text:
Biblical Archaeology Truth
Separating Truth from Tradition
Absalom's Pillar
The Fullers Field
The Solomonic Nature of the East Gate
Nehemiah's Wall
The Akra (Acra)
Evidence for King David's Gate in Jerusalem
The Water Gate
Evidence for King Solomon's tower in Jerusalem
The Horse Gate
The Upper Pool
Pharaoh Shishak in the Bible
Letter to Hershel Shanks
Jerusalem - Large or Small?
The City of David - A Rose by any other name...
David's Palace
Hezekiah's Tunnel
Elephantine Papyri
Ezekiel's Plates
Chrysler Ministries
 Archaeology + The Bible = Historical Truth.
The Bible reveals not only God's plan of salvation through His Son, Jesus Christ, but it is also a wonderful source of accurate historical information. It is our belief that the historical information found in Scripture, when compared with archaeological data from the Holy Land, can lead to a clear understanding of what occurred in the past (truth).
The words of the LORD are pure words: as silver tried in a furnace of earth, purified seven times. Thou shalt keep them, O LORD, thou shalt preserve them from this generation for ever (Psalms 12:6-7).
All scripture is given by inspiration of God... (II Timothy 3:16).
For I delivered unto you first of all that which I also received, how that Christ died for our sins according to the scriptures, And that he was buried, and that he rose again the third day according to the scriptures (I Corinthians 15:3-4).
For by grace are ye saved through faith; and that not of yourselves: it is the gift of God: Not of works, lest any man should boast (Ephesians 2:8-9).
Rev. C. Donald Chrysler graduated from the Pastor's Course at the Grand Rapids School of the Bible and Music and was ordained a minister by the Grace Gospel Fellowship in 1952. He received his Bachelor of Arts in Biblical Studies from the Frontier School of the Bible. In 1959 he earned his Bachelor of Science in Education from Wayne State University and in 1963 earned his Master of Arts in School Administration from Michigan State University. He has received an honorary Doctor of Education in School Administration for his work in Individualized Learning and earned his Doctor of Divinity degree from Master's Graduate School of Divinity.
William Freeman Chrysler graduated from the Institute of Audio Technology in Los Angeles, California and became one of it's instructors in 1977. Since then, he has traveled the world extensively. He co-authored the article, Jerusalem - Large or Small: The Debate Goes On, published in the September 19, 2006 Biblical Archaeological Society Online Feature, and the book Jerusalem's Stones Are Crying Out with his father, Don, and brother, Bud. In 2004, 2008 and 2011 he was nominated for the Parnelly Award "Monitor Engineer of the Year" by Front of House Magazine. His expertise in computer technology and word processing has led to the creative posting of all the pictures and figures in our books and articles.
Arthur Bud Chrysler graduated with honors from Grace Christian University with a degree in Leadership and Ministry. He participated in the City of David Excavations (1984) directed by Dr. Yigal Shiloh of the Hebrew University in Jerusalem. Bud co-authored the article Jerusalem - Large or Small: The Debate Goes On which was contained in an online feature of the Biblical Archaeology Society (September 19, 2006). He has been invited to speak at many regional events, including the West Michigan Grace Bible Conference - Grand Rapids, Michigan, The Bible and Archaeology Conference - Genoa City, Wisconsin, and The Temple Emanuel - Grand Rapids, Michigan. Bud has been the owner/operator of Eastown Frame & Gallery for more than thirty years. He lives in Grand Rapids, Michigan and is married, with five children and five grandchildren.
Dr. Yigal Shiloh and Bud Chrysler


text:
Q: How service stack handles an object internally? I am very new to service stack.
Just create a very sample demo rightnow.
I have passed the Object of class when posting the data.
My question is How service stack handles the Object when Posting the request.i.e. JSON/XML etc.
   JsonServiceClient client = new JsonServiceClient("http://localhost/RestIntro");

        Customer c = new Customer();
        c.Name = "Amit patel";
        c.Age = 30;
        c.Email = "aa";

        var res = client.Post<Customer>("/customers", c);

How does this c (Object of Customer) handles when transferring the data?

A: I assume the this is the JsonService
As you can see, the service just serialises the customer object, using the BclJsonDataContractSerializer, which uses a datacontractjsonserializer, and posts it a json.

