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In the post era of the Z and W discovery, after the observation of Jets at UA1 and UA2 at CERN, John Ellis visioned at a HEP conference at Lake Tahoe, California in 1983 “To proceed with high energy particle physics, one has to tag the avour of the quarks!” This statement re ects the need for a highly precise tracking device, being able to resolve secondary and tertiary vertices within high-particle densities. Since the d- tance between the primary interaction point and the secondary vertex is proportional tothelifetimeoftheparticipatingparticle,itisanexcellentquantitytoidentifypar- cle avour in a very fast and precise way. In colliding beam experiments this method was applied especially to tag the presence of b quarks within particle jets. It was rst introduced in the DELPHI experiment at LEP but soon followed by all collider - periments to date. The long expected t quark discovery was possible mainly with the help of the CDF silicon vertex tracker, providing the b quark information. In the beginning of the 21st century the new LHC experiments are beginning to take 2 shape. CMS with its 206m of silicon area is perfectly suited to cope with the high luminosity environment. Even larger detectors are envisioned for the far future, like the SiLC project for the International Linear Collider. Silicon sensors matured from small 1in. single-sided devices to large 6in. double-sided, double metal detectors and to 6in. single-sided radiation hard sensors.
In recent years, the financialization of housing has become a major challenge to many cities across the globe, not the least because it tends to favor the interests of global finance over the needs of residents. Based on three case studies in the city regions of Zurich, Birmingham and Lyon, the present investigation analyzes the interplay of housing governance and policies over the past 20 years against the backdrop of the financialization of housing.
The software industry is regarded as one of the most creative and dynamic industries in the world. At the same time, sheltering software through copyright and patent law has been a major point of contention for the past 40 years. This doctoral thesis aims to provide new insights to this discussion. Through the use of sociological methodology, it supplies the necessary basic scientific reasearch regarding how software is developed and commercialized nowadays. Based on these findings, it then legally evaluates to what extent copyright and patent law are able to reflect these structures and determines how an optimal protection scope for computer programs could look like today. This doctoral thesis on one hand offers novel insights and points of view on existing legal doctrines. It further acknowledges as well as legally qualifies some prevailing trends in the software industry, such as Scrum and continuous delivery, that have so far been largely unaddressed by copyright and patent law.
In medieval and early modern times, female visionary writers used the mode of prophecy to voice their concerns and ideas, against the backdrop of cultural restrictions and negative stereotypes. In this book, Deborah Frick analyses medieval visionary writings by Julian of Norwich and Margery Kempe in comparison to seventeenth-century visionary writings by authors such as Anna Trapnel, Mary Carey, Anne Wentworth and Katherine Chidley, in order to investigate how these women authorised themselves in their writings and what topoi they use to find a voice and place of their own. This comparison, furthermore, and the strikingly similar topoi that are used by the female visionaries not only allows to question and examine topics such as authority, authorship, images of voice and body; it also breaks down preconceived and artificial boundaries and definitions.
The book traces the origins and development of Bermudian English, so as to situate the variety within the canon of other lesser-known varieties of English, and provides a first in-depth description of its variable morphosyntactic structure.
"Tomás Saraceno's installations shatter traditional concepts relating to place, time, gravity and traditional ideas as to what constitutes architecture. His works are utopian and invite the viewer to play a part in their impact on a particular space, as they reach up to the sky and down to the ground. The artist creates gardens that hang in the air and allow visitors to float in space, fulfilling a dream shared by all humankind. Saraceno draws inspiration from soap bubbles and the incredible strength and flexibility of spider webs."--from Hamburger Bahnhof, Museum für Gegenwart, Berlin's website.