144 research outputs found

    A Glimpse into the Past: The Martin Amador House, Las Cruces, N.M.

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    Scientific, Poetic, and Philosophical Clarity

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    What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that “scientific clarity,” which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity

    Free and nonprotein amino acids of Tetrahymena pyriformis

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    Paper chromatography was used to determine 20 amino acids and related compounds present in both the free and the nonprotein forms in Tetrahymena pyriformis. The most abundant free amino acids in the cells were found to be glutamic acid, alanine, leucine-isoleucine, glycine, arginine, and lysine. Free methionine, cystine, and tryptophan were present in the smallest quantities. A relatively large proportion of aspartic acid, glycine, and glutamic acid was found in the conjugated form, while nearly all nonprotein arginine and lysine occurred in the free form. In line with values observed in other invertebrates and microorganisms, the [alpha]-amino nitrogen present in the free and the nonprotein forms constituted as high as a fifth and a fourth, respectively, of the total nitrogen of the protozoan cells.A fairly constant ratio of the amino acid content of the whole cell to that of the cellular protein was obtained, which indicated that the amino acid composition of the whole cell reflects that of the cellular protein.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/32514/1/0000605.pd

    Status of the BELLE II Pixel Detector

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    The Belle II experiment at the super KEK B-factory (SuperKEKB) in Tsukuba, Japan, has been collecting e+ee^+e^− collision data since March 2019. Operating at a record-breaking luminosity of up to 4.7×1034cm2s14.7×10^{34} cm^{−2}s^{−1}, data corresponding to 424fb1424 fb^{−1} has since been recorded. The Belle II VerteX Detector (VXD) is central to the Belle II detector and its physics program and plays a crucial role in reconstructing precise primary and decay vertices. It consists of the outer 4-layer Silicon Vertex Detector (SVD) using double sided silicon strips and the inner two-layer PiXel Detector (PXD) based on the Depleted P-channel Field Effect Transistor (DePFET) technology. The PXD DePFET structure combines signal generation and amplification within pixels with a minimum pitch of (50×55)μm2(50×55) μm^2. A high gain and a high signal-to-noise ratio allow thinning the pixels to 75μm75 μm while retaining a high pixel hit efficiency of about 9999%. As a consequence, also the material budget of the full detector is kept low at 0.21≈0.21%XX0\frac{X}{X_0} per layer in the acceptance region. This also includes contributions from the control, Analog-to-Digital Converter (ADC), and data processing Application Specific Integrated Circuits (ASICs) as well as from cooling and support structures. This article will present the experience gained from four years of operating PXD; the first full scale detector employing the DePFET technology in High Energy Physics. Overall, the PXD has met the expectations. Operating in the intense SuperKEKB environment poses many challenges that will also be discussed. The current PXD system remains incomplete with only 20 out of 40 modules having been installed. A full replacement has been constructed and is currently in its final testing stage before it will be installed into Belle II during the ongoing long shutdown that will last throughout 2023

    Belle II Pixel Detector Commissioning and Operational Experience

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    Operational experience and commissioning of the Belle II vertex detector

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    Belle II Vertex Detector Performance

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    The Belle II experiment at the SuperKEKB accelerator (KEK, Tsukuba, Japan) collected its first e+e− collision data in the spring 2019. The aim of accumulating a 50 times larger data sample than Belle at KEKB, a first generation B-Factory, presents substantial challenges to both the collider and the detector, requiring not only state-of-the-art hardware, but also modern software algorithms for tracking and alignment. The broad physics program requires excellent performance of the vertex detector, which is composed of two layers of DEPFET pixels and four layers of double sided-strip sensors. In this contribution, an overview of the vertex detector of Belle II and our methods to ensure its optimal performance, are described, and the first results and experiences from the first physics run are presented

    An account of a valuable phenomenon found primarily in art, after Collingwood

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    This dissertation enquires into the nature and value of a phenomenon which is typically found in art. Chapter 1 attempts to get clear on what phenomenon is being discussed by considering various thinkers' attempts to talk about it, and by considering artworks which exemplify (or are) it. I call the phenomenon 'art' and roughly characterise it as the expression of emotion. Chapter 2 considers the role of artists' intentions to the meaning of the artworks they create, and more broadly the role of utterers' intentions to the meanings of their utterances. This is done because certain positions regarding the role of intentions to utterances' meanings breaks the communicative link between the utterer of an utterance and the apprehender of the utterance, which link is important to the thesis advanced. Chapter 3 argues for a particular analysis of what I call art in Chapter 1, and briefly argues that it is very valuable
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