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The electromagnetic process is studied with the initial-state-radiation technique using 7.5 fb−1 of data collected by the BESIII experiment at seven energy points from 3.773 to 4.600 GeV. The Born cross section and the effective form factor of the proton are measured from the production threshold to 3.0 GeV/ using the invariant-mass spectrum. The ratio of electric and magnetic form factors of the proton is determined from the analysis of the proton-helicity angular distribution.
Using 448.1 × 106 ψ(3686) decays collected with the BESIII detector at the BEPCII e+e− storage rings, the branching fractions and angular distributions of the decays χcJ → Ξ−Ξ¯¯¯¯+ and Ξ0Ξ¯¯¯¯0 (J = 0, 1, 2) are measured based on a partial-reconstruction technique. The decays χc1 → Ξ0Ξ¯¯¯¯0 and χc2 → Ξ0Ξ¯¯¯¯0 are observed for the first time with statistical significances of 7σ and 15σ, respectively. The results of this analysis are in good agreement with previous measurements and have significantly improved precision.
Using 10.1 × 109 J/ψ events produced by the Beijing Electron Positron Collider (BEPCII) at a center-of-mass energy √s = 3.097 GeV and collected with the BESIII detector, we present a search for the rare semi-leptonic decay J/ψ → D−e+νe + c.c. No excess of signal above background is observed, and an upper limit on the branching fraction ℬ(J/ψ → D−e+νe + c. c.) < 7.1 × 10−8 is obtained at 90% confidence level. This is an improvement of more than two orders of magnitude over the previous best limit.
Enduring ornament
(2020)
This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron's oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven's "Enduring Ornament" (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra's rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.