redpajama_set_name: RedPajamaStackExchange


text:
Questions of Practice RSS
Grants & Grantees
Questions of Practice
Collaborators & Colleagues
The Pew Center for Arts & Heritage
Push Me, Pull You: Ain Gordon
All questions of practice
& Grantees
& Colleagues
Ain Gordon
Ain Gordon in Spalding Gray: Stories Left to Tell. Photo by Sara Krulwich, courtesy of the New York Times.
This is the eleventh and final entry in Act I of Push Me, Pull You, the Center's series on (co-)authorship. For a full list of posts in this series, visit the main Push Me, Pull You page.
As we conclude Act I of our Push Me, Pull You series, we're left with many new questions stemming from our contributors' insights and commentaries on issues surrounding co-authorship. We posed some of these questions to three-time Obie Award-winning writer, director, and actor Ain Gordon, the 2011–13 Visiting Artist at The Pew Center for Arts & Heritage. As a theater artist interested in pursuing avenues for interdisciplinary practice, who has investigated similar queries since the start of his residency, Gordon was an ideal sounding board for our expanded thoughts on everything from the "authority" of a physical site to notions of "excellence" and "failure" in co-authorship and collaboration. It all took place during a dinner party…
About Push Me, Pull You
Push Me, Pull You: Questions of Co-authorship
A note from Ain Gordon: I ordered these questions via my own logic. I answered them as I might, fueled by tons of red wine, in smart company, during a long dinner out.
(Insert sound of uncorking and amicably judgmental laughter here.)
Peter Nesbett: Let's say you've written a play about an old house, or choreographed a dance for a quarry. You will make decisions in response to the particularities of the site. You might even say that the site is, in a sense, a co-author, because it contributes substantially to the meaning of the piece. But isn't a site instead a partially erased text, a weather- and time-worn relic, and as such, simply a springboard for your own imagination?
Ain Gordon: I believe a site can be a co-author, even an active one; a physical space redolent of spent passion and prior personal effort that impact tangibly or not. If the "author" chooses to engage these sensorial remnants (to "channel" them) they enter and hew the work. Ditto for a work constructed to inhabit the physical insistences of given space rather than the so-called narrative ones (though I would argue that the physical and narrative are always wed). Yes, maybe some would reject this as co-authorship because the site does not have creative "intent." But is every acknowledged instance of co-authorship born of intended collaboration? Yes, maybe I, or someone, have imposed a performative "fiction" on the non-fiction site but who said co-authorship is amicable or egalitarian? So, maybe embedded in your question is perhaps a question about authorial "use" or appropriation versus mutual collaboration? Am I, or someone, "using" the house or quarry or collaborating with it? Who is to decide which is which? Why decide? Do we need the chaos of multiple answers funneled into concision for a purpose that is actually not germane to artistic practice itself?
(Our waitperson taps our empty bottle. We nod for another, plus French fries, please.)
Josie Smith: As I am reading these posts (well, mostly skimming due to time factors) I discovered that I "landed" in my particular discipline of dance. As a reader it was clear that the language that was being spoken was my own (despite the difference in genre from the one that I practice—Bharata Natyam vs. "po-mo"/improvisational forms). There is no question that I am interested in the other disciplines and the writings that have been posted, but the attention I need to pay to the words and how they are put together to form meaning is heightened; again, I don't land there. Can you comment on the issue of discipline-specific literacy and how it has played out in this arena?
Ain Gordon: Yup, this also interests me. I think I talked about it some with Nicole [Steinberg] upon beginning my residency at the Center. I am a word guy—and I am word guy who comes out of and maintains close ties to the movement (dance) and performance world. (Even blithely using words like "movement" and "performance" worries me.) I think words are traps and are liberty, and casually agreeing that we agree can also be a trap. I think words are repositories for bundled up complexities—then we forget those hidden "subtexts" and are stuck with the summaries we call words. I think learning/using words from other disciplines is, for me, a great way to explode a creative road block. I think even collaboration between artists of the same discipline requires constant interrogation of words being tossed off as if they are jointly held.
(I eat too many fries and decide, too late, they need mustard.)
Roy Wilbur: What are your thoughts on amateur artists utilizing the work of professional artists to create a "mash-up?"
Ain Gordon: Honestly, I am not quite sure what an amateur artist is—not really your question, sorry. I don't believe getting paid makes you not an amateur or vice versa—or recognition. I question agreeing upon agreed-upon terms (like I was just saying with Josie). Art-making is a precarious career that by much of society's definitions of "career" isn't one. I have to think I am an artist if I say I am. There are years when no one wants to be within six thousand feet of my "art" but I am still making it and my identity is intact (OK, maybe not emotionally, but that is definitely not your question). So maybe if you asked what I think when an artist uses the work of another artist to create a "mash-up?" I think artists are always doing that (sort of what I was just saying to Peter re: collaboration versus appropriation, etc). Sometimes the artist using the other artist makes sure it is visible and acknowledged and sometimes –the artist doesn't—so maybe nobody knows. I personally think the newly made thing had better be as interesting as the pre-existent thing getting "used." Maybe my own question is about the line between inspiration and rip-off? I am not sure I can answer that except personally and case-by-case.
(A glass is accidentally knocked over. Someone gasps because she's wearing white.)
Nicole Steinberg: What does failed collaboration look like? Is collaboration always a successful and/or worthwhile venture for reasons of process rather than end product? If not, what constitutes that failure?
Ain Gordon: Gosh. Who's judging the failure? And when? I mean, there is collaboration that is no fun. No synergy, no ease, you end up collaborating in defense. But the work turns out great. And maybe then, consequently, you decide you need that particular battle in your creative arsenal even though you don't "enjoy" it. Or not! Also there is collaboration that is fun but the chemical mix does not yield work equal to the process-oriented pleasure. Or, as you say, different collaborators value the process vs. the product (or the process as the product) so they would have different answers. Sometimes you make something terrible but it was a crucial stepping stone to something worthy. Honestly, I think the question of failure as problematic has more to do with exterior forces/realities (funding, reviews, ability to work) then an internal sifting of what ultimately did and didn't feel interesting.
(The fries are gone…)
About Ain Gordon
Ain Gordon has worked as a playwright, director and actor since 1984. He is known for creating theatrical works focused on people, places and events that have been lost or otherwise forgotten in the "official" historical record. Notable works include In This Place…, inspired by the real-life story of the first free African-Americans who built their own home in Lexington, KY, and A Disaster Begins, about a lone woman's relationship with the Galveston, TX, hurricane of 1900 and the subsequent deadly flood. In 2013, with the support of The Pew Center for Arts & Heritage, the Painted Bride Art Center in Philadelphia commissioned Gordon to write If She Stood, which was based on the stories of the city's early female abolitionists. Among Gordon's many accolades are three Obie Awards, two NYFA Fellowships, and a John Simon Guggenheim Memorial Foundation Fellowship in Playwriting. He has been a core writer of the Playwrights' Center, artist-in-residence at the Center for Creative Research, co-founder of Urban Memory Project and co-director of Pick Up Performance Co(s).
Murph Henderson: My real questions about co-authorship are the kind I'm not supposed to ask out loud. I like excellence. I think co-authorship often dilutes excellence by forcing visionaries to compromise. What do those of us who need excellence in the way we need nourishment do in response to the dilution of artistic vision, in an age when we are practically shamed into embracing co-authorship? (I do recognize that the western theater is a collaborative art form. I'll be the first to tell you which actor has the gift and how much the lights enhanced the production. In essence, though, I believe that playwright or director or preferably both need to be visionary if excellence is to result.)
Ain Gordon: First, I have questions about the word "excellence" (not news to anyone at the Center). I don't think an artist goes into the studio (or sits at the laptop, etc.) to make "excellence." It's a word that comes after the fact—a viewer's perception bundling personal and cultural qualitative assessments (back to what Josie and I were saying about words). But yes, Murph, I like great work, too, and I like rabidly authorial vision; being plopped in a world I can't imagine making. But I don't think co-authorship necessarily precludes that or "mono-authorship" necessarily delivers it. I think the "dilution of artistic vision" can come from budget issues, a producer's interference, PR imperatives (back to what Nicole and I were saying re: failure) etc, etc. I do think a lot of my peers are now interested in publically annotating their sources and process to include recognition of generative partners (places, humans, cultures; real-time and imagined). Perhaps this is a manifestation of middle-age; we have worked through so much of what our own heads will produce that we are eager to engage elsewhere and to "out" that "collaborative" engagement because so much of the mainstream funding and dissemination system does not recognize that creative research is on par with resulting product. I think this kind of work has always been there but no one used to "name" it. Jeff should jump in here…
(Management starts wiping tables and turning on unflattering overheads. Time to go?)
Jeff Arnal: Often artists that consider themselves "true practitioners" of an art form are more interested in the experience, process, or research and not necessarily interested in authorship credit. Outside of economics why credit an artist at all? What is at stake: the artist's ego or legacy?
Ain Gordon: I'm not sure ego/legacy can be parted from economics. Maybe a superhuman can divorce self-image from perceived image or from opportunity to forge image (a.k.a. make work). I can only speak for myself; I value the full arc of my creative life including periodic public manifestations; I don't expect the public to value what they cannot see, nor do I prize what others see above my own lifelong continuum. But I have to work at that equilibrium because recognition does confer options. Don't we keep circling back to how outside ingredients (the systems of supporting and disseminating and then viewing work) impact the interior ingredients of actually making that work and then talking about "how" it got made? I personally don't have as much of a beef with that impact as I do with pretending it does not exist….
(The staff is impatiently hovering…)
Mike Barsanti: I've been thinking that our discussions around the topic of co-authorship seem to always come back to the idea that there has always been co-authorship in the arts—that that is really the way most work is created. So I wonder about the fantasy of the individual genius: Is this something that we have to believe in order to not freak out about a world where so much is determined by, created by, group metrics like polls and web analytics and ratings and market performance?
Laura Koloski: In her response, Roxane Gay writes: "We want to believe in the idea of literary genius as singular and we are, I think, a bit opposed to the idea that sometimes literary genius, however one chooses to define genius, can rise out of collaboration." She's writing specifically about writing here, but I think this threads through a number of the responses we received. Do you agree that we're (as a culture) invested in this idea of a singular genius? If so, do you have any thoughts on why this might be so? And, does this "bias" prevent us for seeing, or being open to other potentially worthwhile kinds of cultural production?
Ain Gordon: Combining Mike and Laura's because of territorial overlap…I do believe there are individual geniuses (or temporary states of genius), I also believe they see other work and talk with other people and sometimes collaborate (sometimes we don't find out till they're dead that there was a collaboration—see: numerous wrongly invisible historical spouses). I think the question might be "what counts as authorship, co-authorship, or collaboration, when, and to whom?" Can there be a standard for such a mercurial and personalized process? Why would we want one? This brings me back to questions of the systems (my exchange with Jeff) by which any kind of art is supported, disseminated and viewed. It's generally easier to promote and track one voice. It is also generally easier for an artist to allow all creative responsibility to accrue to your own reputation as you look toward securing future work. But is calibrating the multi-headed complexity of each project's generative influence to one name actually feeding that same individual's ability to be radical in future work? Isn't being reductive, well…reductive?
Is influence co-authorship? If we discard conscious intent and real-time participation where are the borders of co-authorship? Is collectively generated work co-authorship or has the collective fused into a single many-headed author? I am not trying to end mono-authorship; I am bossy and totally like things my way but I also like brilliant interference, intended or not. I don't wish to assert co-authorship everywhere, only to audibly/visually annotate the vast physical and ideological "population" inside the many forms of mono-authorship.
Asimina Chremos: What is an author?
Ain Gordon: Well, exactly!
(Did someone pay the bill?)
Ain Gordon and the Visiting Artist Program
Programs at the Center: White Box Residencies
Going Outside the White Box: The Visiting Artist As Conduit
Breaking Down Invisible Walls: The Visiting Artist As Dramaturge
Overcoming Roadblocks: The Visiting Artist As Collaborator
"This is Not Chopin:" Allen Kuharski on Chopin Without Piano
In an essay accompanying the program booklet for Chopin Without Piano, Swarthmore's Allen Kuharski contextualizes the performance within Polish culture and political history.
news-content
-quot-this-is-not-chopin-quot-allen-kuharski-on-chopin-without-piano
Susan Bernofsky on Artists as Translators
On the occasion of the American premiere of Felix Mendelssohn's 1841 revision of Johann Sebastian Bach's St. Matthew Passion—presented by the Mendelssohn Club of Philadelphia with Center support—we invited author and German-language literature translator Susan Bernofsky to discuss the practice of artistic translation.
question-of-practice-content
susan-bernofsky-on-artists-as-translators
*The Sentient Archive: Bodies, Performance, and Memory*
The Sentient Archive: Bodies, Performance, and Memory gathers the work of leading cultural practitioners who theorize the body as a crucible of knowledge.
the-sentient-archive-bodies-performance-and-memory
Five Acts: Act V
Nonfiction writer and 2005 Pew Fellow Jay Kirk, "creative documentarian" of critical feedback program An Experiment in Five Acts, reports on the events of the Act V session, the final installment of this series.
act-v-a-final-report-the-archive-of-gestures-by-jay-kirk
In the News: Philadelphia Mural Arts Program and Katharina Grosse Begin psychylustro Installation
As of April 29, Berlin-based artist Katharina Grosse has begun working with a team of installation artists to paint seven predetermined sites along a five-mile stretch between 30th Street and North Philadelphia stations.
in-the-news-philadelphia-mural-arts-program-and-katharina-grosse-begin-psychylustro-installation
Advancement Grant: Opera Philadelphia (2014)
Opera Philadelphia conducted in-depth, strategic audience research that informs the development of a set of programs that, together with enhanced marketing efforts, respond to new audience behaviors and preferences.
grant-content
advancement-grant-opera-philadelphia-2014-
Inequality in Bronze: Monumental Plantation Legacies
A community-driven process commissions a memorial recognizing Dinah, an enslaved woman who lived at Stenton, and addresses the role historic sites can play in the national conversation about present-day monuments.
inequality-in-bronze-monumental-plantation-legacies
Cliveden's Living Kitchens
This historical interpretation project compares domestic life in two centuries through the exploration of the 1767 and 1959 kitchens inside Cliveden's historic Germantown mansion, revealing how architecture, design, and the technology of the times defined the experiences of those enslaved and in service and their relationships with the household's family.
cliveden-039-s-living-kitchens
Nichole Canuso Dance Company engaged in an exploratory project with a team of collaborators to develop a multidisciplinary dance-theater work inspired by Samuel Beckett's play Act Without Words I.
fail-better
Guinea Residency
Kùlú Mèlé embarked on a two-week residency in Conakry, Guinea with traditional artists Mariama Touré and M'Bemba Bangoura.
guinea-residency
jumatatu m. poe
A young choreographer who has already produced provocative, experimental dance works, Poe (Pew Fellow, 2011) is the founder of dance/theater company idiosynCrazy productions.
people-content
jumatatu-m-poe
RoseAnne Spradlin
RoseAnne Spradlin is a New York City-based choreographer whose work explores body consciousness and innovation of structural forms in contemporary dance.
roseanne-spradlin
Seth Siegelaub Interview Excerpt
One the first curators to radically re-think the contemporary art exhibition context, Siegelaub spoke with Gleadowe, a British art historian, prior to his passing in 2013 for a forthcoming book from the Center on structural innovation in exhibition-making.
questions-of-practice-seth-siegelaub-in-conversation-with-teresa-gleadowe
SaltSoul
A new multimedia dance work by Jungwoong Kim examining the universality of sudden loss and trauma.
event-content
Questions of Practice: Poet and Performer Tracie Morris on "Serving Her Muse"
Poet, performer, and scholar Tracie Morris describes what inspires her to "follow her muse."
questions-of-practice-poet-and-performer-tracie-morris-on-serving-her-muse-
Fellows Friday News: Ten Years of Martha Graham Cracker, New Publications, Multimedia Exhibitions, and More
In this month's Pew Fellows news highlights, The Philadelphia Inquirer celebrates ten years of Martha Graham Cracker, the alter ego of theater artist Dito van Reigersberg. Poet Major Jackson has published a new book with W.W. Norton & Company, and visual artist Gabriel Martinez opens a solo show at The Print Center this fall. DJ King Britt and performance artist Kate Watson-Wallace will co-curate a new music series as part of the 2015 Fringe Festival in September.
fellows-friday-news-ten-years-of-martha-graham-cracker-new-publications-multimedia-exhibitions-and-more
Anuradha Mathur & Dilip da Cunha
The collaborative work of Mathur and da Cunha imagines new possibilities for design of the built environment and explores the lines separating land and water, and urban and rural environments.
anuradha-mathur-amp-amp-dilip-da-cunha
Farm for the City: Reading Series
The Pennsylvania Horticultural Society's (PHS) Farm for the City hosts a community reading series to celebrate our the concept of interconnectedness, and the ways communities shape space to confront societal challenges.
farm-for-the-city-reading-series
Fellows Friday News: 12 New Fellows Announced; Justin Cronin's Novel Tops Times Best Sellers List; J.C. Todd Wins International Poetry Award
In this month's Pew Fellows news, Justin Cronin's book The City of Mirrors debuts at the top of The New York Times Best Sellers list, J.C. Todd wins the Rita Dove Poetry Prize, and we introduce 12 new Pew Fellows.
fellows-friday-news-12-new-fellows-announced-justin-cronin-039-s-novel-tops-times-best-sellers-list-j-c-todd-wins-international-poetry-award
Let Me Tell You About a Dream I Had: The Miss Rockaway Armada
The Philadelphia Art Alliance commissioned the Miss Rockaway Armada, an internationally recognized group of artists and performers from all over the country, to install a building-wide exhibition.
let-me-tell-you-about-a-dream-i-had-the-miss-rockaway-armada
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text:
Study finds herd immunity protects babies against whooping cough
by Nick Paul Taylor |
While doubts about the effectiveness of whooping cough vaccines from GlaxoSmithKline ($GSK) and Sanofi ($SNY) have mounted over the past year, health authorities have stressed that the vaccines are helping. These voices gained supporting data this week when researchers found evidence of herd immunity effects.
Babies receive their first whooping cough vaccine at two months of age and need another four shots over the next 7 years. This gradual building of immunity is intended to protect newborns from serious side effects, which become less likely as the child ages, but creates a window in which infants are vulnerable to whooping cough. Writing in Pediatrics, researchers report that immunizing adolescents against whooping cough, also known as pertussis, appears to be reducing hospitalizations of infants.
In 2008, 2009 and 2011 the observed rate of hospitalizations of infants aged one year and under was significantly lower than expected. The disparity was most pronounced in 2011. Without Tdap--the combo vaccine that protects against pertussis--researchers estimated there would have been 10.7 hospital visits per 10,000 infants. In reality there were 3.3. "Now we have data that it works, we have created another reinforcing reason to bring teens in for vaccination, not only against whooping cough but for other diseases as well," Vanderbilt University's Dr. William Schaffner told CNN.
Researchers think the data show that vaccination of adolescents is cutting the number who pass the bacterial infection on to their younger, unprotected siblings. Previous studies have found that older siblings are the source of the infection for half of infants who contract whooping cough. "[The vaccine] helps adolescents, but in turn, it indirectly protects babies even more. [It's a] win-win situation and I don't see any major downsides," pediatrician Dr. Jennifer Shu said.
- here's the CNN post
- check out the Pediatrics abstract
Merck's Ebola vaccine appears to provide long-term shield: study
A Lancet Infectious Diseases study shows antibody response persists for two years or more after a single shot of Merck's rVSV-ZEBOV vaccine.
by Angus Liu Apr 17, 2018 11:15am
Merck KGaA, Jenner hook up to improve vaccine manufacturing
The partnership aims to make the production of vaccines that use adenovirus as vectors more cost-effective and contamination-free.
by Angus Liu Apr 16, 2018 12:10pm
GSK's Shingrix crowds out Merck in U.S. shingles vax market
GSK's Shingrix has nabbed a huge chunk of the U.S. shingles-shot market, just five months after it was approved by the FDA.
by Angus Liu Apr 11, 2018 9:52am
Nick Paul Taylor


text:
require "spec_helper"

describe BigDecimal do

  describe ".evolve" do

    context 'when map_big_decimal_to_decimal128 is false' do
      config_override :map_big_decimal_to_decimal128, false

      context "when provided a big decimal" do

        let(:big_decimal) do
          BigDecimal("123456.789")
        end

        it "returns the decimal as a string" do
          expect(described_class.evolve(big_decimal)).to eq(big_decimal.to_s)
        end
      end

      context "when provided a non big decimal" do

        it "returns the object as a string" do
          expect(described_class.evolve("testing")).to eq("testing")
        end
      end

      context "when provided an array of big decimals" do

        let(:bd_one) do
          BigDecimal("123456.789")
        end

        let(:bd_two) do
          BigDecimal("123333.789")
        end

        let(:array) do
          [ bd_one, bd_two ]
        end

        let(:evolved) do
          described_class.evolve(array)
        end

        it "returns the array as strings" do
          expect(evolved).to eq([ bd_one.to_s, bd_two.to_s ])
        end

        it "does not evolve in place" do
          expect(evolved).to_not equal(array)
        end
      end

      context "when provided nil" do

        it "returns nil" do
          expect(described_class.evolve(nil)).to be_nil
        end
      end

      context "when provided a numeric" do
        it "returns a string" do
          expect(described_class.evolve(1)).to eq('1')
        end
      end

      context "when provided a bogus value" do
        it "returns the value" do
          expect(described_class.evolve(:bogus)).to eq(:bogus)
        end
      end

      context "when provided a bogus string" do
        it "returns the string" do
          expect(described_class.evolve("bogus")).to eq("bogus")
        end
      end

      context "when provided a valid string" do
        it "returns the string" do
          expect(described_class.evolve("1")).to eq("1")
        end
      end
    end

    context 'when map_big_decimal_to_decimal128 is true' do
      config_override :map_big_decimal_to_decimal128, true

      context "when provided a big decimal" do

        let(:big_decimal) do
          BigDecimal("123456.789")
        end

        it "returns the decimal as a BSON::Decimal128 object" do
          expect(described_class.evolve(big_decimal)).to eq(BSON::Decimal128.new(big_decimal))
        end
      end

      context "when provided a non big decimal" do

        it "returns the object as a string" do
          expect(described_class.evolve("testing")).to eq("testing")
        end
      end

      context "when provided an array of big decimals" do

        let(:bd_one) do
          BigDecimal("123456.789")
        end

        let(:bd_two) do
          BigDecimal("123333.789")
        end

        let(:array) do
          [ bd_one, bd_two ]
        end

        let(:evolved) do
          described_class.evolve(array)
        end

        it "returns the array as BSON::Decimal128s" do
          expect(evolved).to eq([ BSON::Decimal128.new(bd_one), BSON::Decimal128.new(bd_two) ])
        end

        it "does not evolve in place" do
          expect(evolved).to_not equal(array)
        end
      end

      context "when provided nil" do

        it "returns nil" do
          expect(described_class.evolve(nil)).to be_nil
        end
      end

      context "when provided a numeric" do
        it "returns a BSON::Decimal128" do
          expect(described_class.evolve(1)).to eq(BSON::Decimal128.new('1'))
        end
      end

      context "when provided a valid string" do
        it "returns a BSON::Decimal128" do
          expect(described_class.evolve('1')).to eq(BSON::Decimal128.new('1'))
        end
      end

      context "when provided a bogus string" do
        it "returns the string" do
          expect(described_class.evolve("bogus")).to eq("bogus")
        end
      end

      context "when provided a bogus value" do
        it "returns the value" do
          expect(described_class.evolve(:bogus)).to eq(:bogus)
        end
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Speak Up – A stitch in time
On March 22, 2015 By rebelwithkindnessIn Speak UP, Uncategorised
For the last 14 years I have been working with professionals within the social care field where there is a majority opinion that funding given in early support services would make savings later on and make a more dramatic difference to children's lives.
Investment in the health of pregnant women leads to healthy children.
Support for young, inexperienced mother's lead towards more educated, healthy happy children.
Guidance and support in youth services leads to less in the juvenile correction system and so on.
Yet for so long services seem to be funded in a catch up manner, fighting the fires when the fire is at full blaze.
So this is why I am getting behind a campaign being run by Action for Children, Barnardo's, The Children's Society, and NSPCC called "A Stitch in time"
We say it's time for change.
Responsible government must invest in services and support that prevent problems before they start — to improve the lives of children and families and save money for taxpayers in the long run. That is why we are calling for all political parties to make a commitment to shift the emphasis of public services to early support.
We want the next Government to focus more on early support
to help children, young people and their families.
More stability into children and family
services – five year spending plans
Making five year funding commitments — from one election to the next — would allow the Government, local councils, and other service providers to make longer-term plans. Most importantly, children could stick with the same support staff as they grow old.
Help your local £ work – promote
Community Budgets
Community Budgets allow providers of services to pool their budgets. This reduces waste and makes it easier to work together
to help children. It's a relatively new way of working, so the Government needs to support its development and promotion.
Show us what's
happening – more accountability
With spending moved towards early support, we would like to see annual progress reports. Parliament should be involved in scrutiny through the Public Accounts Committee.
Acting early to avoid crisis – shift public money towards early intervention
There is so much evidence that acting early avoids expensive crises that it only
makes sense to invest a bigger slice of our public money.
Our support services are struggling and many are reaching breaking point, people are not getting enough support, getting support to late or simply getting none.
Investment is needed in early support and intervention and it is needed now.
A stitch in time is asking you to Take action Now.
Visit the website and help protect children from crisis.
Together we can raise our voices louder.
So join me each week writing about what has touched you enough to speak out about.
Share news, campaigns, petitions and so much more.
As a community we can support and encourage one another.
After you have linked up visit at least one other blog of those who have linked up.
"Throughout history, it has been the inaction of those who could have acted; the indifference of those who should have known better; the silence of the voice of justice when it mattered most; that has made it possible for evil to triumph. "
Lets do this ……..
a stitch in timeAction for ChildrenadvocacyBarnardo'scampaignscausescharitieschildrencommunityearly supportfamiliesgovernmentlink upmovementsNSPCC "A Stitch in time"passionsSpeak UPThe Children's Societytogethervoicesweeklyyoung people
#PSBloggerlove – Say hello to Em
My greatest prizes


