Some Implications of a Supersymmetric Model with R-Parity Breaking Bilinear Interactions

We investigate a supersymmetric scenario where R-parity is explicitly broken through a term bilinear in the lepton and Higgs superfields in the superpotential. We show that keeping such a term alone can lead to trilinear interactions, similar to those that are parametrized by $\lambda$-and ${\lambda}'$ in the literature, involving the physical fields. The upper limits of such interactions are predictable from the constraints on the parameter space imposed by the lepton masses and the neutrino mass limits. It is observed that thus the resulting trilinear interactions are restricted to values that are smaller than the existing bounds on most of the $\lambda$-and ${\lambda}'$-parameters. Some phenomenological consequences of such a scenario are discussed.Comment: 26 Pages, 6 Postscript figures, Latex. An additional set of references has been included. Typographic corrections have been made. Figures remain all unchanged. An additional typographic correction has been mad

Typographic Interventions: Disruptive Letterforms in Public Space

We are surrounded by typography—on billboards, aluminum cans, pill bottles, and pixelated screens—but artists and art teachers, seeking out the materiality of their lived environments, should be able to look at text in different ways. Many artists utilize letterforms as a medium of juxtaposition and recontextualization (Gude, 2004) by placing text in places we don’t expect to see it, or they subvert the messages we expect to read. Typographic interventions can be seen everywhere, by all types of artists, makers, activists, and dissidents. These interruptions could be framed as forms of socially engaged art (Helguera, 2011; Mueller, 2020) that “suspend the flow of everyday life” (Spector, 2013, p.15). At times, these works offer a respite, a re-collection, and/or valuable critiques of the communities they inhabit (Helguera, 2011). This essay invites art educators to utilize letterforms as a material of provocation and interruption. The author sketches a few brief histories of typographic interventions, offers a few provocations for art educators, and provides some examples of student work as they respond to the proposition: Use letterforms to subvert a public space in a positive way

Symplectic Regularization of Binary Collisions in the Circular N+2 Sitnikov Problem

We present a brief overview of the regularizing transformations of the Kepler problem and we relate the Euler transformation with the symplectic structure of the phase space of the N-body problem. We show that any particular solution of the N-body problem where two bodies have rectilinear dynamics can be regularized by a linear symplectic transformation and the inclusion of the Euler transformation into the group of symplectic local diffeomorphisms over the phase space. As an application we regularize a particular configuration of the circular N+2 Sitnikov problem.Comment: 23 pages, 5 figures. References to algorithmic regularization included, changes in References and small typographic corrections. Accepted in J. of Phys. A: Math. Theor 44 (2011) 265204 http://stacks.iop.org/1751-8121/44/26520

Heating up branes in gauged supergravity

In this note, we explore the solution space of non-extremal black objects in $4D$ and $5D$ ${\cal N}=2$ gauged supergravity in the presence of fluxes. We present first order rewritings of the $4D$ action for a classes of non-extremal dyonic and electric solutions with electric flux backgrounds. Additionally, we obtain the non-extremal version of the Nernst brane in $AdS_5$ using a simple deformation. Finally, we develop a new technique to deform extremal black solutions in $4D$ to non-extremal solutions by an analysis of the symmetries of the equations of motion.Comment: Minor typographic correction

Deconstruction, legibility and space: four experimental typographic practices

In this article we wish to present the typographic experimentations of four designers, each of whom looks at typography and its implementations from different viewpoints; however with similar goals – namely to investigate how typographic systems can be implemented, their attributes as carriers of semantic meaning be redefined, and/or their functions be improved upon within the digital medium that presents challenges as well as opportunities that enable graphic designers to reach well beyond the traditional medium of typographic work; i.e., printed paper. The article will examine these four projects under the umbrella concept of Deconstruction, also extending into a consideration of Legibility; setting them forth as examples of the impact that the digital medium has brought to bear upon typographic practice in recent decades

Further dimensions: text, typography and play in the metaverse

In this text I wish to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds, which are known as the metaverse. I am particularly focused upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose which takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of readability. In such environments readability, or indeed even legibility, may often be displaced through the usage of text and typography as a playful device, as artifacts which may manifest in puzzle-like configurations, or as visual structures the contents of which are meant to be understood through means other than straightforward reading; thus bringing about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the spaces which are brought about through their very agency. I also wish to expand upon this subject by talking about my own experiments with this material and will conclude by positing that further virtual dimensions can be instrumental in eliciting exciting alternative usages of text and typography which bring to the fore the allographic properties of text as an artistic/creative expressive media that may well bear further scrutiny and exploration

A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions