Nontrivial Galois module structure of cyclotomic fields

We say a tame Galois field extension $L/K$ with Galois group $G$ has trivial Galois module structure if the rings of integers have the property that \Cal{O}_{L} is a free \Cal{O}_{K}[G]-module. The work of Greither, Replogle, Rubin, and Srivastav shows that for each algebraic number field other than the rational numbers there will exist infinitely many primes $l$ so that for each there is a tame Galois field extension of degree $l$ so that $L/K$ has nontrivial Galois module structure. However, the proof does not directly yield specific primes $l$ for a given algebraic number field $K.$ For $K$ any cyclotomic field we find an explicit $l$ so that there is a tame degree $l$ extension $L/K$ with nontrivial Galois module structure

Feasibility Study: Vertical Farm EDEN

Hundreds of millions of people around the world do not have access to sufficient food. With the global population continuing to increase, the global food output will need to drastically increase to meet demands. At the same time, the amount of land suitable for agriculture is finite, so it is not possibly to meet the growing demand by simply increasing the use of land. Thus, to be able to feed the entire global population, and continue to do so in the future, it will be necessary to drastically increase the food output per land area. One idea which has been recently discussed in the scientific community is called Vertical Farming (VF), which cultivates food crops on vertically stacked levels in (high-rise) buildings. The Vertical Farm, so it is said, would allow for more food production in a smaller area. Additionally, a Vertical Farm could be situated in any place (e.g. Taiga- or desert regions, cities), which would make it possible to reduce the amount of transportation needed to deliver the crops to the supermarkets. The technologies required for the Vertical Farm are well-known and already being used in conventional terrestrial greenhouses, as well as in the designs of bioregenerative Life Support Systems for space missions. However, the economic feasibility of the Vertical Farm, which will determine whether this concept will be developed or not, has not yet been adequately assessed. Through a Concurrent Engineering (CE) process, the DLR Institute for Space Systems (RY) in Bremen, aims to apply its know-how of Controlled Environment Agriculture (CEA) Technologies in space systems to provide valuable spin-off projects on Earth and to provide the first engineering study of a Vertical Farm to assess its economic feasibility

Modeling and explaining the dynamics of European Union allowance prices at high-frequency

In this paper we model the adjustment process of European Union Allowance (EUA) prices to the releases of announcements at high-frequency controlling for intraday periodicity, volatility clustering and volatility persistence. We find that the high-frequency EUA price dynamics are very well captured by a fractionally integrated asymmetric power GARCH process. The decisions of the European Commission on second National Allocation Plans have a strong and immediate impact on EUA prices. On the other hand, our results suggest that EUA prices are only weakly connected to indicators about the future economic development as well as the current economic activity. --EU ETS,EUA,Announcement Effects,Price Formation,Long Memory

The European Commission and EUA prices: a high-frequency analysis of the EC's decisions on second NAPs

This paper empirically examines price formation in the European Union Emissions Trading Scheme (EU ETS). Our analysis shows that unexpected allocations of European Union Allowances (EUAs) lead to pronounced price reactions of the expected signs. Moreover, we find evidence that the adjustment of EUA prices to the European Commission's decisions on second National Allocation Plans (NAPs) is not instantaneous, but takes up to six hours after the decision announcement. --EU ETS,price formation,European Union Allowance (EUA),European Commission

A Functional Model of the Aesthetic Response

In a process of somatic evolution, the brain semi-randomly generates initially-unstable neural circuits that are selectively stabilized if they succeed in making sense out of raw sensory input. The human aesthetic response serves the function of stabilizing the circuits that successfully mediate perception and interpretation, making those faculties more agile, conferring selective advantage. It is triggered by structures in art and nature that provoke the making of sense. Art is deliberate human action aimed at triggering the aesthetic response in others; thus, if successful, it serves the same function of making perception and interpretation more agile. These few principles initiate a cascade of emergent phenomena which account for many observed qualities of aesthetics, including universality and idiosyncrasy of taste, the relevance of artists’ intentions, the virtues of openness and resonance, the dysfunction of formulaic art, and the fact that methods of art correspond to modes of perceptual transformation

The Compatibility of Artworks and Games

Films, musical works, paintings, photographs, sculptures, and other kinds of things can be artworks. I maintain that in whatever sense something can be, say, a painting and also an artwork, something can be both a game and an artwork. I will discuss what artworks and games are before offering an account of how games can be artworks. Then I will examine Brock Rough’s arguments for his incompatibility thesis, according to which artworks and games are incompatible kinds: if something is a game, it cannot be an artwork, and vice versa. I maintain that Rough can only be right in saying that games can’t be artworks if films, musical works, paintings, and the like cannot be artworks as well

Videogame Play and the Ethics of Imagining

Many are interested in exploring whether playing certain videogames can be right or wrong, good or bad in a moral sense. Much of the present ethical literature on videogames focuses on the effects of videogame play on our moral character. I take another route, examining videogames as works of fiction, works of a kind intended to prompt imaginative activities: Playing videogames involves undergoing imaginings, typically for fun. I say that we are morally responsible for the imaginings that we choose to undergo and that we enjoy. It is my view that it is wrong to enjoy imaginings when such enjoyment expresses attitudes, beliefs or values that we ought not hold. So videogame play is immoral when it expresses immoral attitudes

The Importance of the Artist\u27s Intent

Does considering artists\u27 aesthetic intentions enrich our experience of art and enhance art’s aggregate value for human culture? By examining non-aesthetic intent, working motivations, biographical/historical context, and cases in which an announced intent drives aesthetic transformation, I argue that, while its specific value varies from case to case, aesthetic intent is a key part of our cumulative experience of art, correlates with specific neuroanatomical loci, and raises interesting and compelling questions specific to this age of automatized thinking