A first-principles comparison of the electronic properties of MgC_{y}Ni_{3} and ZnC_{y}Ni_{3} alloys

First-principles, density-functional-based electronic structure calculations are employed to study the changes in the electronic properties of ZnC_{y}Ni_{3} and MgC_{y}Ni_{3} using the Korringa-Kohn-Rostoker coherent-potential approximation method in the atomic sphere approximation (KKR-ASA CPA). As a function of decreasing C at%, we find a steady decrease in the lattice constant and bulk modulus in either alloys. However, the pressure derivative of the bulk modulus displays an opposite trend. Following the Debye model, which relates the pressure derivative of the bulk modulus with the average phonon frequency of the crystal, it can thus be argued that ZnCNi_{3} and its disordered alloys posses a different phonon spectra in comparison to its MgCNi_{3} counterparts. This is further justified by the marked similarity we find in the electronic structure properties such as the variation in the density of states and the Hopfield parameters calculated for these alloys. The effects on the equation of state parameters and the density of states at the Fermi energy, for partial replacement of Mg by Zn are also discussed.Comment: 19 pages, 15 figure

Die Kommentatoren des Post-Cinema: Serge Daney, Jean-Luc Godard und die Rephilologisierung des Kinos im digitalen Zeitalter

Was im digitalen Zeitalter nach dem Ende der Hegemonie des Kinosaals noch als "Kino" zu verstehen ist, wird häufig anhand des Ortes und Dispositivs der Projektion verhandelt. Philipp Stadelmaier wagt ausgehend von den Schriften des Filmkritikers Serge Daney und Jean-Luc Godards Videoserie Histoire(s) du cinéma einen Neuansatz. Erstmals führt er zwei einflussreiche Figuren der französischen Filmkultur systematisch zusammen und reinterpretiert sie als Kommentatoren des Kinos und seiner Geschichte. So gelingt es, einen cine-philologischen Impuls für filmwissenschaftliche Debatten zu setzen: Als auszulegender, bedeutungsoffener Primärtext erhält das "Kino" in der Post-Kino-Ära neue Kraft und Schärfe

Last Glacial Maximum active layer thickness in Western Europe, and the issue of ‘tundra gleys’ in loess sequences

Late Marine Isotope Stage (MIS) 3 and MIS 2 loess–palaeosol sequences in Western Europe comprise alternating loess layer and 3- to 30-cm-thick bleached soil horizons with Fe–Mn oxide precipitations, which are usually interpreted as waterlogged active layers and referred to as ‘tundra gleys’. Active layer thickness data derived from a regional climate model simulation and the fossils (shells, earthworm granules) found in ‘tundra gleys’ argue against such an assumption. Most of these horizons better correspond to Fe-depleted, slightly humic topsoil horizons or subsurface eluvial horizons and should be referred to as (incipient) Ag or Eg horizons. They formed during climate ameliorations associated with vegetation (cryptogams, herbs) development, possibly limited by long-lasting snow cover. Strong mixing usually occurred in these horizons due to the activity of anecic earthworms and frost activity

Zoom, Reise zum Grund des Bildes, vom Kleinen ins Kleinste

Summary: The paintings and sculptures of Antoni Tàpies are violent, closed and hermetic, but also covered by a fine layer of ciphers, signs and scratches. Thus, they hide an invisible ground which they, however, simultaneously begin to provide access to. Tàpies offers a vision and a reading at the same time. However, apart from seeing and reading, there is a third way to penetrate an image: touch. The romans-collage by Max Ernst, the issue of script in the work of Cy Twombly and the illustrations of the Austrian writer Erwin Moser may help us to understand the significance of touch in Tàpies’ plastic art. [Keywords: Tàpies; Cy Twombly; Max Ernst; Erwin Moser; zoom; montage; collage; journey; disaster; scripture; crypt; stroke; art history; ground of the image; touch; painting

Unterwegs. Zum Kino von Albert Serra

Summary: Marching is an essential element in the films of Catalan director Albert Serra. But, while Don Quichotte and Sancho cross the Mancha and the Three Magi walk through a global desert, their motion is often interrupted, postponed, disturbed. That is why, through Serra’s filmography, the shots become more and more like paintings and still lives. The suspense between motion and immobility in Serra’s cinema indicates something beyond the visible movement, the visible marching and the visible paths (and maybe the visible in general): another hidden motion of the characters, the images and the film, which is still “on the way” to motion – and thus to cinema itself. [Keywords: Albert Serra; Honor de cavalleria; El cant dels ocells; Història de la meva mort; death of cinema; autothanatography; still life; painting; fiction

Das Sublime und das Aas: Salvador Dalís Entwürfe einer Geschichte (vom Tod) des Kinos

Summary: Salvador Dalí’s film treatments have never been realized as films. They are therefore not only speaking about failed films, but indeed about failure itself: the frustration of a certain regard that symbolizes more than a look on impossible desires of a physical encounter with the visual experience. Based on this idea, the image of cinema reveals at once a formal autonomy and a sublime character. Its oscillation between mortification and (re)animation of the desired body also enlightens the double-sensed essence of Dalí’s film projects: highly referential towards the history of cinema, they transform cinema into a non-cinematic museum, a text. Distant traces of the muse are, however, shining through, inspiring thus the resurrection of films that are at the same time already dead and not yet born. [Keywords: Dalí, surrealism, desire, sublime, cinema, paranoia, burlesque, Hollywood, Marx Brothers, necrophilia, Chien andalou

A complete model of the signal in surface detector arrays and its application for the reconstruction of mass-sensitive observables

The principle of air-shower universality yields a method of understanding extensive air showers of UHECRs as a superposition of different particle components whose spatial and temporal distributions follow individual analytical profile functions. We present a model of the expected densities of particles in time and space that uses the depth of the shower maximum, X$_{max}$, and the relative muonic content of the shower, R$_{µ}$ , as input parameters besides the shower geometry and energy. The model is parametrized using simulated showers using different hadronic interaction models. Furthermore, we present results for the reconstruction of X$_{max}$ and R$_{µ}$ that allow for an event-by-event estimation of the mass of the primary particle, based on the responses of the water-Cherenkov and scintillator surface detectors of the Pierre Auger Observatory