370,841 research outputs found

    Shadow Play

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    Before Bobby vanished, him and me sold plastics to the Shade Point PD in exchange for candy corn, chocolate bars, and chewing gum. Our go-to guy, Lieutenant Hurns, was a two-ton boa constrictor with jack o’ lantern eyes, but he always took our goods. I’d known The Boa since my days on the force, back before I got canned. Back before I became a private eye and took up the junk trade. We scavenged, mostly—Bobby and me. Dumpsters, vacant houses, and the occasional big lift from department stores kept us in steady supply. Usually we got The Boa strong fibered stuff like Honey Walkers, Catalina Black Cats, and Potato Heads. I prided myself on doing good business. Treat a customer right and he’ll come back—that’s what Sarge always said..

    Shadow Play

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    THE CONTINUITY OF AND CHANGE IN THE GENDINGS (MUSCICAL COMPOSITIONS FOR GAMBELAN) ACCOMPANYING THE PEKELIRAN (PERFORMANCE) OF SURAKARTA STYLE WAYANG PURWA (CLASSICAL SHADOW PLAY)

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    This article is intended to find the answer to the phenomenon of and change in the musical compositions accompanying the performance of Surakarta style classical shadow play. Traditionally, the musical compositions were arranged in accordance with the scenes and characters in such a way that no change could be made arbitrarily; in other words, they were arranged permanently. However, new musical compositions have been recently created to replace the existing ones, meaning that what was permanently arranged was not absolutely adhered to. The musicological, shadow play puppetry dramaturgy and social approaches, and the theory of change were used in the study. The data were collected through library research and field observation. The data were textually analyzed. In addition, the data were also analyzed using the technique of playing gambelan instruments. The results showed that several musical compositions kept being presented; however, the identities of the others had been changed in regard to their pitches ‘laras’ and the way of performing the classical shadow play ‘garap’. The (internal) need for how the classical shadow play should be performed ‘garap’ and the (external) need for fulfilling what musical compositions were desired and selected by the viewers determined whether a musical composition was continued or changed. Keywords: Continuity, change, musical composition, performance, and shadow pla

    Numerical shadows: measures and densities on the numerical range

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    For any operator MM acting on an NN-dimensional Hilbert space HNH_N we introduce its numerical shadow, which is a probability measure on the complex plane supported by the numerical range of MM. The shadow of MM at point zz is defined as the probability that the inner product (Mu,u)(Mu,u) is equal to zz, where uu stands for a random complex vector from HNH_N, satisfying ∣∣u∣∣=1||u||=1. In the case of N=2 the numerical shadow of a non-normal operator can be interpreted as a shadow of a hollow sphere projected on a plane. A similar interpretation is provided also for higher dimensions. For a hermitian MM its numerical shadow forms a probability distribution on the real axis which is shown to be a one dimensional BB-spline. In the case of a normal MM the numerical shadow corresponds to a shadow of a transparent solid simplex in RN−1R^{N-1} onto the complex plane. Numerical shadow is found explicitly for Jordan matrices JNJ_N, direct sums of matrices and in all cases where the shadow is rotation invariant. Results concerning the moments of shadow measures play an important role. A general technique to study numerical shadow via the Cartesian decomposition is described, and a link of the numerical shadow of an operator to its higher-rank numerical range is emphasized.Comment: 37 pages, 8 figure

    The Governance of the Black Holes of the World Economy: Shadow Banking and Offshore Finance

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    This paper focuses on regulatory challenges posed by the two interconnected structures of the global financial system – the economy of tax havens (or offshore financial centres), and the shadow banking system. The financial crisis of 2007-09 has revealed that tax havens structures and shadow banking entities play a central role in the practise of financial institutions reliant on financial innovation. Thriving on complexity, opaque networks and driven by arbitrage, the two phenomena pose tremendous challenges to national and international regulators aiming to restore the financial cycle in the recessionary environment. In this paper, we analyse "the state of play" and the current plans for the governance of tax havens, offshore finance and the shadow banking industry. We find that although offshore financial centres and shadow banking are outside the scope of academic economics, they have attracted a lot of attention on the part of financial researchers and regulators. Along with other macro-prudential and system risk concerns, the regulation, or governance of these "black holes" of the global economy is increasingly assuming a central place on the agenda of financial regulators. In what follows, we explore the reasons behind this development

    Tachycardia as "Shadow Play"

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    Gauging the Shadow Sector with SO(3)

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    We examine the phenomenology of a low-energy extension of the Standard Model, based on the gauge group SU(3) x SU(2) x U(1) x SO(3), with SO(3) operating in the shadow sector. This model offers νe→νs\nu_{e} \to \nu_{s} and νμ→ντ\nu_{\mu} \to \nu_{\tau} oscillations as the solution of the solar and atmospheric neutrino problems. Moreover, it provides a neutral heavy shadow lepton X that could play the role of a cold dark matter particle.Comment: 8 page

    A Walking Shadow (Original play)

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