Heavy Ion Physics Program in CMS Experiment

We present the capabilities of the CMS experiment to explore the heavy-ion physics program offered by the CERN Large Hadron Collider (LHC). The prime goal of this research is to test the fundamental theory of the strong interaction (QCD) in extreme conditions of temperature, density and parton momentum fraction by colliding nuclei at energies of sqrt(s_NN) = 5.5 TeV. This presentation will give the overview of the potential of the CMS to carry out a full set of representative Pb-Pb measurements both in "soft" and "hard" regimes. Measurements include "bulk" observables -- charged hadron multiplicity, low pT inclusive hadron identified spectra and elliptic flow -- which provide information on the collective properties of the system; as well as perturbative processes - such as quarkonia, heavy-quarks, jets, gamma-jet, and high pT hadrons -- which yield "tomographic" information of the hottest and densest phases of the reaction.Comment: 8 pages, 8 figures - To appear in the conference proceedings for Quark Matter 2009, March 30 - April 4, Knoxville, Tennesse

A universal differentiability set in Banach spaces with separable dual

We show that any non-zero Banach space with a separable dual contains a totally disconnected, closed and bounded subset S of Hausdorff dimension 1 such that every Lipschitz function on the space is Fr\'echet differentiable somewhere in S.Comment: 41 pages, 1 figur

“Scrapbooking Caravaggio’s Medusa, Reconfiguring Blake: What It Is, One! Hundred! Demons! and Lynda Barry’s Feminist Intervention in the (Male) Artistic Canon”

This article situates Lynda Barry’s graphic memoirs in the history of Western visual arts and demonstrates how they intervene in different traditions by incorporating and reconfiguring traits from them towards feminist ends. Through a close reading of excerpts from Barry’s work, it argues that its imperfect style, infused with intertextual references and collages, expands the boundaries of comics and conflates various gendered categories, destabilizing their hierarchies and allowing the visual representation of the child autobiographical avatar as gender ambiguous. Specifically, it demonstrates that the boundaries between self/monster-mother, male/female representations, and high (male) art/low, amateur (female) non-art are deconstructed through Barry’s mixing of Michelangelo Merici di Caravaggio’s Medusa and William Blake’s tradition of illuminated writing with the language of comics and the domesticated, feminized process of scrapbooking