LES COURANTS FAIBLES DE SECONDE CLASSE

La définition et les propriétés générales des courants faibles de seconde classe sont rappelées ainsi que diverses possibilités de détection. On montre que les mesures disponibles de désintégrations β nucléaires peuvent être analysées à l'aide d'un modèle phénoménologique cohérent. Les implications de ces données sur la structure fondamentale des interactions faibles sont discutées

Pion Scalar Density and Chiral Symmetry Restoration at Finite Temperature and Density

This paper is devoted to the evaluation of the pionic scalar density at finite temperature and baryonic density. We express the latter effect in terms of the nuclear response evaluated in the random phase approxima- tion. We discuss the density and temperature evolution of the pionic density which governs the quark condensate evolution. Numerical evalua- tions are performed.Comment: 13 pages, Latex File, 10 eps Figure

Delta dans les noyaux : aspects théoriques

École thématiqu

Axial and Vector Correlator Mixing in Hot and Dense Hadronic Matter

We study the manifestations of chiral symmetry restoration which have a significance for the parity mixing. Restricting to pions and nucleons we establish a formalism for the expression of the vector correlator, which displays the mixing of the axial correlator into the vector one and unifies the cases of the heat bath and the dense medium. We give examples of mixing cross-sections. We also establish a link between the energy integrated mixing cross-sections and the pion scalar density which governs the quenching factors of coupling constants, such as the pion decay one, as well as the quark condensate evolution.Comment: 12 pages, Latex, 4 PostScript Figure

Ballet No Kata

The purpose of this this is to investigate the relationship between ballet and judo. Ballet and judo are movement practices that emerged from specific cultural contexts, are codified forms that maintain traditions of the origin while continuing to evolve to new generations of practitioners, and both require coordination between the body and the mind to be performed successfully. To gain a deeper understanding of these physical parallels between ballet and judo, I went beyond my daily practice to study the movement vocabulary. I learned the first three sets of the traditional judo kata, Nage No Kata, which served as inspiration for an original ballet movement study that I created and performed. It was important to my investigation that my choreographed work be a duet. Classical ballet is performed as an individual or with others in a duet, trio or group. However, judo cannot be done without a partner. In judo, whether in contest or kata, the uke and the tori are always facing one another; close contact is required for the throws to occur. When creating “Ballet No Kata’’, my initial inclination was to establish the same spatial relationship between the dancing bodies. Yet, while partnered dancers may be in an intimate proximity to one another, rarely do they stand face to face. Such a stance would not be consistent with classical ballet’s presentation of the body to the audience. As I created “Ballet No Kata”, I was also interested in how two dancing bodies could be in an established relationship without being physically connected. Relationship is critical in both ballet and judo; there must be trust, synchronization and understanding between the bodies no matter their orientation in space. During the course of this research, both the analysis and the performance, I was able to move beyond the expression of a personal journey to show the interdisciplinary link between practices. There is a lack of connection between the world of dance, and the other physical disciplines that fall under the dichotomy of sport. By analyzing the movements in the ballet vocabulary and the judo vocabulary and finding parallels, I hope to present greater acknowledgement that these two worlds are closely related. Moreover, movers of any kind are informed from their lifetime of physical work. When parallels are made between past and current experiences, the information can be drawn upon to supplement growth

Alien Registration- Delorme, Louis J. (Lewiston, Androscoggin County)

