The Role of Economic Space in Decision Making: A Comment

This article is a comment on Margaret Slade (2005).Spatial autocorrelation

Caddo Vessels from the Susie Slade Site (41HS13), Harrison County, Texas

The Susie Slade site (41HS13) is an ancestral Nadaco Caddo settlement and cemetery on a sandy knoll in the Potters Creek valley in the Sabine River basin. The site is known to have had a large cemetery (\u3e 90 burials) that was excavated by a number of East Texas collectors and amateur archaeologists in 1962, University of Texas (UT) archaeologists; one burial reportedly had 36 stacked Simms Engraved vessels as funerary offerings. Ceramic vessels from the UT investigations at the Susie Slade site are in the collections of the Texas Archeological Research Laboratory (TARL), along with vessels donated to TARL by Forrest Murphey, one of the amateur archaeologists that worked at the site. These vessels are documented in this article, following the standard protocol for vessel documentation in use for several years in the analysis of Caddo ceramic vessels from East Texas sites

Random graph asymptotics on high-dimensional tori

We investigate the scaling of the largest critical percolation cluster on a large d-dimensional torus, for nearest-neighbor percolation in high dimensions, or when d>6 for sufficient spread-out percolation. We use a relatively simple coupling argument to show that this largest critical cluster is, with high probability, bounded above by a large constant times $V^{2/3}$ and below by a small constant times $V^{2/3}(log V)^{-4/3}$, where V is the volume of the torus. We also give a simple criterion in terms of the subcritical percolation two-point function on Z^d under which the lower bound can be improved to small constant times $V^{2/3}$, i.e., we prove random graph asymptotics for the largest critical cluster on the high-dimensional torus. This establishes a conjecture by Aizenman (1997), apart from logarithmic corrections. We discuss implications of these results on the dependence on boundary conditions for high-dimensional percolation. Our method is crucially based on the results by Borgs, Chayes, van der Hofstad, Slade and Spencer (2005a, 2005b), where the $V^{2/3}$ scaling was proved subject to the assumption that a suitably defined critical window contains the percolation threshold on Z^d. We also strongly rely on mean-field results for percolation on Z^d proved by Hara (1990, 2005), Hara and Slade (1990) and Hara, van der Hofstad and Slade (2003).Comment: 22 page

Electrical resistance of the low dimensional critical branching random walk

We show that the electrical resistance between the origin and generation n of the incipient infinite oriented branching random walk in dimensions d<6 is O(n^{1-alpha}) for some universal constant alpha>0. This answers a question of Barlow, J\'arai, Kumagai and Slade [2].Comment: 44 pages, 3 figure

Extension of the generalised inductive approach to the lace expansion: Full proof

This paper extends the inductive approach to the lace expansion of van der Hofstad and Slade in order to prove Gaussian asymptotic behaviour for models with critical dimension other than 4. The results are applied by Holmes to study sufficiently spread-out lattice trees in dimensions d>8 and may also be applicable to percolation in dimensions d>6

Slade’s Electro-Photo Marvel: Touring film exhibition in late Victorian Britain

This thesis explores a little known period of early film exhibition in late Victorian Britain. Employing an historiographic approach to material not previously researched, principally the archive of William D. Slade a successful Cheltenham business man, a largely chronological study of Slade‟s activities has been undertaken. Beginning with his presentations of optical lantern exhibitions in the 1880s and 90s in Cheltenham and Worcester, Slade‟s experience as an amateur in magic lantern exhibition is explored as the background to the paradigm shift he made in December 1896. Immediately after purchasing a Demenÿ -Chronophotographe and films from the recently established Gaumont Company in Paris, Slade, accompanied by his daughter Mary, embarked on a new career as Slade‟s Kinematographical and Optical Entertainments and Concerts. During the first six months of 1897, he put on a series of entertainments in the south-west of England and Derbyshire. Investigating what was taking place in Cheltenham in 1897 revealed that the Borough Council commissioned Robert Paul to take film of the official visit of the Prince of Wales to the town in May 1897. The correspondence between Slade and Gaumont et Cie further disclosed that Léon Gaumont, in company with John Le Couteur of the Photographic Association in London, also came to Cheltenham to film this visit. This explained how Slade was able to exhibit film of the Prince of Wales‟ visit as part of the Cheltenham Diamond Jubilee celebrations in June 1897. Slade subsequently made these films a central feature of his nationwide touring entertainments. In August 1897, Slade entered into a contract with a theatrical agent, Edward Baring, which led to 28 weeks of touring as Slade‟s Electro-Photo Marvel six nights a week throughout England and Scotland, ending in March 1898. An in-depth study of the many exhibitions he presented revealed the wide variety of localities he visited, and furnished new understanding of the importance of the Diamond Jubilee films in attracting a diverse audience in many thriving towns of this period. William Slade, previously unknown, emerges as a significant figure in the diffusion of moving pictures beyond the cities and the music hall, into many different localities of provincial Britain and significantly extends the knowledge of exhibition practices in the two years immediately after the first exhibitions in London

Slade’s Electro-Photo Marvel: Touring film exhibition in late Victorian Britain

This thesis explores a little known period of early film exhibition in late Victorian Britain. Employing an historiographic approach to material not previously researched, principally the archive of William D. Slade a successful Cheltenham business man, a largely chronological study of Slade‟s activities has been undertaken. Beginning with his presentations of optical lantern exhibitions in the 1880s and 90s in Cheltenham and Worcester, Slade‟s experience as an amateur in magic lantern exhibition is explored as the background to the paradigm shift he made in December 1896. Immediately after purchasing a Demenÿ -Chronophotographe and films from the recently established Gaumont Company in Paris, Slade, accompanied by his daughter Mary, embarked on a new career as Slade‟s Kinematographical and Optical Entertainments and Concerts. During the first six months of 1897, he put on a series of entertainments in the south-west of England and Derbyshire. Investigating what was taking place in Cheltenham in 1897 revealed that the Borough Council commissioned Robert Paul to take film of the official visit of the Prince of Wales to the town in May 1897. The correspondence between Slade and Gaumont et Cie further disclosed that Léon Gaumont, in company with John Le Couteur of the Photographic Association in London, also came to Cheltenham to film this visit. This explained how Slade was able to exhibit film of the Prince of Wales‟ visit as part of the Cheltenham Diamond Jubilee celebrations in June 1897. Slade subsequently made these films a central feature of his nationwide touring entertainments. In August 1897, Slade entered into a contract with a theatrical agent, Edward Baring, which led to 28 weeks of touring as Slade‟s Electro-Photo Marvel six nights a week throughout England and Scotland, ending in March 1898. An in-depth study of the many exhibitions he presented revealed the wide variety of localities he visited, and furnished new understanding of the importance of the Diamond Jubilee films in attracting a diverse audience in many thriving towns of this period. William Slade, previously unknown, emerges as a significant figure in the diffusion of moving pictures beyond the cities and the music hall, into many different localities of provincial Britain and significantly extends the knowledge of exhibition practices in the two years immediately after the first exhibitions in London