David Michael Morse

'...an illuminating survey work by a robust and powerful intelligence with an impressive grasp of a great deal of material.' Tony Tanner, The Times Literary Supplement High Victorian Culture is an in-

Author(s): Brehmer, Johann; Brooijmans, Gustaaf; Cacciapaglia, Giacomo; Carmona, Adrian; Chivukula, Sekhar R; Delgado, Antonio; Goertz, Florian; Hewett, JoAnne L; Katz, Andrey; Kopp, Joachim; Lane, Kenneth; Martin, Adam; Mohan, Kirtimaan; Morse, David M; Nardecchia, Marco; No, Jose Miguel; Oliveira, Alexandra; Pollard, Chris; Quiros, Mariano; Rizzo, Thomas G; Santiago, Jose; Sanz, Veronica; Simmons, Elizabeth H; Tattersall, Jamie | Abstract: We examine the `diboson' excess at $\sim 2$ TeV seen by the LHC experiments in various channels. We provide a comparison of the excess significances as a function of the mass of the tentative resonance and give the signal cross sections needed to explain the excesses. We also present a survey of available theoretical explanations of the resonance, classified in three main approaches. Beyond that, we discuss methods to verify the anomaly, determining the major properties of the various surpluses and exploring how different models can be discriminated. Finally, we give a tabular summary of the numerous explanations, presenting their main phenomenological features.

The latest results on searches for production of two Higgs bosons with the CMS detector using the 2016 CERN LHC dataset are presented, as shown at the LHCP 2017 conference.

Cathode strip chambers (CSCs) are used to detect muons in the end cap region of the CMS detector. The chambers are arranged in rings in four planes on each end of the detector. The inner rings of CSCs in each station have the highest flux of particles and this presents challenges to efficient readout at the luminosity, latency, and trigger rate foreseen at the high luminosity LHC (HL-LHC). The existing front end electronics in the inner rings of stations 2, 3, and 4 are based on switched capacitor arrays with limited buffering capability. Queuing models have shown that significant saturation of the buffers would occur for the luminosity, Level 1 trigger rates, and required Level 1 latency for running at the HL-LHC. In addition, the expected output rate of data is expected to exceed the 1 Gbps bandwidth of the optical links that carry data to the back end, resulting in loss of event synchronization. The upgrade of the inner rings of CSCs addresses these problems by replacing some types of electronics boards in these rings with upgraded boards. In particular, the existing cathode front end boards on the inner rings of Stations 2, 3, and 4 will be replaced with new digital cathode front end boards. These boards follow the design of those installed in the inner ring of Station 1 in the recent long shutdown of the LHC. The boards use flash ADCs and digital pipelines in place of the switch capacitor arrays used previously. The digital pipeline results in nearly dead-timeless operation and the capability to accommodate long latency requirements without loss of data. Also, new DAQ motherboards will be designed with optical output links with higher bandwidth to accept the higher data rate. Finally, the FED system, which is the interface between the CSCs and the central DAQ of the CMS experiment, will be replaced with a system that can receive the higher input rates. We present the measurements and calculations that predict the behavior of the CSC electronics under HL-LHC conditions. We describe the design of the electronics systems for the upgrade and show studies of expected performance.

We examine the `diboson' excess at $\sim 2$ TeV seen by the LHC experiments in various channels. We provide a comparison of the excess significances as a function of the mass of the tentative resonance and give the signal cross sections needed to explain the excesses. We also present a survey of available theoretical explanations of the resonance, classified in three main approaches. Beyond that, we discuss methods to verify the anomaly, determining the major properties of the various surpluses and exploring how different models can be discriminated. Finally, we give a tabular summary of the numerous explanations, presenting their main phenomenological features.