text:
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text:
Cancer Data Science Pulse
Different Perspectives Lead to Discovery of a Surprisingly Effective Algorithm
Data Standards
Informatics Tools
The May 19 seminar has passed, but a recording is now available on the event page.
Dr. Kristen Naegle took the speed of computational biology, blended it with basic science know-how, and developed an algorithm that is proving to be remarkably effective in predicting kinase activity. Understanding kinases in oncology may help identify people who are more likely to respond (or not respond) to certain medications, further advancing precision medicine.
At the upcoming Data Science Seminar, you'll be discussing an algorithm (KSTAR) to identify kinase activity using patient phosphoproteomic data. Can you give a little background on how this idea came about?
The foundation really started back in graduate school, when I was just getting into computational biology, and where I first learned to blend different perspectives—basic science, computational biology, systems biology, and engineering.
It's truly a culmination of all these different viewpoints. It began when a colleague, who specializes in mass spectrometry, mentioned that he had phosphoproteomic data that might be useful in understanding cancer. Unfortunately, existing analysis approaches were not helping, and we needed a way to find the links between kinases and disease with greater accuracy.
From there, I recruited an undergraduate student, Sweta Ravi, and she developed an initial prototype that looked, at the time, really promising. But we weren't sure it would work. With support from NCI, we have since moved this initial idea to a fully functional algorithm, which appears to work well at predicting kinase activity.
We then applied our algorithm to data from breast cancer patients, as we had a good foundation of data to use as a control. We looked at human epidermal growth factor receptor 2 (HER2), a protein linked to many common types of cancer.
In high levels, HER2 is associated with tumor growth and metastases. But high levels don't necessarily represent the receptor's activity. After applying the algorithm, we frequently predicted HER2 activity in patients with HER2-negative tumors. And, in some instances, we saw no evidence of activity, even in HER2-positive patient tumors.
Predicting this activity could help us better target treatment. Using various independent studies, we found that patients who were HER2 negative and mapped to HER2 activity were more likely to respond to treatment; whereas HER2-positive patients who lacked net HER2 activity did not respond to therapy.
Looking back and knowing there were so many places for potential errors, and pieces that were missing in what we know and what the data showed, I'm really surprised at how accurate the algorithm turned out to be.
But algorithms at their core are just predictions. They aren't the ground truth. Our next steps will be to further validate the model and learn how best to apply it to precision medicine. This idea that you can combine systems-level data with the right algorithms and patient data to make predictions to help people—that's what drives my research.
For readers not familiar with the importance of kinases, can you briefly explain their role in cancer?
Kinases are enzymes that help attach phosphate groups to proteins. They act in concert with phosphatases, which remove phosphate groups. These reactions, collectively called phosphorylation, are involved in complex, interwoven networks. These networks respond to internal and environmental factors to alter cellular function—ultimately turning protein activity "on" or "off." Most protein kinases promote cell growth and proliferation. When kinase activity goes awry it can lead to carcinogenesis and metastases of many types of cancer.
Medications that inhibit protein kinases have been intensively studied and used effectively for cancer treatment for decades. Yet, despite our progress in understanding kinases in oncology, more needs to be known to better predict how and which inhibitor will work best in any given patient at any given time. For example, it's common for an inhibitor to be more effective in some patients than in others. And some patients develop a resistance to a particular inhibitor after taking it for some time.
If we can use personalized phosphoproteomic data to better understand a patient's likely response, we can further target treatment. We also may be able to avoid the unwanted side effects that accompany kinase inhibitors and head off tolerance before it develops.
This is not a simple problem. Kinases are highly complex and are regulated by a whole host of factors, internal and external. Using kinase activity alone as a proxy for predicting how a patient will respond to a particular kinase inhibitor is problematic. In fact, we initially were really surprised that our algorithm was so effective in identifying kinase activity.
You noted that you were surprised at how effective KSTAR has been in detecting kinase activity. What surprised you the most?
It was surprising because we based the algorithm only on the predictions that were known to exist. But we know so very little about which phosphorylation sites are phosphorylated by which kinases. We had to infer the rest, extrapolating what we think based on kinase activity. We knew too that there were problems with the data. Many of the pipelines used to capture the data were based on shotgun proteomics.
So we knew heading into this that we'd have a lot of missing data. For example, in the proteomics from the breast cancer patients, there was a huge scarcity of data. In 107 breast cancer patients, only about 5% of thousands of phosphorylation sites were common across all the data samples. Those odds would seem insurmountable, and yet, the algorithm was able to predict a likely kinase profile that held true across samples from different labs and using different techniques.
You mentioned breast cancer; are you testing this in other areas as well?
Yes, we're now using a mouse model to make sure we can see through the tea leaves and confirm that what we believe we are seeing is true. In one analysis, led by our collaborator, Dr. Cynthia Ma, the researchers looked at four patient-derived xenograft (PDX) breast cancer mouse models. Two were HER2 positive, and two were HER2 negative. They were all treated with the same HER2-directed medication, and, surprisingly, one HER2-negative tumor responded. KSTAR confirmed this, however, as it predicted that the tumor was, in fact, HER2 active. We're collaborating with Dr. Ma and colleagues to test additional PDX models, including a triple-negative tumor, a type of cancer that shows negative results on all three tests for the receptors commonly found in breast cancer, and which is particularly difficult to treat. Our algorithm suggests that the model is HER2 active.
We're also looking at ovarian data and lung cancer. We're hoping that KSTAR predictions will help design more effective clinical studies and treatment. Specifically, some kinase inhibitors have failed in treating ovarian cancer and evidence of drug resistance often appears in lung cancer. We wonder if past clinical trials have failed because of our inability to identify the subpopulations of patients who might respond best; that is, patients who have high levels of activity for the target drug or, alternatively, profiles of activity that predict they're less likely to respond.
Do you think this research will help boost translational medicine?
That's our hope. We had very robust findings when we tested this. Most importantly, from a clinical perspective, we saw results quickly thanks to a study by Matthew Ellis and colleagues who developed a microbiopsy approach and sampled patients both pre- and post-treatment. Within just 72 hours of treatment with an inhibitor, we see kinase activity literally disappear in patients who went on to become pathologically complete responders, lacking all signs of cancer in tissue samples. Given that many inhibitors have significant side effects, it's incredibly useful to see if you're getting a response to therapy quickly.
We're generally a basic science lab, so this is our closest foray into clinical translation. It's been really rewarding. We're hopeful that we can help identify more effective treatments, especially for those patients who have run out of therapy options.
Who should attend this seminar?
I'd encourage anyone interested in data science to attend. But really, I hope to spark interest in a much broader audience. We need people with very diverse backgrounds to collaborate on these complex scientific questions if we're going to come up with workable solutions.
So I'd encourage basic scientists to attend, clinical oncologists, data scientists, computational biologists—really anyone who has an interest in finding new therapeutic targets for cancer or other diseases or in developing algorithms for systems-level data.
Where do you see this research headed in the next few years?
Just as we engaged people from many different backgrounds to get to where we are today, I think the next stage will be to bring people in who will offer their own unique skill sets and to find new ways to adopt and test the technology. Like my mass spectrometry colleague brought the problem to us to solve by finding an algorithm, I hope to collaborate with others to move this approach forward, especially clinical oncologists.
Where can we find out more about this research?
In addition to attending the Data Science Seminar Series on May 19, details on the KSTAR algorithm will be posted soon as a preprint manuscript at bioRxiv.
We also recently published an article, "KinPred: A unified and sustainable approach for harnessing proteome-level human kinase-substrate predictions," summarizing currently available kinase-specific predictive algorithms. It's intended as a resource for researchers who wish to explore specific kinase-substrate hypotheses or for use in developing algorithms that rely on these unique networks.
Register for the May 19 Data Science Seminar
NCI's Center for Biomedical Informatics and Information Technology (CBIIT) sponsors a Data Science Seminar Series to address the latest topics in data science and cancer research. The goal is to identify new trends, innovations, and advances that could further spark collaboration in cancer research.
Kristen Naegle, Ph.D
Associate professor, biomedical engineering, computer science and engineering; and resident member, Center for Public Health Genomics, University of Virginia.
Founding Director of Genomic Center Shares His Story "Chasing the Technology" to Advance Cancer Research
The Center for Biomedical Informatics and Information Technology Brings Data to Life
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Data Sharing (40)
Data Commons (22)
Data Standards (22)
Precision Medicine (18)
Seminar Series (17)
Informatics Tools (14)
Leadership Updates (10)
High-Performance Computing (HPC) (8)


