scholarly journals Large-scale structure in brane-induced gravity. II. Numerical simulations

2009 ◽  
Vol 80 (10) ◽  
Author(s):  
Kwan Chuen Chan ◽  
Román Scoccimarro
Keyword(s):  
Numerical Simulations ◽  
Large Scale ◽  
Large Scale Structure ◽  
Scale Structure ◽  
Induced Gravity

scholarly journals Extragalactic filament detection with a layer smoothing method

2014 ◽  
Vol 4 (1-2) ◽  
pp. 42-45 ◽  
Author(s):  
A. Tugay
Keyword(s):  
Numerical Simulations ◽  
Large Scale ◽  
Large Scale Structure ◽  
Density Field ◽  
Scale Structure ◽  
Smoothing Method ◽  
Computer Algorithms ◽  
The Real

Filaments are clearly visible in galaxy distributions, but they are difficult to detect by computer algorithms. Most methods of filament detection can be used only with numerical simulations of a large-scale structure. New simple and effective methods for the real filament detection should be developed. The method of a smoothed galaxy density field was applied in this work to SDSS data of galaxy positions. Five concentric radial layers of 100 Mpc are appropriate for filaments detection. Two methods were tested for the first layer and one more method is proposed.

Global texture as the origin of large-scale structure: Numerical simulations of evolution

1991 ◽  
Vol 43 (4) ◽  
pp. 1038-1046 ◽  
Author(s):  
David N. Spergel ◽  
Neil Turok ◽  
William H. Press ◽  
Barbara S. Ryden
Keyword(s):  
Numerical Simulations ◽  
Large Scale ◽  
Large Scale Structure ◽  
Scale Structure

Interplanetary Scintillation and Flare — Produced Disturbances

1975 ◽  
Vol 2 (6) ◽  
pp. 378-379 ◽  
Author(s):  
B.D. Ward
Keyword(s):  
Numerical Simulations ◽  
Large Scale ◽  
Large Scale Structure ◽  
Scale Structure ◽  
Interplanetary Scintillation ◽  
Ensemble Averaging ◽  
Multiple Spacecraft ◽  
Spacecraft Data

Determination of the large-scale structure of flare-produced disturbances requires either multiple spacecraft observations or an ensemble averaging of single spacecraft observations of a number of events. There is currently some confusion in the results of studies of shock normals derived from spacecraft data. Chao and Lepping (1974) suggest that the average shock shape near 1 AU is essentially spherical while Bavassano et al. (1973) suggest that the disturbance corresponds closely to the shapes predicted in the numerical simulations of de Young and Hundhausen (1971).

Zeitstrukturen im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 79-92
Author(s):  
Alexander Becker
Keyword(s):  
Large Scale ◽  
Large Scale Structure ◽  
Time Frame ◽  
Scale Structure ◽  
Classical Form ◽  
Jazz Music ◽  
The Moment

Wie erlebt der Hörer Jazz? Bei dieser Frage geht es unter anderem um die Art und Weise, wie Jazz die Zeit des Hörens gestaltet. Ein an klassischer Musik geschultes Ohr erwartet von musikalischer Zeitgestaltung, den zeitlichen Rahmen, der durch Anfang und Ende gesetzt ist, von innen heraus zu strukturieren und neu zu konstituieren. Doch das ist keine Erwartung, die dem Jazz gerecht wird. Im Jazz wird der Moment nicht im Hinblick auf ein Ziel gestaltet, das von einer übergeordneten Struktur bereitgestellt wird, sondern so, dass er den Bewegungsimpuls zum nächsten Moment weiterträgt. Wie wirkt sich dieses Prinzip der Zeitgestaltung auf die musikalische Form im Großen aus? Der Aufsatz untersucht diese Frage anhand von Beispielen, an denen sich der Weg der Transformation von einer klassischen zu einer dem Jazz angemessenen Form gut nachverfolgen lässt.<br><br>How do listeners experience Jazz? This is a question also about how Jazz music organizes the listening time. A classically educated listener expects a piece of music to structure, unify and thereby re-constitute the externally given time frame. Such an expectation is foreign to Jazz music which doesn’t relate the moment to a goal provided by a large scale structure. Rather, one moment is carried on to the next, preserving the stimulus potentially ad infinitum. How does such an organization of time affect the large scale form? The paper tries to answer this question by analyzing two examples which permit to trace the transformation of a classical form into a form germane to Jazz music.

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