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This book addresses one of the most intriguing mysteries of our universe: the nature of dark matter. The results presented here mark a significant and substantial contribution to the search for new physics, in particular for new particles that couple to dark matter. The first analysis presented is a search for heavy new particles that decay into pairs of hadronic jets (dijets). This pioneering analysis explores unprecedented dijet invariant masses, reaching nearly 7 TeV, and sets constraints on several important new physics models. The two subsequent analyses focus on the difficult low dijet mass region, down to 200 GeV, and employ a novel technique to efficiently gather low-mass dijet events. The results of these analyses transcend the long-standing constraints on dark matter mediator particles set by several existing experiments.
"Early European art was a consuming interest of both Robert Lehman and his father, Philip Lehman, an interest reflected in the remarkable number and quality of drawings they owned from the fifteenth and early sixteenth centuries. In addition to an important group of early German drawings, the collection includes a "Saint Paul" from a series associated with Jan van Eyck and the famous "Scupstoel" from the circle of Rogier van der Weyden, the only design for a decorative sculpture to survive from the fifteenth century. The great artists of the seventeenth century, Peter Paul Rubens, Jacob Jordaens, Claude Lorrain, and Rembrandt among them, are also represented, Rembrandt by seven drawings, inc...
High Wire brings together Booker finalist writer Lloyd Jones and artist Euan Macleod. It is the first of a series of picture books written and made for grownups and designed to showcase leading New Zealand writers and artists working together in a collaborative and dynamic way. In High Wire the narrators playfully set out across the Tasman, literally on a high wire. Macleods striking drawings explore notions of home, and depict homeward thoughts and dreams. High Wire also enters a metaphysical place where art is made, a place where any ambitious art-making enterprise requires its participants to hold their nerve and not look down. Its a beautifully considered small book which richly rewards the reader and stretches the notion of what the book can do.
Depicts artifacts and objects from the collections of the various museums of the Smithsonian Institution that honor the human impulses of discovery, imagination, and memory
WASHDAY AT THE PA, by New Zealand premier photographers Ans Westra, was first published as a photo-story booklet in 1964 by the Department of Education for use in Primary Schools, but all 38,000 copies were withdrawn following a campaign by the Maori Women's Welfare League that it would have a 'detrimental effect' on Maori people - and that the living conditions portrayed within the book were atypical. A second edition of the booklet was published the same years with some images omitted. This edition is a selection of these two editions together with photographs of the washday family taken in 1988, and includes essays by arts critic, journalist and broadcaster Mark Amery detailing the controversy and background of WASHDAY AT THE PA.
'Mindful nihilism is all about seeing yourself as an insignificant cog in the universe - and it works' Evening Standard In an era defined by stress and selfishness, self-care, and obsessive individuality, emptiness can offer peace. A balm for the soul of burnt-out Millennials - disillusioned with the search for meaning through career success, a beautiful life and a beautiful Instagram account - The Sunny Nihilist explains why achievement has not made us happy. Looking anew at a philosophy usually associated with grumpy pessimists, writer Wendy Syfret examines our modern experience of work, love, religion and wider society, and asks whether a touch of upbeat nihilism could actually lighten our loads. Making the case for rejecting the cult of purpose and accepting our un-importance in the universe as a positive reality, The Sunny Nihilist urges us to be cheerful in the face of it - because if nothing matters, we might as well be happy and good to each other.