The black disk and the dip in the differential elastic cross section at asymptotic energy

We test the validity of the black disk limit in elastic scattering by studying the evolution of the dip in the scaling variable $\tau=-t_{D}\sigma^{tot}$, where $t_{D}$ is the transverse momentum squared at the dip and $\sigma_{tot}$ the total cross section. As $s\rightarrow \infty$ and $-t_{D} \rightarrow 0$, $\tau$ may consistently be approaching the black disc value, $\tau \xrightarrow[ \sqrt{s}\rightarrow \infty ]{} \tau_{BD}=35.92$ GeV$^{2}$ mb.Comment: 6 pages, 2 figure

Strong color fields and heavy flavor production

The clustering of color sources provides a natural framework for soft partonic interactions producing strong color fields. We study the consequences of these color fields in the production of heavy flavor and the behavior of the nuclear modification factor.Comment: 11 pages, 7 figures, to appear in Physical Review

Rapidity long range correlations, parton percolation and color glass condensate

The similarities between string percolation and Glasma results are emphasized, special attention being paid to rapidity long range correlations, ridge structure and elliptic flow. As the string density of high multiplicity pp collisions at LHC energies has similar value as the corresponding to Au-Au semi-central collisions at RHIC we also expect in pp collisions long rapidity correlations and ridge structure, extended more than 8 units in rapidity.Comment: 3 pages, 3 figures, conference Quark Confinement and the hadron spectrum I

Elliptic flow at RHIC and LHC in the string percolation approach

The percolation of strings gives a good description of the RHIC experimental data on the elliptic flow, v2 and predicted a rise on the integrated v2 of the order of 25% at LHC such as it has been experimentally obtained. We show that the dependence of v2 on pT for RHIC and LHC energies is approximately the same as it has been observed, for all the centralities. We show the results for different particles and the dependence of v2 on the centralities and rapidity. Our results are compatible with an small value of the ratio eta/s in the whole energy range such as it was expected in the percolation framework.Comment: 20 pages, 12 figure

Evaluation of artificial feeds for shrimp (Penaeus monodon) production in brackishwater ponds

Abstract only.The experiment was conducted in fifteen 500-m2 brackishwater ponds to determine the response of Penaeus monodon juveniles fed with various artificial diets. Five treatments with three replicates each were: two commercial feeds containing 45% and 40% crude protein (treatments I and II), two experimental diets formulated to contain 35% crude protein (treatments III and IV) and control, without feeding (treatment V). Shrimp were fed twice daily at feeding rates based on shrimp consumption. Highest mean harvest weight was attained in treatment I (23.47 g) > III (19.25 g) > II (18.86 g) > IV (11.29 g) > V (9.27 g). Statistical analysis showed that differences in growth were significant at 5% probability level. However, growth in treatments I, II and III are comparable, also growth in treatments II, III and IV. Growth in treatments I, II, III and IV was significantly different from treatment V. Highest mean survival was attained in treatment III (91.82%) > I (88.93%) > II (86.95%) > IV (83.62%) V (82.62%). Statistical analysis showed no significant differences among treatments at 5% probability level. Projecting on a hectare basis, mean yield for each treatment was: I (628.37 kg) > II (496.35 kg) per crop in 120 days culture. Good yield was attributed to provision of formulated feeds, use of pumps in addition to tidal change for water exchange and control of predators, and pest eradication through proper pond preparation

Educació física, emocions i alumnat

Curs 2011-2012Director/a: Gemma Boluda ViñualesDirector/a: Gemma Boluda Viñuale

Sobre algunes pintures dels segles XVII i XVIII

Un dels problemes amb els quals ens trobem els historiadors i historiadores de l’art que treballem a les comarques del nord del País Valencià és la presència d’un gran nombre d’obres pictòriques que no han trobat encara la seua autoria i, en menor mesura, d’alguns pintors que no tenen encara obres atribuïdes amb certesa. Això és degut, entre altres causes, a que la mateixa història de l’art és una disciplina recent entre nosaltres, que fa ara trenta anys que ha començat a exercir-se de manera racional i científica. L’autor té una línia d’investigació encetada des de fa anys en aquesta línia d’anar aproximant obres a pintors, seguint el mètode morelià i a ella pertany el present article. S’estudien produccions atribuïbles a Vicent Gosçalvo, Gregori Bausà, J. J. Espinosa, Vicent Victòria, Sunyer i Lluis A. Planes.One of the problems that art historians face when we work in the North part of the Valencian Region is that there is a huge number of anonymous pieces of art and, to a lesser extent, that there are some artists whose works have not been ascribed as their own with absolute certainty. Among other reasons, it happens because the History of Art is a recent discipline which started being studied in a rational and scientific way thirty years ago so far. The author has got a line of research, which has been used for years, based on the approximation between artists and pieces of art, following the “Morelià” method. This article belongs to this method. Pieces of art which can be ascribed to Vicent Gosçalvo, Gregori Bausà, J. J. Espinosa, Vicent Victòria, Sunyer and Lluis A. Planes are studied in this article

Algunes obres a la recerca d'autor

En aquest article, l’autor compila alguns dels millors exemples de la nostra herència històrica artística dels segles XVII i XVIII que seguien sense atribució, amb la intenció de determinar un possible autor a través de les seues característiques estilístiques i comparant amb altres obres. L’article també intenta corregir algunes dades sobre Capuz o Orrente, artistes amb una posició excepcional en la historiografia de l’art, així com d’alguns de coneixement recent com José Dols o altres que encara estan esperant un estudi cuidadós com Joseph Orient o Pere Ebri.In this article, the author compiles some of the best examples of our artistic historical heritage of the 17 th and 18 th century which remained without any attribution. The basic intention will be inferring possibleauthorships through their stylistic features and by comparing with other researched works. Furthermore, the article has been also endeavoured to correct some datings, which seemed to be mistaken. Established authorssuch as Capus or Orrente, who have an outstanding position in the art historiography, accompany recent rising authors such as Joseph Dols and others who are still waiting for a careful study such as Joseph Orient or Pere Ebri.En este artículo, el autor compila algunos de los mejores ejemplos de nuestra herencia histórica artística de los siglos XVII y XVIII que seguían sin atribución, con la intención de determinar un posible autor a través de sus características estilísticas y comparando con otras obras. El artículo también intenta corregir algunos datos sobre Capuz u Orrente, artistas con una posición excepcional en la historiografía del arte, así como de algunos de conocimiento reciente como José Dols u otros que todavía están esperando un estudio cuidadoso como José Orient o Pere Ebri