían todos los significados en todas sus ambigüedades y en todas sus posibilidades históricas, pérdida sólo decible en su retorno en tanto que resignificación traumática. Aquí postulamos que la ilusión será creer no que las apariencias son ilusorias, sino que más allá de ellas hay “más realidad”. Este planteamiento no sólo ratifica la posición del sujeto, inserto en una superficie/cuadro dada-a-ver, sino que descubre la brecha constitutiva que le rige y que es un “más en él” que él mismo.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Conversions of Relief: on the perception of depth in drawings

Of the many ways in which depth can be intimated in drawings, perspective has undoubtedly been one of the most frequently examined. But there is also an equally rich history associated with other forms of pictorial representation. Alternatives to perspective became particularly significant in the early twentieth century as artists and architects, intent on throwing off the conventions of their predecessors, looked to new ways of depicting depth. In architecture, this tendency was exemplified by Modernism’s preference for parallel projection – most notably axonometric and oblique. The use of these techniques gave architects the opportunity to convey a new and uniquely modern form of spatial expression. At once shallow and yet expansive, a key feature of these drawings was their ability to support perceptual ambiguity. This paper will consider the philosophy and science of vision, out of which these preoccupations emerged. In this context, the nineteenth-century discovery of stereopsis and the invention of the stereoscope will be used to illustrate the way in which attempts to test the limits of spatial perception led to an opening up of visual experience; and provided a definition of visual experience that could encompass the representational ambiguities later exploited by the early twentieth-century avant-garde.

Échos d’une tradition mythologique américaine : Joseph Légaré et le tableau d’histoire (1825-1855)

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Transgressions et croisements : le cas de l'adolescent fugueur chez Leïla Sebbar

L’objectif de ce mémoire est de rendre compte d’une figure particulièrement dynamique dans l’écriture de Leïla Sebbar, celle de l’adolescent fugueur. Mohamed dans Le Chinois vert d’Afrique (1982) et Shérazade dans Shérazade, 17 ans, brune, frisée, les yeux verts (1984), personnifient une réalité autre que celle accolée aux jeunes descendants de l’immigration maghrébine (surtout algérienne), partagés entre les codes culturels du pays d’origine et ceux du pays de naissance. L’hybridité des personnages et leur mobilité aléatoire permettent de réévaluer les discours sociaux dominants émis en France, pays tiraillé entre les aspirations d’unité nationale et l’histoire coloniale. Le premier chapitre fera état du contact des fugueurs avec la représentation picturale et sa place dans la constitution de leur identité. À la lumière de ces observations, la seconde partie du travail se penchera sur la prise de conscience du regard de l’Autre et le questionnement de l’image préconçue de l’adolescent de banlieue inculte en mal d’insertion sociale. La déconstruction de ce cliché permettra dans le troisième chapitre d’aborder la réappropriation de l’objet culturel par les fugueurs, procédant à une véritable démocratisation de la culture élitiste. Le quatrième chapitre sera enfin consacré au mouvement des fugueurs dans l’espace et dans le temps. Nous y verrons comment les fugueurs, intermédiaires entre la ville et sa banlieue mais aussi entre le paradis perdu du pays d’origine et le désarroi des parents immigrés, provoquent la relecture de l’histoire des générations passées tout en gardant un œil critique sur l’avenir.

Anisotropy in elastic properties of lithium sodium sulphate hexahydrate single crystal—An ultrasonic study

The double sulfate family (ABSO4), where A and B are alkali metal cations, is the object of great interest owing to the complexity and richness of its sequence of phase transition induced by temperature variation. A new sulfate salt characterized by the presence of water molecule in the unit cell with the chemical formula, Li2Na3(SO4)2⋅6H2O (LSSW), was obtained. The ultrasonic velocity measurement was done with pulse echo overlap technique [PEO]. All the six second order elastic stiffness constants, C11 = C22, C33, C44 = C55, C12, C14 and C13 = C23 are reported for the first time. The anisotropy in the elastic properties of the crystal are well explained by the pictorial representation of the polar plots of phase velocity, slowness, Young’s modulus and linear compressibility in a–b and a–c planes.

Elastic constant measurements of super ionic LiKSO4:Na single crystals

Elastic properties of sodium doped Lithium potassium sulphate, LiK0.9Na0.1SO4, crystal has been studied by ultrasonic Pulse Echo Overlap [PEO] technique and are reported for the first time. The controversy regarding the type of crystal found while growth is performed at 35 °C with equimolar fraction of Li2SO4H2O, K2SO4 and Na2SO4 has been resolved by studying the elastic properties. The importance of this crystal is that it exhibits pyroelectric, ferroelectric and electro optic properties. It is simultaneously ferroelastic and superionic. The elastic properties of LiK0.9Na0.1SO4 crystal are well studied by measuring ultrasonic velocity in the crystal in certain specified crystallographic directions and evaluating the elastic stiffness constants, compliance constants and Poisson’s ratios. The anisotropy in the elastic properties of the crystal are well explained by the pictorial representation of the surface plots of phase velocity, slowness and linear compressibility in a-b and a-c planes.