Quantum and thermal effects in the double exchange ferromagnet

The physics of the ferromagnetic phase of the ``double exchange'' model has been widely discussed in the context of the CMR manganites. Usually, the double exchange ferromagnet is treated is classically, by mapping it onto an effective Heisenberg model. However this mapping does not permit a correct treatment of quantum or thermal fluctuation effects, and the results obtained lack many of the interesting features seen in experiments on the manganites. Here we outline a new analytic approach to systematically evaluating quantum and thermal corrections to the magnetic and electronic properties of the double exchange ferromagnet.Comment: 4 pages summary of results for spin excitations in DE model with a few comments on associated electronic physics (from talk given at European Conference on Physics of Magnetism, Poznan 2002

Handel opera presentation, past and present : a thesis presented in partial fulfilment of the requirements for the degree of Master of Music at Massey University, Wellington, New Zealand

What differences, if any, exist between the performance of Handel opera during his lifetime, and contemporary performances? To what extent do these differences reflect the need to adapt Handel's operas when performed out of their original context, and how does knowledge of original performance practices enhance the singer's ability to interpret and present characters in performance? This study investigates the ideas outlined above, exploring the social and cultural environment of opera seria, its conventions, and the way in which Handel's operas were presented during his lifetime, later providing a comparison with contemporary productions. It aims to enhance understanding of the production and musical aspects of staging a Handel opera, and to illustrate how this knowledge can assist in performance

Fruit and Fish: Alison Goodwin’s Reimaging of the Modernist Motif

Alison Goodwin’s painting Cantaloupe (2008) at first appears, perhaps naively, to depict a still life of fruit and flowers on a table: pomegranate, cantaloupe, sunflowers, and a drink. Beneath two rusty red and murky green lines, a diamond pattern demarcates the floor from the wall above. Next to the mottled green-and-red wall is a view through an open window. Three narrow houses lean precariously to the left; the windows are indicated, almost carelessly, by blocks of watery black paint. Two stylized trees with foliage shaped into bulbous spheres punctuate the row of buildings. Goodwin’s particular style, with its emphasis on a skewed perspective, flattened forms, and broadly applied colors, cannot—and should not—be read as unsophisticated or unknowing. Rather, Goodwin’s paintings reinterpret the work of some of the most important nineteenth- and early twentieth-century painters. She deliberately evokes the style and subjects of European modernists such as Henri Matisse, Paul Gauguin, and Vincent van Gogh. Each of her paintings recalls the implied formal tension between depicted three-dimensional space and the literal flatness of painted planes of color and stylized forms that her predecessors welcomed. Matisse, Cézanne, and others in the late nineteenth century rejected academic norms of picture making (painting realistically through modeling, shade, and one-point perspective). By revisiting these artists’ aesthetic, Goodwin complicates this historical progression and inserts her own mark onto the modernist (and particularly male-dominated) canon. [excerpt

Bright Lights on Quiet Streets: Tom Keough’s Nocturnes

The well-kept city streets lined with trees and old brownstones may seem familiar in the paintings of Brooklyn-based artist Tom Keough, but the neighborhood is disquietingly empty. Keough situates the sidewalk in the immediate foreground of his paintings and compels the viewer to enter into an eerily vacant scene. With few exceptions, Keough leaves the always still and sometimes snowy New York setting largely unoccupied. Nonetheless, Keough conveys human presence in his paintings with the soft glow of lamplight from windows, footprints in the snow, and cars parked along the side. The theme of urban alienation—a paradoxical sense of loneliness felt in the midst of dense population and bustling activity—has been examined by Keough’s art-historical predecessors, such as Edouard Manet, Edgar Degas, and perhaps most consistently by Edward Hopper. Whereas these painters frequently employed various urban types (shop girls, entertainers, once clerks) lost in thought to evoke a sense of estrangement and inward reflection, Keough remarkably conveys similarly absorptive emotional states without such figural intervention. [excerpt

Ronald Gonzalez: Private Collection

In Ronald Gonzalez’s latest series of sculptures, old leather satchels, small antiquated appliances, dulled tools, bicycle handles, shoes, a fencing mask, an accordion, a bicycle seat, a toaster and helmets, among other various found parts and outdated detritus are combined to evoke the heads and torsos of human-like forms. The viewer identifies the components at once as what the objects literally are as well as the specific body parts they figuratively describe. As such, his art calls for an exercise in perceptual shifts that allow for more than one visual interpretation. While some objects are manipulated, others are left intact, as Gonzalez creates paradoxically human and strangely inanimate assemblages. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1000/thumbnail.jp

Mark Greenwold’s Excited Self

In a recent exhibition catalog of painter Mark Greenwold at New York’s DC Moore Gallery, the artist, in lieu of a conventional statement about his work, conducted a self-interview. To his question, ‘‘Why?’’ Greenwold responded: I thought that I could possibly get at things that another person might find too daunting or too polite to ask—very obvious questions by the way, that I’d probably be too thin-skinned or reactive to give an honest response to if another person asked the question. [excerpt

