Ambient Culture: Coping Musically With the Environment

(Abstract to follow

Ginzburg - Landau equation from SU(2) gauge field theory

The dual superconductor picture of the QCD vacuum is thought to describe various aspects of the strong interaction including confinement. Ordinary superconductivity is described by the Ginzburg-Landau (GL) equation. In the present work we show that it is possible to arrive at a GL-like equation from pure SU(2) gauge theory. This is accomplished by using Abelian projection to split the SU(2) gauge fields into an Abelian subgroup and its coset. The two gauge field components of the coset part act as the effective, complex, scalar field of the GL equation. The Abelian part of the SU(2) gauge field is then analogous to the electromagnetic potential in the GL equation. An important aspect of the dual superconducting model is for the GL Lagrangian to have a spontaneous symmetry breaking potential, and the existence of Nielsen-Olesen flux tube solutions. Both of these require a tachyonic mass for the effective scalar field. Such a tachyonic mass term is obtained from the condensation of ghost fields.Comment: 7 pages, LATE

Combating Trafficking in Persons: A directory of organisations

This document is part of a digital collection provided by the Martin P. Catherwood Library, ILR School, Cornell University, pertaining to the effects of globalization on the workplace worldwide. Special emphasis is placed on labor rights, working conditions, labor market changes, and union organizing.ASI_2003_HT_UK_Combating_Trafficking.pdf: 445 downloads, before Oct. 1, 2020

Instruments for Spatial Sound Control in Real Time Music Performances. A Review

The systematic arrangement of sound in space is widely considered as one important compositional design category of Western art music and acoustic media art in the 20th century. A lot of attention has been paid to the artistic concepts of sound in space and its reproduction through loudspeaker systems. Much less attention has been attracted by live-interactive practices and tools for spatialisation as performance practice. As a contribution to this topic, the current study has conducted an inventory of controllers for the real time spatialisation of sound as part of musical performances, and classified them both along different interface paradigms and according to their scope of spatial control. By means of a literature study, we were able to identify 31 different spatialisation interfaces presented to the public in context of artistic performances or at relevant conferences on the subject. Considering that only a small proportion of these interfaces combines spatialisation and sound production, it seems that in most cases the projection of sound in space is not delegated to a musical performer but regarded as a compositional problem or as a separate performative dimension. With the exception of the mixing desk and its fader board paradigm as used for the performance of acousmatic music with loudspeaker orchestras, all devices are individual design solutions developed for a specific artistic context. We conclude that, if controllers for sound spatialisation were supposed to be perceived as musical instruments in a narrow sense, meeting certain aspects of instrumentality, immediacy, liveness, and learnability, new design strategies would be required