https://digitalmaine.com/alien_docs/29631/thumbnail.jp

Ballet No Kata

From early on in my childhood, my identity as a person was bound to one area of my life: dancing. Movement was always so essential to myself and overall well - being. I always separated myself from my peers at school: “I don’t do sports, I dance”. I never really considered the athletics of dance nor was able to imagine a potential parallel to the sports world until my college experience. During my first few weeks as a college freshman, I discovered and promptly fell in love with the Japanese fighting sport of judo. Initially, I felt as if I were occupying two utterly different worlds – there seemed to be little similarities between the refined precision of ballet and the instinctual unpredictability of judo. However, as I gained a deeper understanding of my body movement on an anatomic, spacial and artistic level in my ballet classes, I had a simultaneous progression in judo. It seemed that quite suddenly that these two halves of myself were not separate from one another, but a merging of body information that led to subsequent awareness of movement that I did not think was possible. From that instance of realization, I have been further researching and analyzing the parallels of the movement vocabulary that is present in ballet and judo. Through the lens of Irmgard Bartenieff’s six patterns of body connectivity there becomes a distinct framework to relate the two practices. Rarely do athletics and the arts occupy the same realm, yet there are such relevance to the individual in terms of physical health, mental well – being and overall satisfaction in life. Practitioners of either judo or ballet will be presented with information that could potentially aid their growth in performance and awareness. Interdisciplinary work offers new perspective and presentation of information and can act as a catalyst for learning, inspiration and innovation. The primary source for my research is drawn upon my personal experience as a college dance major and as a college judo player. To supplement my firsthand experience, I will draw upon written sources that have done previous research on Bartenieff’s six patterns of connectivity, the anatomical workings of the body when performing ballet and judo, and the consequential benefits of participation in moving to the body and mind. To continue my understanding of the paralleling workings of the body during ballet and judo, I have learned the traditional Nage No Kata, a codified judo throwing form. Additionally, I will be composing my own kata or form, using the general structure, level changes and relationships established in Nage No Kata. However, my form, Ballet No Kata, will consist of movement that are of the traditional ballet dance form. Throughout this process, I will uncover further how the arts and athletics can inform one another. Personally, I will continue my exploration of how participation in one area can positively enhance the performance in the other. Yet, I will be able to share this experience with others on a broader scale to potentially provide a new tool or insight on their own practice. The research will also advocate for the necessity of daily movement by laying out the benefits one can glean from a set movement practice. The performance aspect of my research will also provide visual exposure to those who never witnessed ballet or judo, or never considered the relationship between sports and the performing arts. The final result will be a paper of thirty to fifty pages that thoroughly examines the parallel relationship between ballet and judo in terms of the physicality and mentality and the consequential benefits that participation in such practices provides. To visually illustrate the parallels, there will be the composition and performance of my original form, Ballet No Kata alongside of the traditional codified Nage No Kata

Focal plane wavefront sensor achromatization : The multireference self-coherent camera

High contrast imaging and spectroscopy provide unique constraints for exoplanet formation models as well as for planetary atmosphere models. But this can be challenging because of the planet-to-star small angular separation and high flux ratio. Recently, optimized instruments like SPHERE and GPI were installed on 8m-class telescopes. These will probe young gazeous exoplanets at large separations (~1au) but, because of uncalibrated aberrations that induce speckles in the coronagraphic images, they are not able to detect older and fainter planets. There are always aberrations that are slowly evolving in time. They create quasi-static speckles that cannot be calibrated a posteriori with sufficient accuracy. An active correction of these speckles is thus needed to reach very high contrast levels (>1e7). This requires a focal plane wavefront sensor. Our team proposed the SCC, the performance of which was demonstrated in the laboratory. As for all focal plane wavefront sensors, these are sensitive to chromatism and we propose an upgrade that mitigates the chromatism effects. First, we recall the principle of the SCC and we explain its limitations in polychromatic light. Then, we present and numerically study two upgrades to mitigate chromatism effects: the optical path difference method and the multireference self-coherent camera. Finally, we present laboratory tests of the latter solution. We demonstrate in the laboratory that the MRSCC camera can be used as a focal plane wavefront sensor in polychromatic light using an 80 nm bandwidth at 640 nm. We reach a performance that is close to the chromatic limitations of our bench: contrast of 4.5e-8 between 5 and 17 lambda/D. The performance of the MRSCC is promising for future high-contrast imaging instruments that aim to actively minimize the speckle intensity so as to detect and spectrally characterize faint old or light gaseous planets.Comment: 14 pages, 20 figure

The Canada-France High-z Quasar Survey: 1.2mm Observations

We report 250 GHz (1.2 mm) observations of a sample of 20 QSOs at redshifts 5.8<z<6.5 from the the Canada-France High-z Quasar Survey (CFHQS), using the Max-Planck Millimeter Bolometer (MAMBO) array at the IRAM 30-metre telescope. A rms sensitivity <~ 0.6 mJy was achieved for 65% of the sample, and <~ 1.0 mJy for 90%. Only one QSO, CFHQS J142952+544717, was robustly detected with S_250GHz = 3.46 +/-0.52 mJy. This indicates that one of the most powerful known starbursts at z~6 is associated with this radio loud QSO. On average, the other CFHQS QSOs, which have a mean optical magnitude fainter than previously studied SDSS samples of z~6 QSOs, have a mean 1.2 mm flux density = 0.41 +/-0.14 mJy; such a 2.9-sigma average detection is hardly meaningful. It would correspond to ~ 0.94+/-0.32 10^12 Lo, and an average star formation rate of a few 100's Mo/yr, depending on the IMF and a possible AGN contribution to . This is consistent with previous findings of Wang et al. (2011) on the far-infrared emission of z~6 QSOs and extends them toward optically fainter sources.Comment: 6 pages, 1 figure, A&A in pres