Coarse-grained theories of dense polymer liquids such as block copolymer melts predict a universal dependence of equilibrium properties on a few dimensionless parameters. For symmetric diblock copolymer melts, such theories predict a universal dependence on only chi N and Nbar, where chi is an effective interaction parameter, N is a degree of polymerization, and Nbar is a measure of overlap. We test whether simulation results for the structure factor S(q) obtained from several different simulation models are consistent with this two-parameter scaling hypothesis. We compare results from three models: (1) a lattice Monte Carlo model, the bond-fluctuation model, (2) a bead-spring model with harsh repulsive interactions, similar to that of Kremer and Grest, and (3) a bead-spring model with very soft repulsion between beads, and strongly overlapping beads. We compare results from pairs of simulations of different models that have been designed to have matched values of Nbar, over a range of values of chi N and N, and devise methods to test the scaling hypothesis without relying on any prediction for how the phenomenological interaction parameter chi depends on more microscopic parameters. The results strongly support the scaling hypothesis, even for rather short chains, confirming that it is indeed possible to give an accurate universal description of simulation models that differ in many details.

The latest results on searches for production of two Higgs bosons with the CMS detector using the 2016 CERN LHC dataset are presented, as shown at the LHCP 2017 conference.

The artist as poet, visionary, seer, prophet, outcast and exile is an obsessive and recurrent figure in Romantic literature. The semantic drift has grown so familiar that it is all but invisible: we take it as a matter of course that the writer should write about the artist’s predicament — why, indeed, should he not? — or that in a poem the figure of the poet should obtrude upon the reader’s consciousness in an insistent and self-dramatising way, presenting himself as a person endowed with transcendent consciousness and with a unique power to feel, interpret and understand. Yet such has not always been the case. Poets have often been assigned or have assigned to themselves the possession of divine inspiration, yet they have not always made themselves their own subject or suggested that the thoughts and feelings which they articulate are to be regarded not simply as deeply felt or experienced, but as specific to the person who assumes the role of artist. That is to say, the theme of the artist in Romantic literature has distinctive implications. It predicates a cleavage between the artist and the world and the work of art appears in the guise of resolution and absolution.

The eighteenth-century obsession with the idea of virtue was above all the product of political infighting between Whigs and Tories that reached its maximum intensity under Queen Anne but which continued with almost equal virulence under the Hanoverians, even though after 1715 the Whigs remained permanently in power. Under Anne the concern was that with the selfish and factional spirit of party prevailing there was a serious danger that there would be no place in the nation’s councils for genuinely patriotic and disinterested statesmen who would be prepared to place the interest of the country as a whole before the desire to aggrandise a single sectional interest, whether Whig or Tory. Under George I and George II, and especially after Sir Robert Walpole became the first recognised Prime Minister in 1721, the concern was somewhat different though essentially similar: to ensure that there still would be public spirited citizens and, especially Members of Parliament, who would be prepared to speak out against the government despite Walpole’s determination to crush all criticism through co-optation and bribery. A particularly clear example of how this could work was provided by Thomas Gordon, co-author of Cato’s Letters - which had criticised the Whig hegemony - who in 1723 accepted Walpole’s offer of a sinecure as First Commissioner of Wine Licences.

This is a study of eighteenth-century culture and of the role that the idea of virtue played within it, but it is by no means my intention to suggest that the age itself was particularly virtuous; rather, as is so often the case, the invocation of virtue tended to be associated with the concern that it was more likely to be absent than present. In one of G.K. Chesterton’s Father Brown stories,’The Three Tools of Death’ the worthy priest throws out the enigmatic suggestion that it is because the murder weapon is so large that it has not been noticed. The earth was the ‘weapon’ - since the body had been thrown out of a window. Similarly in the reign of Anne and three subsequent Georges the allusions to virtue are so thickly strewn that they are likely to go both unnoticed and undeciphered. It is as if, in the vicinity of a country house, you take it for granted that there are gravel-walks and would think it distinctly odd if there were not; whereas in another context gravel-walks would stick out like a sore thumb, indeed might even lead one to rub one’s eyes in astonishment. Equally, this very familiarity may lead us to believe that all talk of virtue is bound to consist of sanctimonious platitudes - especially since we are rarely prone to speak of virtue ourselves - whereas these were in fact questions which were taken intensely seriously.