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text:
Economic Cycles and Political Trends in the United States (Part I)
2861 visites
www.TheNewAmericanEmpire.com
Chronique de Rodrigue Tremblay
"The issue today is the same as it has been throughout
all history, whether man shall be allowed to govern
himself or be ruled by a small elite."
Thomas Jefferson (1743-1826), 3rd U.S. President
"I have learned to hold popular opinion of no value. "
Alexander Hamilton (1755-1804)
"Those who cannot remember the past are condemned to
repeating it."
George Santayana (1863-1952)
I have been a student of cycles, both of [economic
cycles ->http://en.wikipedia.org/wiki/Business_cycle]
and of political trends,
for a very long time. To try to understand the economy
or politics for that matter without having a knowledge
of cycles and trends is like sailing without a
compass, a weather report or a GPS (Global Positioning
There are four main types of cycles in economics, some
relatively short, such as the slightly less than four
year long inventory cycle, or the standard 10-year
technology cycle, and some longer, such as the 18-year
long real estate cycle (N.B.: We are presently in the
downward part of this cycle, which should last until
2010-11), and some called long waves, such as the 54-
to 60-year long Kondratieff cycle of a debt and price
inflation-then disinflation-followed by a debt and
price deflation (N.B.: We are presently in the
deflation phase of this long cycle, a good example
being the debt deflation of heavily levered banks and
hedged funds and of price deflation in housing) such a
deflation phase expecting to last also until 2010-11.
As I mentioned, the shorter cycle is the inventory
cycle (Kitchin), which lasts slightly less than four
years. This cycle has become very much less pronounced
in recent years for two reasons.
1) First, the service
sector as a percentage of the entire economy is much
larger than it was 100 or even 50 years ago. In the
United States, the service sector accounts for
approximately three quarters of GDP. Today, four out
of every five private sector non-farm jobs (80
percent) are in the economy's service sector (federal,
state and local government, wholesale trade, retail
trade, transportation, public utilities, construction,
finance, insurance, real estate, telecommunications,
computer and related services, energy services,
distribution, express delivery and audio-visual
services, etc.). — 50 years ago, the service sector
accounted for about 60 percent of U.S. output and
employment. Today, the information age has generated
new forces that have driven the shift to a more
services-oriented economy.
For the U.S., services exports represent approximately
30 percent of the total value of America's exports,
and it is in surplus. This sector of the economy is
much less volatile than manufacturing, agriculture or
2) Second, over the years, [businesses have embraced
the use of the computer and the digital revolution
->http://en.wikipedia.org/wiki/Information_economy] to
manage inventories. This has lead to the
"Just-in-time" inventory management method, which has
considerably reduced fluctuations in the inventory
stocks of distributors, thus smoothing the production
cycle of producers.
During the entire twentieth century, as the economy
moved from agriculture and industry and more and more
toward service industries, the volatility of the US
economy became less and less pronounced. As a
consequence, recessions have been shallower and of
shorter duration. And, of course, there has not been
another economic depression, like the 10-year Great
Depression that lasted from 1929 to 1939.
— There was another structural development on the
inflation side. Indeed, the internationalization of
national economies has acted as a damper on price
increases, as new low cost producers, such as China
and other emerging economies, have entered the
markets. For instance, exports and imports used to
represent 20 percent of the U. S. economy; nowadays,
it is 30 percent.
Sometimes we measure these cycles from bottom to
bottom, and sometimes from top to top. For the 10-year
cycle (the Juglar cycle), it often coincides with
normal recurring recessions. In the U.S., there were
recessions, for example, in 1969, in 1973-75, in 1980
and 1981-82, in 1990-91 and in 2001, most of them
within about a 9-10 year interval. According to this
cycle, there could be a somewhat severe recession in
2010-11, possibly following the slowdown or recession
expected to occur this year.
What is of interest is that the real estate cycle or
housing cycle (the Kuznets cycle) is also scheduled to
bottom in this period. This is a cycle of about 12
years of price increase and of 5 or 6 years of price
decline. The previous cycle, from top to top went from
1987 to the spring of 2005. A bottom would therefore
be normal in 2010-11 and a future top around 2023.
But the multi-generation Kondratieff cycle is perhaps
even more ominous in its influence on the economy.
>From bottom to bottom, this very long cycle began in
1949, when wartime prices were unfrozen, reached a top
in inflation in 1980 at 13-14 percent levels, and is
expected to bottom between 2003 and 2010. The current
financial crisis and the credit crunch that
accompanies it are the main players in this long
As you see, the table is set for an important economic
bottom in the next two years. That is why I recommend
being careful and alert financially during this
turbulent period.
There are also cycles and trends in politics, and they
sometimes coincide with economic cycles. For example,
it would surprise no one to know that during the early
inflationary phase of the Kondratieff cycle, a
philosophy of government social spending would tend to
prevail. In the U.S., this would be a period where the
Democrats would be expected to be in power. When there
is a need to fight inflation, a conservative
philosophy of government would tend to prevail, and
this would favor the Republicans. The Kennedy-Johnson
administration of the 1960s is a case in point, while
the Reagan-Bush Sr. administration is the other.
(To be continued next week)
[N.B.: This article is drawn from a conference to be
pronounced by Dr. Tremblay before the Florida
Renaissance Academy, Marco Island Yacht Club, on April
4, 2008. Those wishing to attend can call:
239-394-3089 or 239-434-4737]
The U.S Financial System, the Debt Bubble and the Cancer of Excessive Deregulation
Rodrigue Tremblay185 articles
Rodrigue Tremblay, professeur émérite, Université de Montréal, ancien ministre de l'Industrie et du Commerce.
Avec sa politique d'immigration de plus en plus ultra massive, le gouvernement libéral de Justin Trudeau récidive et verse dans l'irresponsabilité politique
Le gouvernement étasunien de Joe Biden et deux crises majeures qui se pointent à l'horizon : une crise économique et financière et une guerre hégémonique
Pourquoi il faut rejeter le projet Century Initiative
Immigration et Grand Remplacement
L'invasion de l'Europe par les transmigrations africaines et moyen-orientales illégales ne fait que commencer
La Grèce et l'Euro : Une situation de dette excessive et improductive et d'implosion financière
Les bons et les mauvais côtés de la mondialisation économique globale*
Le « Grand dessein » des néocons américains
À l'origine des gaffes et incohérences apparentes de Barack Obama en politique étrangère
Un jumeau de Stephen Harper
Philippe Couillard fait peur !
Nous sommes en face d'un politicien dont la pensée politique en est une du 19ème Siècle
The Fed's Policy of Creating Inflation: A Massive Wealth Transfer
A Long Economic Winter Ahead
How Tinkering with Inflation Measurements May Have Led to the Current Financial Crisis


5)There should be some removal of property in order to accomplish the taking of it.
2)Thereby dishonestly inducing such person to deliver any property or valuable security to any person.
The fear of injury need not necessarily be personal violence.It may be of any harm illegally caused to body,mind, reputation or property.The fear in extortion must be such as to unsettle the mind of person on whom it operates,and to take away from his act that element of free voluntary action which alone constitutes consent.
The intention of the offender must be dishonest that is to cause wrongful gain or wrongful loss.He must dishonestly induce the person put to fear to deliver property.The delivery of property must take place.Without this, the offence may amount only to an attempt.
S 390 defines robbery. In all robbery there is either theft or extortion.
-fear of instant death or hurt or wrongful restraint.
3) by so putting in fear induces the person so put in fear then and there to deliver up the thing extorted.
Extortion+ offender present+ fear of instant violence+ immediate delivery.
S 391 provides that when five or more persons conjointly commit- or attempt to commit- robbery or are present and aid such commission or attempt,everyone of them is said to commit dacoity.Attempt to commit dacoity is punishable.


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While contemplating whether the new film ?Lions for Lambs? contains the fierceness associated with the former or the timidity of the latter, the conclusion is obvious and unfortunate. You absolutely want to be drawn into potentially compelling stories, and the failure to get anywhere close only magnifies the disappointment. In stripping away the original concept from the finished product, I would have been very cautious in foreseeing a sure-fire winner, even with three powerhouse stars to get people into the theaters.
Laura Sturza HILLSIDE DISTRICT -- Charles Champlin, former L.A. Times arts editor and critic-at-large, will speak tonight about major players in the film industry. He has worked as a writer, editor, television host, professor and lecturer, and has interviewed celebrities including the Beatles, Meryl Streep and Robert Altman. Champlin's book credits include "George Lucas: the Creative Impulse," and "The Movies Grow Up: 1940-1980." His most recent book "My Friend, You Are Legally Blind," documents his personal experience with losing his sight, following a career which relied heavily on visual media.
In typical Robert Altman fashion, his new movie, "A Prairie Home Companion," is a delightful slice of life, this time, Minnesota-style. It helps to be a fan of Garrison Keillor's NPR radio show of the same name, but it's not mandatory. Like the radio broadcast, the movie doesn't have much of a story arc, but the time spent sitting in your chair, listening and watching is very enjoyable. It's mainly a fictionalized chronicle of the show's final live broadcast with some backstage shenanigans and touching interpersonal relations.
JOYCE RUDOLPH Beginning its third season, Burbank's Media City Ballet is rehearsing its first full-length production of Tchaikovsky's "The Nutcracker," scheduled for two performances Dec. 14 at The Alex Theatre in Glendale. Choreographer is Natasha Middleton, artistic director for the ballet company. John Pomeroy, lead animator of The Walt Disney Co., is creating backdrops. Shows are at 2 and 7 p.m., with the second performance being a fund-raiser for the Burbank Boys & Girls Club.
Sandra Kraisirideja, Enjoy! GLENDALE -- Guilt drove filmmaker Vahe Babaian to write and direct his first feature film "After Freedom." His parents made tremendous sacrifices to get to America and Babaian benefited enormously by being brought here. "I'm really fortunate. I never would have made a film if I hadn't come here," Babaian said. But his parents never realized their own hopes and dreams. Babaian and his parents came to the United States from Lebanon in 1976 with only $500.
Entertainment reminiscent of the USO shows and Latin and classic rock 'n' roll will fill the Starlight Bowl amphitheater in Burbank for the 14th annual summer season concert series. The music begins in a big way with the Fourth of July celebration, featuring The Jimmy Dorsey Orchestra playing the big band selections of the 1940s that brought dancers who were "In the Mood," scrambling to the dance floor. Mistress of ceremonies will be Mary Lou Metzger, said Garth Nelson, deputy director of Burbank Park, Recreation and Community Services.


