weakness of gravity on distances> ∼ 1 mm is due to the existence of n ≥ 2 new compact spatial dimensions large compared to the weak scale. The Planck scale MPl ∼ G −1/2 N is not a fundamental scale; its enormity is simply a consequence of the large size of the new dimensions. While gravitons can freely

Virtual reality (VR) is typically defined in terms of technological hardware. This paper attempts to cast a new, variable-based definition of virtual reality that can be used to classify virtual reality in relation to other media. The defintion of virtual reality is based on concepts of "

of AdS5 spacetime). This mechanism relies on the existence of only a single additional dimension. We demonstrate a simple explicit example of this mechanism with two three-branes, one of which contains the Standard Model fields. The experimental consequences of this scenario are new and dramatic

Abstract: One of the most artistic contributions of American poets at the beginning of the twentieth century is the development of the dramatic monologue which they took up from the Victorian poet, Robert Browning, “the most modern, to modern people the most important of poets. ” The dramatic monologue was particularly suited to the needs of the modern American poets and their experiments with this form are highly innovative. It is significant that these poets were able to entertain possibilities that had not been foreseen by the earlier users of the form even as they did not completely break away from the past. As an example, although Edwin Arlington Robinson could never quite see the relation between himself and Browning, his earliest critics addressed him with the epithet, “American Browning ” and, over the decades, critics have noted the striking similarity between the poets: both had a tendency to focus on the drama between men and women in a form which could at once present the immediate contact with a subject in action, and also maintain a detachment necessary to convey their meaning of the situation. This paper examines Edgar Lee Masters ’ Spoon River Anthology to expound the thesis that amongst the American poets of the early twentieth century, the dramatic monologue

The cognitive dimensions framework is a broad-brush evaluation technique for interactive devices and for non-interactive notations. It sets out a small vocabulary of terms designed to capture the cognitively-relevant aspects of structure, and shows how they can be traded off against each other

“Somebody says, ‘You know, you people always say that space is continuous. How do you know when you get to a small enough dimension that there really are enough points in between, that it isn’t just a lot of dots separated by little distances? ’ Or they say, ‘You know those quantum mechanical

Flatland is an augmented whiteboard interface designed for informal office work. Our research has investigated approaches to building an augmented whiteboard in the context of continuous, long term office use. In particular, we have pursued three avenues of research based on input from user studies: techniques for the management of space on the board, the ability to flexibly apply behaviors to support varied application semantics, and mechanisms for managing history on the board. Unlike some previously reported systems, our design choices have been influenced by a desire to support preproduction---rather than final production---work in an office setting.

undertaken within a New Zealand local authority. Twenty three senior managers were interviewed about their decision making with the aim of comparing the responses of participants with how the descriptive decision making literature purports decisions are made. Evidence of behaviour consistent with recognised

fixed effects and trend terms, and we consider both pooled within dimension tests and group mean between dimension tests+ We derive limiting distributions for these and show that they are normal and free of nuisance parameters+ We also provide Monte Carlo evidence to demonstrate their small sample size

“Having looked at monetary policy from both sides now, I can testify that central banking in practice is as much art as science. Nonetheless, while practicing this dark art, I have always found the science quEite useful.” 2 Alan S. Blinder