The eighteenth century was a period rich in speculation about language and it is therefore hardly surprising that the inquiries into language inaugurated at that time, more philosophical than philological or morphological, should have awakened renewed interest in our own day, when inquiry into language has been at the centre of an attempt to constitute the human sciences. Two of the most important texts relating to this debate, Michel Foucault’s Les Mots et les choses and Jacques Derrida’s De la Grammatologie have importantly concerned themselves with eighteenth-century linguistic thought. Foucault has described the dissolution of a ‘classical episteme’ located within this period, where the task was ‘to ascribe a name to things, and in that name to name their being’.1 Derrida has taken as his own project a critique of a metaphysics of presence in language, which significantly correlates with Foucault’s formulation and which takes as its centre of inquiry Rousseau’s Essai sur l’origine des langues (1781) and its filiations with the thought of Lévi-Strauss. What I want to show is that each of these thinkers significantly misrepresents the complexity of eighteenth-century thought in order to dramatise or melodramatise a moment of intellectual rupture.

‘Historical’ is a word which we commonly use, but to confront the historical dramas of Goethe and Schiller, the historical novels of Scott, some of the most complex and representative works of a whole phase of European culture, is to recognise how problematic the term is, how nuanced and inflected by usage and tradition. For we are apt to overlook the fact that before the phase of Enlightenment and Romanticism the writing of history was an unusual form of activity; so that the whole sum of history from Herodotus to Gibbon forms a relatively slight and compact body of knowledge when weighed in the balance with theology and works of a doctrinal nature. It was the Enlightenment of Gibbon and Voltaire that freed history from its subordination to religious concerns, but it was the historical drama of Goethe and Schiller and the historical novel of Scott that served to define what the historical was: they presented it not simply as some generalised concern with the past, but as a complex and concrete thematicising of certain problems in human history. We should never see the historical drama or historical novel as simply fiction plus history: we must acknowledge that in this case literature was the forerunner, articulating forms of awareness that only very much later entered the domain of historiography itself.

An Increase 1n the concentration of K+ 1n defined seawater medium Induces settlement and metamorphosis 1n larvae of the marine molluscs Hal1ot1s rufescens, Phes-t1lla sibocjae.and Astraea undosa.Neuropharmacological experiments suggest that Increased K+ acts by directly depolarizing excitable cells.These experiments also suggest that activation of metamorphosis 1n H.. rufescens larvae by GABA, a stereochem1cally-spec1f1c Inducer of metamorphosis for fct.rufescens.may depend similarly on a depolarizing 1on movement at GABA-sens1t1ve cells.The ability of K+ to directly Influence cell membrane potential would explain Its broad effectiveness m Inducing metamorphosis 1n larvae of species that recruit to different hab1tats/ and that require different speciesspecific stimuli from the environment as signals for metamorphosis.Changes 1n the concentrations of other monovalent cations are neither Inductive nor Inhibitory.However, specific changes 1n the divalent cation concentrations 1n defined seawater can Inhibit larval responses to Increased K+ and to the chemical Inducers of metamorphosis.These results may offer a gen-

High Victorian Culture is a study of the first four decades of Victorian Britain, from Victoria’s accession to the throne in 1837 to her proclamation as Empress of India in 1877 — or, to transpose the chronology into a more literary key, it covers an era that runs from Dickens’s first novel, The Pickwick Papers (1836–7), to George Eliot’s last novel, Daniel Deronda (1876). There has never really been much argument that from the 1870s onwards the landscape of Victorian England is so significantly altered as to make ‘late Victorian’ an indispensable modification but this has had the unfortunate effect of developing an binary opposition between early and late Victorian, as a result of which several decades between 1850 and 1890 have a way of dropping out of the picture. This problem has been addressed by the simple and useful expedient of introducing the term ‘mid-Victorian’ to refer to the 1850s and 1860s, but the danger here, I feel, is of over-periodising, of developing a chronological framework that is at once too specific and too unwieldy.

In nineteenth-century history ‘England’ is a name to conjure with, apparently transparent yet often perplexing, at once the site of struggle and contention but always — and no matter in what hands — endowed with a certain irresistible glamour. It might seem that those who invoke ‘England’ in this way are always acting manipulatively and in bad faith, that whether they would mobilise chauvinism and self-interest or nostalgia and anxiety, they will always be wading in shallow waters. Nevertheless I would want to argue that these shallow waters are also deep; that the issues raised by a debate over the nature of English culture or the state of English society were both complex and important.