text:
\section{Introduction}

In the papers of V.Konoplich \cite{Ko} quantum corrections to a
few classical solutions by means of Riemann zeta-function are
calculated in  dimensions $d > 1$. Most interesting of them are
the corrections to the kink - the separatrix solution of field
$\phi^4$ model. The method of \cite{Ko} is rather complicated and
it is desired to simplify it, that is the main target of this note
with some nontrivial details missed in \cite{Ko}. The suggested
approach open new possibilities; for example it allows to show the
way to calculate the quantum corrections to matrix models of
similar structure, Q-balls \cite{CE} and periodic solutions of the
models. The last problem is posed in the review \cite{TD}.

We mainly concentrate on a technique of evaluation of the quantum
corrections to static one-dimensional solutions of the
d-dimensional Landau-Ginzburg model. Starting from a sketch of the
method, in this introduction, we also give the detailed
description of the solutions. The zeta-function is introduced in
the next section, the last section is devoted to the evaluation of
the diagonal of the Schrodinger operator kernel.

The nonlinear Klein-Gordon equation in the case of static
one-dimensional solutions is reduced to
\begin{equation}\label{KG}
    \phi''- V'(\phi)=0, \phi = \phi(x), x\in R.
\end{equation}
Suppose the potential $V(\phi)$ is twice continuously
differentiable; it guarantees existence and uniqueness of the
equations' (\ref{KG}) Cauchy problem solution. The first integral
of (\ref{KG}) is given by
\begin{equation}\label{E}
    E = \frac{1}{2}(\phi')^2-V(\phi),
\end{equation}
where E is the integration constant. The equation (\ref{E}) is
ordinary first-order differential equation with separated
variables. As the phase method shows, the solutions of this
equations belong to the following families: constant, periodic,
separatrix and the so-called "passing" one \cite{TD}.

The approximate quantum corrections to the solutions of the
equation (\ref{KG}) are obtained if the Feynmann functional
integral by trajectories is evaluated by the continual stationary
phase method. It gives the following relation
\begin{equation}\label{S}
    \exp[-\frac{S_{qu}}{\hbar}]\simeq\frac{A}{\sqrt{D}},
\end{equation}
where $S_{qu}$ denotes quantum action, corresponding the potential
$V(\phi)$, $A$ - some quantity determined by the vacuum state at
$V(\phi) = 0$, and $\det D$ is the determinant of the operator
\begin{equation}\label{D}
   D = - \partial^2_x - \Delta_y + V''(\phi(x)).
\end{equation}
The variable $y \in R^{d-1}$ stands for the transverse variables
on which the solution $\phi(x)$ does not depend. The operator D
appears while the evaluation of the second variational derivative
of the quantum action functional (which enter the Feynmann
trajectory integral) is provided. For the vacuum action $S_{vac}$
the  relation of the form (\ref{S}) is valid if $S_{qu}$ is
changed to $S_{vac}$ and $D$ is placed by the "vacuum state"
operator $D_0 = -
\partial^2_x - \Delta_y$. Then, the quantum correction
\begin{equation}\label{qucor}
   \Delta S_{qu} =  S_{qu} - S_{vac},
\end{equation}
is obtained by the mentioned twice use of the formula (\ref{S}) as
\begin{equation}\label{qucor1}
   \Delta S_{qu} = \frac{
   \hbar}{2}\ln(\frac{\det{D}}{\det{D_{0}}}).
\end{equation}
Hence, the problem of determination of the quantum correction is
reduced to one of evaluation of the determinants od $D$ and
$D_{0}$. The methodic of the evaluation will be presented in the
following section.

\medskip
\section{The generalized Riemann zeta-function,  preliminaries.}
\medskip
The generalized zeta-function appears in many problems of quantum
mechanics and quantum field theories which use the Lagrangian
$L=({\bf\partial}\phi)^2/2
 - V(\phi)$
and it is necessary to calculate a Feynmann functional integral in
quasiclassical approximation.

The scheme is following. Let $\{\lambda_n\} =  S$ be a set of all
eigenvalues of a linear operator $L$, then, logarithm of the
operator determinant is represented by the formal sum by this set
\begin{equation}\label{lndet}
    \ln(\det L)= \sum_{\lambda_n\in S}\ln\lambda_n.
\end{equation}
Let us next define the generalized Riemann zeta-function
$\zeta_{L}(s)$ by the equality
\begin{equation}\label{zeta}
   \zeta_{L}(s) = \sum_{\lambda_n\in S}\lambda_n^{-s}.
\end{equation}
This definition should be interpreted as analytic continuation
from the half plane $Re s > \sigma $ in which the sum  in
(\ref{zeta}) converge. Differentiating the relation (\ref{zeta})
with respect to $s$ at the point $s=0$ yields
\begin{equation}\label{lndet}
    \ln(\det L)= \zeta_{L}'(0).
\end{equation}
The generalized function (\ref{zeta}) admits the representation
via the diagonal $g_D$ of a Green function of the operator
$\partial_t+L$. The representation is obtained as follows.

Let $\textbf{r} \in  \mathbb{R^d}$ be the set of independent
variables of the operator $L$; particularly, the operator $D$ of
(\ref{D}) depends on $\textbf{r}=(x,\textbf{y}) \in \mathbb{R}
\times \mathbb{R}^{d-1}$, then
 \begin{equation}\label{g}
    (\partial_t+L)g(t,\bf{r},\bf{r_0})=\delta(\bf{r}-\bf{r_0})
\end{equation}
and $$ g(t,{\bf{r},\bf{r_0}})=0, \quad t<0. $$
 There is a representation
in terms of the formal sun
\begin{equation}\label{gD}
    g_D(t,\bf{r},\bf{r_0}) =\sum_n  \exp[-\lambda_n t] \psi_n(\bf r)\psi_n^*(\bf
    r_0),
\end{equation}
where the normalized eigenfunctions $\psi_n(\bf r)$ correspond to
eigenvalues $\lambda_n$ of the operator $D$. Let us introduce the
function
\begin{equation}\label{gamma}
    \gamma_D(t) = \int d {\bf r} g_D(t,\bf{r},\bf{r}) = \sum_n  \exp[-\lambda_n t],
\end{equation}
that follows from (\ref{gD}) and normalization. The Mellin
transformation of (\ref{gamma}) yields in
\begin{equation}\label{gammazeta}
   \zeta_D(s) = \frac{1}{\Gamma(s)}\int_0^{+\infty}t^{s-1}\gamma_D(t)dt
   ,
\end{equation}
where the $\Gamma(s)$ is the Euler Gamma-function.

The generalized zeta-function, defined by the relations
(\ref{gamma},\ref{gammazeta}),   will be referred as the
zeta-function of the operator $D$.