Narratives of Deservingness and the Institutional Youth of Immigrant Workers

This article speaks to the special issue’s goal of disrupting the deserving/undeserving immigrant narrative by critically examining eligibility criteria available under two arenas of relief for undocumented immigrants: 1) the 2012 Deferred Action for Childhood Arrivals (DACA) program, which provides temporary deportation relief and work authorization for young adults who meet an educational requirement and other criteria, and 2) current and proposed pathways to legal status for those unauthorized immigrants who come forward to denounce workplace injustice, among other crimes. For each of these categories of “deserving migrants,” I illuminate the exclusionary nature each of these requirements, which pose challenges especially for those workers who have limited education. As such, I argue for the importance of an institutional perspective on youth. Specifically, I demonstrate how the educational criteria required by DACA privileges a select few individuals who have access to formal educational institutions as deserving, while ignoring other empowering but non-traditional models of worker education. I also examine those mechanisms that reward workers who come forward to contest employer abuse. These include the current U-Visa program, which opens a path to legal status for those select claimants who have been harmed by employer abuse and aid criminal investigations (e.g. Saucedo, 2010). In a similar vein, some advocates and legal scholars have proposed a pathway to citizenship for those workers involved in collective organizing (e.g. Gordon, 2007, 2011). I weigh the benefits and exclusivity of each pathway for addressing the precarity of the millions of undocumented immigrants currently in the United States. In doing so, I highlight how institutions have unevenly incorporated immigrant workers, creating wide categories of vulnerability that go ignored. That is, demographically young immigrants are often privileged as deserving, as are those institutionally mature workers who have been successfully incorporated by civic organizations and legal bureaucracies. Meanwhile, institutionally young immigrants—those who have been excluded from these spaces—are framed as undeserving. As a result, rather than to see legal status as a pathway to incorporation, it is extended as a reward for those who have surpassed longstanding barriers

Conflicting Commitments: The Politics of Enforcing Immigrant Worker Rights in San Jose and Houston

[Excerpt] This book examines how immigrant workers\u27 rights are enforced in practice, how claims are channeled, and why and how advocates take on particular battles. In the chapters that follow, I draw on an in-depth comparative case study of two immigrant-receiving destinations—San Jose, California, and Houston, Texas—to examine the dynamics of enforcing immigrant worker rights. I consider how certain solutions become commonly understood as appropriate responses to a given issue that affects immigrant laborers, and which actors take on responsibility for the advancement of particular worker problems. For example, why does a construction worker who has been cheated of a week\u27s pay in San Jose get funneled to a local legal aid clinic and eventually a state agency to file a formal claim, while his counterpart working in one of Houston\u27s sprawling track developments will struggle to find any lawyer willing to serve him and will perhaps never set foot in a government office to file a claim? Why do the San Jose police have little to offer this worker, while in Houston any police officer is required to make a theft-of-service report when asked? How is it that if this nonunionized worker were to call the South Bay AFL-CIO Labor Council in San Jose, he would be advised to call the California Department of Labor Standards Enforcement or seek out a local legal aid clinic, while in Houston the Harris County AFL-CIO Council would be more likely to encourage him to pay a visit to city hall, the federal building, or perhaps even a worker center to help organize a direct action, depending on his situation? And how do we understand the vastly different support immigrant workers will find from their consulates in these two cities? The goal of this book is to help answer these questions and expand our understanding of how immigrant worker rights are enforced and advanced. I situate the rights of immigrant workers in the space between both labor standards enforcement and immigration control, two conflicting jurisdictions whose implementation can vary widely, depending on their local political context. I then look beyond government bureaucrats to understand how enforcement strategies are influenced by local intermediaries who may have diverse interests in the advancement of immigrant worker rights. These include local elected officials, who can either intensify or mitigate the surveillance of undocumented immigrants and promote or stymie the interests of workers; civil society actors, who have direct knowledge of and access to immigrant workers, and who work in diverse ways to advance their rights; and consular institutions, whose unique combination of political legitimacy, institutionalized resources, and unfettered support for their emigrant population creates a unique pathway for rights enforcement

Embodiment and Emptiness: Alison Rector’s Interior Spaces

Alison Rector’s painting Green Kitchen (2002) depicts a seemingly ordinary domestic interior: a flight of stairs ascends to the right, and a foyer, furnished simply with a wooden table and chairs, leads to a kitchen and, further still, to a broom closet. The old-fashioned wood-burning stove, muted and patterned wallpaper, antiqued furniture, brass sconce, and wide-planked hardwood floor characterize this home as possibly from the late nineteenth or early twentieth century, but the lack of figures and personal effects makes the definitive time of occupancy ambiguous. Rector’s unoccupied interiors, however, do not appear abandoned. Even in the quietest of her closed spaces, the viewer perceives a presence, perhaps of the non-depicted occupant. [excerpt