Electric dipole moments in supersymmetric theories

Intrinsic EDMs in microscopic systems at a level of sensitivity achievable in experiments under way or foreseen are predicted in supersymmetric unified theories. I describe this and other sources of measurable EDMs and I show how these sources can be distinguished through experiments in different systems.Comment: 5 pages, LaTex2e using amstex.sty, amssymb.sty, apalike.sty, no figs., to appear in Proceedings of the XXIV ITEP Winter School of Physic

Alien Registration- De Mille, Lillie M. (Portland, Cumberland County)

https://digitalmaine.com/alien_docs/24557/thumbnail.jp

A Strange Manuscript Found in a Copper Cylinder

https://commons.und.edu/settler-literature/1125/thumbnail.jp

The B. O. W. C.

https://commons.und.edu/settler-literature/1126/thumbnail.jp

Museums without walls: The museology of Georges Henri Riviere

This thesis explores important aspects of the debates and practices that since the First World War have both extended the meaning of museums and museology, and renovated what was seen by many as a stagnated 19th century model of museum policy and communication. For the purpose of illustrating the manifold nature of these debates this thesis examines the life and work of French museologist and innovator of modern French ethnographical practice, Georges Henri Rivière (1897 – 1985). It draws on the conceptual distinction made in some international museum literature between museology and museums. This distinction stems from the different assumptions introduced by two long term projects of cultural development: the 18th century projects of enlightenment and the 20th century promotion of an anthropological conception of culture. The former is closely related to the European system of fine art understood as a system of promotion and popularization of the arts. The latter is part of the efforts of the human and social sciences to insert museums in the society they serve and/or to give a democratic representation to the variety of cultures existing in a society at large. The consequence was the development, in the course of the 20th Century, of two often opposing managerial policies and cultures, one inwards looking, aiming at modernization and professionalization of internal museum functions, the other focusing on closing the relationship of museology and its natural and social environment. The first was essentially administrative and scholar-based, and has thrived with the adoption of a culture of mass consumption and multiplied its functions according to an ever-dominant division of labour. The second is proactive and externally driven, a policy and managerial culture aiming at the management of processes and resources, and at the identifications and development of the living cultures existing in a society. In this line of thought this research explores the museology of Rivet-Rivière’s Musée-Laboratoire as part of a national project of cultural development aiming at changing the relationship of French citizens to their material culture and heritage. As the museological embodiment of the myth of primitivism, Rivet-Rivière’s ‘structural museology’ was shaped by the convergence of avant-garde movements in contemporary arts with the object-based ethnology of Marcel Mauss. It eventually led not only to Rivière’s most famous concept, the Ecomusée, but also to a ‘museology without walls’ and to the diversification and multiplication of local museological practices by which every activity existing in a territory could be given museographical expression. As cultural activist, Rivière was at the crossroads of major events and personalities of his time, and his museological talent was placed at the service of their concerns and expectations, particularly through his long involvement with the UNESCO-linked International Council of Museums (ICOM). Furthermore, his privileged positions in the culture of its time made him a significant witness, not just of the debate about museums, but of 20th century French cultural life

Who can profit from dance?:An exploration of copyright ownership

This is the author accepted manuscript. The final version is available from Edinburgh University Press via the DOI in this record.Focusing on UK copyright law, this article explores ownership of the dance by reference to the work of disabled dance artists. Our attention is on this group because their position within the dance workforce has always been precarious and so perhaps have most to gain through greater recognition of authorship in their work. Through an examination of the law as it applies to two different projects featuring Caroline Bowditch, we suggest that, contrary to the views of some, the performers are either authors of the copyright in the arrangement of the dance on their bodies, or joint authors in the work of dance. This is important because the author is the first owner of copyright in a dance; income from exploitation generally flows to the owner. With the rise of social media there may be yet further opportunities for exploiting dance. Starting from a doctrinal legal perspective, and bringing together dance and law to explore the vexed questions of cultural value, audience literacy and commercial exploitation, we hope to bring attention to the labour of disabled dance artists and the different ways in which all dancers can assert the rights to their work. In taking this approach this contribution differs from recent scholarship on dance and law, most notably works by Anthea Kraut, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance (Oxford University Press, 2015) and Caroline Picart, Critical Race Theory and Copyright in American Dance: Whiteness as Status Property (Springer 2013). These analyses examine dance and American copyright law through race and gender lenses. Reading across the contributions would suggest that the time is ripe for a truly interdisciplinary project in which experts from law, dance and, disability studies come together to deepen and extend our knowledge and understanding of this area.AHRC grant number AH/J006491/1

