Stability and superluminality of spherical DBI galileon solutions

The DBI galileons are a generalization of the galileon terms, which extend the internal galilean symmetry to an internal relativistic symmetry, and can also be thought of as generalizations of DBI which yield second order field equations. We show that, when considered as local modifications to gravity, such as in the Solar system, there exists a region of parameter space in which spherically symmetric static solutions exist and are stable. However, these solutions always exhibit superluminality, casting doubt on the existence of a standard Lorentz invariant UV completion.Comment: 16 pages, 1 figure. Discussions added, version appearing in PR

Do Casinos Export Bankruptcy?

This paper measures the extent to which destination resort casinos export bankruptcy back to visitors’ home states. Previous literature has alluded to this possibility, but to date studies have only examined the influence of local casinos on local bankruptcy. Using various survey data, we calculate the number of visits from each state to casino resort destinations in Nevada, New Jersey, and Mississippi. We find strong evidence that states having more residents who visit out-of-state casino resorts have higher bankruptcy filings. This effect is dominant in the south, suggesting that casinos located in wealthier regions are less likely to export bankruptcy.Casino gambling, bankruptcy, export

Do casinos export bankruptcy?

This paper measures the extent to which destination resort casinos export bankruptcy back to visitors' home states. Previous literature has alluded to this possibility, but to date studies have only examined the influence of local casinos on local bankruptcy. Using various survey data, we calculate the number of visits from each state to casino resort destinations in Nevada, New Jersey, and Mississippi. We find strong evidence that states having more residents who visit out-of-state casino resorts have higher bankruptcy filings. This effect is dominant in the south, suggesting that casinos located in wealthier regions are less likely to export bankruptcy.Gambling industry ; Bankruptcy

Archive, Theater, Ship: The Phelps Sisters Film the World

Examines the archival survival of the amateur travelog films made by Eleanor and Claudia Lea Phelps from 1923 to 1930. Argues that early twenty-first century interest in these materials testifies to archives’ heterotopian properties, as described by Michel Foucault in his 1967 essay “Of Other Spaces.” It follows that the aim of archival work should not be to preserve or recover the past, but to transform present day institutions and their relationships. Scholars of “women and the silent screen” are engaged in precisely this kind of activity

Cleo Madison

“One of these days, men are going to get over the fool idea that women have no brains,” Cleo Madison told Photoplay magazine in 1916, “and quit getting insulted at the thought that a skirt-wearer can do their work quite as well as they can. And I don’t believe that day is very far off” (109). Such statements encourage us to imagine Madison in the vanguard of what must then have seemed a major trend. It is clear from the published record of Universal Motion Picture Manufacturing Company credits from 1912–1929 that, beginning in 1915, the company employed increasing numbers of women as directors, and by the end of 1919 it had credited no fewer than eleven women with directing at least one hundred and seventy titles (Braff 2002). Before 1915, Universal credited Grace Cunard, Jeanie Macpherson, and Lois Weber as directors. After 1915, the studio credited Cunard, Madison, Weber, Ruth Ann Baldwin, Eugenie Magnus Ingleton, Bess Meredyth, Ida May Park, Ruth Stonehouse, Lule Warrenton, and Elsie Jane Wilson. By 1920, however, none of these women directed for Universal, which promoted men to take their places. Most never directed again. Madison’s own directorial career lasted scarcely a year. It thus poses with particular clarity the mystery of why Universal’s attitude toward women directors changed so dramatically over such a short period of time. Madison’s case also reveals the instability of the facts contemporary scholars encounter when they begin to investigate silent era filmmakers in depth