Meir Shimon
Meir Shimon
Institution: School of Physics and Astronomy, Tel Aviv University,
Email: meirs@tauex.tau.ac.il
In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational se...
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In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational selection effect: We show that in a suitably chosen frame the Universe is at its most probable epoch when the Hubble radius attains a maximum, at the epoch when the energy densities of DE and NR
matter are comparable.
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Posted 2 years ago
Oleg Lebedev,
Oleg Lebedev
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
Jong-Hyun Yoon
Jong-Hyun Yoon
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the ...
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We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the Planck scale. We focus on dim-6 operators and study the corresponding particle production in perturbative and non–perturbative regimes. We find that the dark matter production rate is dominated by non–derivative operators involving higher powers of the inflation field. Even if they appear with small Wilson coefficients, such operators can readily account for the correct dark matter abundance.
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Posted 2 years ago
Maarten Steenhagen Shibukawa
Maarten Steenhagen Shibukawa
Institution: Uppsala Universitet:
Email: info@res00.com
Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not...
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Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types.
It is commonly assumed that fictional entities do not exist, at least not actually. “There is no Dracula!” we tell the children before bedtime, “It’s only a story.” That no fictional entity exists is however a substantive philosophical claim, and some philosophers have even gone so far to claim that no fictional entity can exist in the actual world. I will show that both claims are false. To say that fictional entities do not exist, or to claim that they could not exist, is mistaken, I argue, for reasons that have little to do
with the distinction between fiction and reality.
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Posted 2 years ago
Richard Maxwell
Richard Maxwell
Institution: unstated
Email: info@res00.com
I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments...
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I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments. Here was a chance for me to come to terms with the place through an emptied-out landscape. Despite the upheaval of the last year, somehow these buildings seemed calm and stoic. Do they perceive what’s happening around them? Are they impugned by world events around them.
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Posted 2 years ago
Peter Buse
Peter Buse
Institution: University of Liverpool
Email: info@res00.com
This article explores “the play element in photography”, to adapt a key phrase from Johan Huizinga’s Homo Ludens (1938). The context for this exploration is the melancholic paradigm that dominates much of contemporary writing and thinking about vernacular or popular photography, a paradigm tha...
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This article explores “the play element in photography”, to adapt a key phrase from Johan Huizinga’s Homo Ludens (1938). The context for this exploration is the melancholic paradigm that dominates much of contemporary writing and thinking about vernacular or popular photography, a paradigm that emphasises memory, death and mourning, at the expense of other practices and dispositions, not least the ludic. It notes that the existing literature on photography and play concentrates almost entirely on humorous images: optical jokes, trick photography, and a wide variety of distorted pictures. But play is an activity, a practice, as much as it is a product or an outcome. In other words, the ludic in photography is not just a quality of the object photographed, but of a photographic doing. Following this principle, the article shows the ways in which key modes of play such as competition, chance, make-believe and vertigo, are at work in photographic practices old and new, including in the aerostatic photography of Félix Nadar, with which it begins and ends.
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Posted 2 years ago
GEORGE WILLIAM CULLEN GROSS
GEORGE WILLIAM CULLEN GROSS
Institution: King’s College London
Email: info@res00.com
The last Scottish coronation occurred at Scone in 1651. Charles II’s Scottish coronation has either been completely forgotten or become the subject of distorted interpretations. It has long been suggested that this coronation was a hastily arranged affair, lacking sacredness without an anointing a...
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The last Scottish coronation occurred at Scone in 1651. Charles II’s Scottish coronation has either been completely forgotten or become the subject of distorted interpretations. It has long been suggested that this coronation was a hastily arranged affair, lacking sacredness without an anointing and involving little pomp, and thus minimal cost — almost humiliating, according
to one modern view. Furthermore, historians have argued that Charles both resented this ceremony and could barely have found anything joyful in it. Yet Clarendon commented that it ‘passed with great solemnity and magnificence, all men making show of joy, and being united to serve his majesty’. How can one reconcile these positions? Why has this coronation been so neglected? In many respects, it was superseded by immediate events (Charles II’s disastrous military campaign and exile) and then overshadowed at the Restoration (and by the 1661 Westminster Abbey coronation). Nevertheless, 1651 remains of tremendous significance
because it was paradoxically both usual and unusual and carried implications for the other kingdoms of the British Isles and their religious systems, not just for Scotland. With the addition of financial archival material unused by previous scholars, this article adopts a fresh approach that challenges the received historiography: by seriously addressing the question of disparity, it identifies what really was anomalous and what, in fact, was far from untypical or surprising.