Museums without walls : the museology of Georges Henri Riviere

This thesis explores important aspects of the debates and practices that since the First World War have both extended the meaning of museums and museology, and renovated what was seen by many as a stagnated 19th century model of museum policy and communication. For the purpose of illustrating the manifold nature of these debates this thesis examines the life and work of French museologist and innovator of modern French ethnographical practice, Georges Henri Rivière (1897 – 1985). It draws on the conceptual distinction made in some international museum literature between museology and museums. This distinction stems from the different assumptions introduced by two long term projects of cultural development: the 18th century projects of enlightenment and the 20th century promotion of an anthropological conception of culture. The former is closely related to the European system of fine art understood as a system of promotion and popularization of the arts. The latter is part of the efforts of the human and social sciences to insert museums in the society they serve and/or to give a democratic representation to the variety of cultures existing in a society at large. The consequence was the development, in the course of the 20th Century, of two often opposing managerial policies and cultures, one inwards looking, aiming at modernization and professionalization of internal museum functions, the other focusing on closing the relationship of museology and its natural and social environment. The first was essentially administrative and scholar-based, and has thrived with the adoption of a culture of mass consumption and multiplied its functions according to an ever-dominant division of labour. The second is proactive and externally driven, a policy and managerial culture aiming at the management of processes and resources, and at the identifications and development of the living cultures existing in a society. In this line of thought this research explores the museology of Rivet-Rivière’s Musée-Laboratoire as part of a national project of cultural development aiming at changing the relationship of French citizens to their material culture and heritage. As the museological embodiment of the myth of primitivism, Rivet-Rivière’s ‘structural museology’ was shaped by the convergence of avant-garde movements in contemporary arts with the object-based ethnology of Marcel Mauss. It eventually led not only to Rivière’s most famous concept, the Ecomusée, but also to a ‘museology without walls’ and to the diversification and multiplication of local museological practices by which every activity existing in a territory could be given museographical expression. As cultural activist, Rivière was at the crossroads of major events and personalities of his time, and his museological talent was placed at the service of their concerns and expectations, particularly through his long involvement with the UNESCO-linked International Council of Museums (ICOM). Furthermore, his privileged positions in the culture of its time made him a significant witness, not just of the debate about museums, but of 20th century French cultural life.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Immunohistochemical Distribution of Serotonin Transporter (SERT) in the Optic Lobe of the Honeybee, Apis mellifera

Visual information is processed in the optic lobes, which consist of three retinotopic neuropils. These are the lamina, the medulla and the lobula. Biogenic amines play a crucial role in the control of insect responsiveness, and serotonin is clearly related to aggressiveness in invertebrates. Previous studies suggest that serotonin modulates aggression-related behaviours, possibly via alterations in optic lobe activity. The aim of this investigation was to immunohistochemically localize the distribution of serotonin transporter (SERT) in the optic lobe of moderate, docile and aggressive worker honeybees. SERT-immunoreactive fibres showed a wide distribution in the lamina, medulla and lobula; interestingly, the highest percentage of SERT immunoreactivity was observed across all the visual neuropils of the docile group. Although future research is needed to determine the relationship between the distribution of serotonin fibres in the honeybee brain and aggressive behaviours, our immunohistochemical study provides an anatomical basis supporting the role of serotonin in aggressive behaviour in the honeybee

Electric dipole moments as signals of supersymmetric unification

If supersymmetric unification is true, we show how the combined effort of several experiments under way to try to measure an electric dipole moment of the electron or of the neutron has a significant chance not only of producing a positive signal but also of providing crucial information to understand the physical origin of the signal itself.Comment: 6 pages with all figures include