scholarly journals SU(3) quantum critical model emerging from a spin-1 topological phase

2016 ◽  
Vol 93 (16) ◽  
Author(s):  
Wen-Jia Rao ◽  
Guo-Yi Zhu ◽  
Guang-Ming Zhang
2009 ◽  
Vol 23 (20n21) ◽  
pp. 4059-4073 ◽  
Author(s):  
J. W. CLARK ◽  
V. A. KHODEL ◽  
M. V. ZVEREV

Opportunities for topological phase transitions in strongly correlated Fermi systems near a quantum critical point are explored as an alternative to collective scenarios for experimentally observed departures from standard Fermi-liquid behavior. Attention is focused on a quantum critical point at which the effective mass is divergent due to vanishing of the quasiparticle group velocity at the Fermi surface. Working within the original Landau quasiparticle theory, it is demonstrated that the quasiparticle picture can remain meaningful beyond the quantum critical point through rearrangements of the unstable normal Fermi surface and quasiparticle spectrum. Two possibilities emerge at zero temperature, depending on whether the quasiparticle interaction is regular or singular at zero momentum transfer. In the regular case, one type of topological phase transformation leads to a state with a multiconnected Fermi surface. In the singular case, another type of topological phase transition leads to an exceptional state containing a fermion condensate – the Fermi surface swells into a volume in momentum space, within which partial occupation prevails and quasiparticle energies are pinned to the chemical potential. As the temperature increases from zero to a characteristic value Tm, a crossover can occur from the state with multiple Fermi surfaces to that containing a fermion condensate.


Author(s):  
Vijay Iyer

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.


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