Acerca de la escena artística de la Calle 10. Un clúster creativo pionero en la Ciudad de Nueva York

Since the beginning of the fifties, 10th Street concentrated an artistic activity unprecedented in the history of the paradigmatic City of New York. A significant number of artists and their diverse ways of production were hosted in the buildings of this urban artery. While the Greenwich Village bohemia or the Coenties Slip’s artists pioneered a sporadic and spontaneous relationship with the city, this synergistic model of multiple and connected art spaces along this axis could be identified as a first creative cluster, inspiring later important phenomena such as the colonization of the South of Houston Street at the hands of the artistic counterculture. The 10th Street artists’ activity would range from singular spaces and projects, such as the Tenth Street Studio Building, to the first structures of artistic cooperatives, Tenth Street Co-ops. While showing the groundbreaking relationship between this city and its art, this article particularly investigates the architectural and cultural scene of 10th Street, which would ultimately influence the 1960s’ popular urban model of the artistic district. Moreover, the revelation of its history is intended to build the antecedents of certain contemporary intervention practices and theories that rely on culture as a way of city improvement.Desde el comienzo de la década de los 50, la Calle 10 concentró desde el inicio una actividad artística sin precedentes en la historia de la paradigmática ciudad de Nueva York. Un número significativo de artistas y sus diversas formas de producción encontraron acomodo en los edificios de esta arteria urbana. Mientras que la bohemia de Greenwich Village o los artistas de Coenties Slip fueron pioneros en una relación esporádica y espontánea con la ciudad, este modelo sinérgico de espacios de arte múltiples y conectados a lo largo de este eje podría identificarse como un primer cluster creativo, inspirando fenómenos posteriores de reconocido alcance como la colonización del South of Houston Street a manos de la contracultura artística. La actividad de los artistas de la Calle 10 abarcaría desde espacios y proyectos singulares, como el edificio Tenth Street Studio, hasta las primeras estructuras de cooperativas artísticas, Tenth Street Co-ops. Al mismo tiempo que se muestra la innovadora relación entre esta ciudad y su arte, este artículo investiga particularmente la escena arquitectónica y cultural de la calle 10, que en última instancia influiría en el popular modelo urbano del distrito artístico de los años sesenta. Además, la revelación de su historia pretende construir los antecedentes de ciertas prácticas y teorías de intervención contemporánea que se basan en la cultura como una forma de mejora de la ciudad

Application of the coherent state formalism to multiply excited states

A general expression is obtained for the matrix element of an m-body operator between coherent states constructed from multiple orthogonal coherent boson species. This allows the coherent state formalism to be applied to states possessing an arbitrarily large number of intrinsic excitation quanta. For illustration, the formalism is applied to the two-dimensional vibron model [U(3) model], to calculate the energies of all excited states in the large-N limit.Comment: LaTeX (iopart); 10 pages; to be published in J. Phys.

Model of the polarized foreground diffuse Galactic emissions from 33 to 353 GHz

We present 3D models of the Galactic magnetic field including regular and turbulent components, and of the distribution of matter in the Galaxy including relativistic electrons and dust grains. By integrating along the line of sight, we construct maps of the polarized Galactic synchrotron and thermal dust emissions for each of these models. We perform a likelihood analysis to compare the maps of the Ka, Q, V and W bands of the Wilkinson Microwave Anisotropy Probe (Wmap) and the 353 GHz Archeops data to the models obtained by varying the pitch angle of the regular magnetic field, the relative amplitude of the turbulent magnetic field and the extrapolation spectral indices of the synchrotron and thermal dust emissions. The best-fit parameters obtained for the different frequency bands are very similar and globally the data seem to favor a negligible isotropic turbulent magnetic field component at large angular scales (an anisotropic line-of-sight ordered component can not be studied using these data). From this study, we conclude that we are able to propose a consistent model of the polarized diffuse Galac- tic synchrotron and thermal dust emissions in the frequency range from 33 to 353 GHz, where most of the CMB studies are performed and where we expect a mixture of these two main foreground emissions. This model can be very helpful to estimate the contamination by foregrounds of the polarized CMB anisotropies, for experiments like the Planck satellite.Comment: 22 pages, 4 figure

A Relation Between the Kauffman and the HOMFLY Polynomials for Torus Knots

Polynomial invariants corresponding to the fundamental representation of the gauge group $SO(N)$ are computed for arbitrary torus knots in the framework of Chern-Simons gauge theory making use of knot operators. As a result, a formula which relates the Kauffman and the HOMFLY polynomials for torus knots is presented.Comment: 47 pages, macropackage phyzzx.tex, minor corrections made, version to appear in Journal of Mathematical Physic