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Posted 2 years ago
Leif Runefelt
Leif Runefelt
Institution: Södertörn University 141 89 Huddinge Sweden
Email: leif.runefelt@sh.se
In the 1840s, Sweden and Finland were hit by a minor craze for living pictures or tableaux vivants as commercial entertainment. For the price of a ticket, the public could experience the staging, by live actors, of work of arts from antiquity and contemporary sculptors such as Canova and Thorvaldsen...
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In the 1840s, Sweden and Finland were hit by a minor craze for living pictures or tableaux vivants as commercial entertainment. For the price of a ticket, the public could experience the staging, by live actors, of work of arts from antiquity and contemporary sculptors such as Canova and Thorvaldsen. Making strong claims of artistic value, based on the aesthetic theory of Winckelmann and the artistic practice of artists such as Canova, the performances raise interesting questions of how aesthetics worked when set in a commercial framework. The article discusses the problem of beauty faced by entertainers and spectators when art was reenacted for money. The experience of beauty was central to aesthetic theory and to living pictures. However, it remains unclear whether commercial living pictures was about beauty in art or about good-looking women. A possible conclusion is that it was about both, and that the aesthetic theory behind the tableaux was a theory created for a male visual culture, in which the male gaze’s consumption of female bodies was self-evident while dressed in arguments of truth and beauty, confirming a social order in which a certain right look was ascribed to men.
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Posted 2 years ago
Paul Joseph Lennon
Paul Joseph Lennon
Institution: Department of Spanish, University of St Andrews,
Email: pjl7@st-andrews.ac.uk
The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by SpanishNeapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized f...
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The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by SpanishNeapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized female figure alien to contemporary Hispanic courtly poetry. In this study, I offer an interpretation through a comparative study with the Rime amorose (1538) of Vittoria Colonna (1490-1547), in which she popularized the Petrarchan voice of the desiring widow in Italian poetry. After establishing a link between the Aldana and Colonna families by
virtue of the fragment ‘Aunque a la alta región del alegría’, which addresses the death of Colonna’s niece, I explain how the yearning
contained within Colonna’s lyric, noted to possess an erotic potential, may have led Aldana to incorporate this voice in his own poetic exploration of a combinatory spiritual and physical philosophy of love. Additionally, given the absence of the Colonnaesque tradition in Spain, I consider how expressions of desire by female voices in the arte menor and pastoral traditions potentially could have led to a similar interpretation for Hispanic readers.
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Posted 2 years ago
Rakesh Netha Vadnala,
Rakesh Netha Vadnala
Institution: 1The Institute of Mathematical Sciences,
Email: rakeshnetha@imsc.res.in
Sridhar Hannenhalli,
Sridhar Hannenhalli
Institution: National Cancer Institute, National Institutes of Health,
Email: rakeshnetha@imsc.res.in
Leelavati Narlikar,
Leelavati Narlikar
Institution: Department of Data Science, Indian Institute of Science Education and Research,
Email: rakeshnetha@imsc.res.in
Rahul Siddharthan
Rahul Siddharthan
Institution: The Institute of Mathematical Sciences,
Email: rakeshnetha@imsc.res.in
Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture...
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Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture assays) on one hand, and based on both in vivo binding as well as TF binding motifs on the other. We ascertain significantly co-occurring (“attractive”) or avoiding (“repulsive”) TF pairs using robust randomized models
that retain the essential characteristics of the experimental data. Across human cell lines TFs organize into two groups, with intra-group attraction and inter-group repulsion. This is true for both sequential and spatial proximity, as well as for both in vivo binding and motifs. Attractive TF pairs exhibit significantly more physical interactions suggesting an underlying mechanism. The two TF groups differ significantly in their genomic and network properties, as well in their function—while one group regulates housekeeping
function, the other potentially regulates lineage-specific functions, that are disrupted in cancer. We also show that weaker binding sites tend to occur in spatially interacting regions of the genome. Our results suggest a complex pattern of spatial cooperativity of TFs that has evolved along with the genome to support housekeeping and lineage-specific functions.
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Posted 2 years ago
Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beau...
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Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beauty of Building and Planting is placed chiefly, in some certain Proportions, Symmetries, or Uniformities; our Walks and our Trees ranged so, as to answer one another, and at exact Distances. The Chineses scorn
this way of Planting, and say a Boy that can tell an hundred, may plant Walks of Trees in strait Lines, and over against one another, and to what Length and Extent He pleases. But their greatest reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strike the eye, but without any order or disposition of parts, that shall be commonly or easily
observ’d. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem.3
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Posted 2 years ago