From the relation (\ref{gamma}) for the function $\gamma_D(t)$ it
follows most important property of multiplicity: {\it if the
operator D is a sum of two differential  operators $D = D_1 +
D_2$, which depend on different variables, the following equality
holds}
\begin{equation}\label{gg}
\gamma_D(t)=\gamma_{D_1}(t)\gamma_{D_2}(t).
\end{equation}
We will need the value of the function $\gamma_D(t)$ for the
vacuum state, when the operator $D=D_0 = -\Delta$ is equal to the
d-dimensional Laplacian. In this case the formal sum in the r.h.s
of (\ref{gamma}) goes to d-dimensional Poisson integral
\begin{equation}\label{P}
   \gamma_{D_{0}}(t) = \frac{1}{(2\pi)^d}\int_{\mathbb{R^d}}d{\bf k}
   \exp(-|{\bf k}|^2t) = (4\pi t)^{-d/2}.
\end{equation}

The basic relation (\ref{qucor1}) points to a necessity of
evaluation of the determinants of the operators
\begin{equation}\label{det}
    D=D_0+u(x), \quad D_0=-\partial_x^2-\Delta_y+\lambda
\end{equation}
where $\lambda$ is a positive number and $ x\in R$ is one of
variables, while $\textbf{y}\in R_{d-1}$ is a set of other
variables. The operator $ \Delta_y $ is the Laplacian in d-1
dimensions, u(x) is one-dimensional potential that is defined by
the condition
\begin{equation}\label{pot}
    V''(\phi_0(x)) = \lambda+u(x),
\end{equation}
where $\phi_0(x)$ is the classical static solution of the equation
of motion.

A quantum correction to the action in one-loop approximation for the
classical solution $\phi_(x)$ is calculated via zeta-function by the formula
\begin{equation}\label{qucorM }
    \Delta\epsilon = -\zeta'_D(0)/2,
\end{equation}
where
\begin{equation}\label{zetaM}
    \zeta_D(s) = M^{2s}\int_0^\infty \gamma(t)t^{s-1}dt/\Gamma(s);
\end{equation}
here $\Gamma(s)$ is the Euler gamma function and M is a mass
scale.

The function $\gamma(t)$ in the Mellin integral (\ref{zetaM}) is
expressed via the Green functions difference
 $G(x,y,t;x_0,y_0,t_0)$ and
   $G_0(x,y,t;x_0,y_0,t_0)$
 of $\partial_t+D$  and  $ \partial_t + D_0$ in the
following way; let
$$g(x,t) =  G(x,y,t;x_0,y_0,0) - G_0(x,y,t;x_0,y_0,0),$$
due to the translational invariance along y of operators D and
$D_0$ the function g does not depend on y; the contraction of
$G_0$ is necessary for deleting of ultraviolet divergence. Then
the following formula is valid
\begin{equation}\label{gam}
    \gamma(t) = \int_{-\infty}^\infty g(x,t)dx.
\end{equation}

In the case of static solutions of the $\varphi^4$ model the
potential and the Lagrangian are determined by the formulas
$$V(\varphi) = g\varphi^4/4 - m^2\varphi^2/2,$$\qquad
$$L =
-(\varphi')^2 - g\varphi^4/4 + m^2\varphi^2/2,$$
 therefore the
equation of motion has the form
\begin{equation}\label{eqmot}
    \varphi''(x) + m^2\varphi - g\varphi^3 = 0.
\end{equation}
Its separatrix solution is the kink
\begin{equation}\label{kink}
    \varphi_0 = m\tanh(mx/\sqrt{2})/\sqrt{g}.
\end{equation}

After the substitution of (\ref{kink}) into (\ref{pot}) we obtain
the following potential u(x) :
\begin{equation}\label{pokink}
    u(x) = -6b^2/ch^2(bx),
\end{equation}
with the meaning of the constant $  b = m/\sqrt{2}. $ As a result
the two-level reflectionless potential of one-dimensional
Schr{\accent "7F o}dinger equation $ -
\partial^2_x + u(x) $ appears. Eigenvalues  and the
normalized eigenfunctions of which are correspondingly (its
numeration is chosen from above to lowercase).
$$\lambda_1 = - b^2, \qquad \psi_1(x) = \sqrt{3b/2} \sinh(bx)/cosh^2(bx);$$
$$\lambda_2 = -4b^2,\qquad \psi_2(x) = \sqrt{3b}/2\cosh(bx)$$
In the next section (sec.3) we suppose for generality that the
potential u(x) from (\ref{pot}) has the form of n-level
reflectionless potential
\begin{equation}\label{nlevel}
    u(x) = -n(n+1)b^2/\cosh^2(bx).
\end{equation}
with  eigenvalues $\lambda_m = -m^2b^2$, $m=1,...,n$. We would
note for further generalization that this function may be
considered as degenerate limit of n-gap Lame potential of Hill
equation (see conclusion). Such potentials correspond to higher
solitonic models.

The kink case corresponds $n = 2, \lambda = n^2b^2$. The quantum
correction to its action will be calculated in sec.4 from general
formulas of sec.3.

\medskip
\section{Zeta-function representation and its derivative at zero
point.}
\medskip
Formula (\ref{gam}) for $\gamma(t)$ may be simplified if one
expresses the integrand via the Green function of one-dimensional
Schr{\accent "7F o}dinger operator with nonzero and zero
potentials.

{\bf Proposition 1}.  {\it Let  $G^{(1)}(x,t;x_0,t_0)$ and
   $G_0^{(1)}(x,t;x_0,t_0)$ are Green functions of one dimensional evolution
operators
$\partial - \partial_x^2$
 + u(x) and $\partial - \partial_x^2$. And let
$$ e(x,t) = G^{(1)}(x,y,t;x_0,y_0,t_0) - G_0^{(1)}(x,y,t;x_0,y_0,t_0),$$
then the following representation for $g(x,t)$ from (\ref{gam}) is
valid:
\begin{equation}\label{gt}
    g(x,t) = (4\pi t)^{(1-d)/2} exp[-\lambda t] e(x,t).
\end{equation}}
{\bf Proof}. The Green functions $G(x,y,t;x_0,y_0,t_0)$ and
   $G_0(x,y,t;x_0,y_0,t_0)$ are easily expressed via  $G^{(1)}(x, t;
x_0, t_0)$ and
   $G_0^{(1)}(x, t;x_0, t_0)$ by means of Fourier transformations by \textbf{y};
putting in these expressions $x_0 = x, \mathbf{y_0} = \mathbf{y},
t_0 = t$ we get
$$g(x,t) = exp[-\lambda t] e(x,t)\int_{\mathbb{R}^{d-1}} exp[-\mid \mathbf{k}\mid^2t]d\mathbf{k}/(2\pi)^
{d-1}$$ (here \textbf{k} is the vector Fourier transform
parameter). The known Poisson integral ()\ref{P} of power d-1
appears; using its value one goes to (\ref{gt}).

{\bf Corollary}. The following trace formulae takes place:
\begin{equation}\label{tr}
    \gamma(t) = (4\pi t)^{(1-d)/2} exp[-\lambda t] \gamma_0(t),
\end{equation}
  where
$$\gamma_0(t) = \int_{-\infty}^{\infty} e(x,t)dx$$
\textbf{Remark 1}. Formula (\ref{tr}) is named as trace formula
because $\gamma_0(t)$ is the difference of traces of reciprocals
of operators $\partial - \partial_x^2
 + u(x)$ and $\partial - \partial_x^2$. This sense of $\gamma_0(t)$ is reserved
for possible generalizations of the problem under consideration
(see conclusion).

Now we go to the determination of the explicit form of the
function $\gamma_0(t)$. From the results of \cite{LeZa3} it is
possible to extract the following

{\bf Proposition 2}. {\it Let the integral
\begin{equation}\label{13}
    \hat {e}(x,t) = \int_0^{\infty}exp[-p t]dt
\end{equation}
be the Laplace transformation of e(x,t), then
\begin{equation}\label{14}
    \hat{e}(x,p) =\frac{1}{\sqrt{p}} \sum_{\nu=1}^{n}\psi_{\nu}^2(x)\nu b/(p -
\nu ^2b^2),
\end{equation}
where $\psi_\nu(x)$ is a normalized eigen function that correspond
to the eigenvalue $\lambda_\nu = - \nu^2b^2, \nu = 1,..,n,$ of the
one- dimensional operator with the potential (\ref{nlevel}).}

From (\ref{tr})-(\ref{14}) we obtain   the Laplace transform of
the function $\gamma_0(t)$
$$\int_{-\infty}^{\infty}\hat{e}(x,p)dx = \frac{1}{\sqrt{p}}\sum_{\nu=1}^n \nu b/(p - \nu^2b^2),$$
and by the table of inverse Laplace transformations \cite{BE} one
finds
\begin{equation}\label{g0}
    \gamma_0(t) = \sum_{\nu=1}^n exp[\nu^2 b^2t] Erf(\nu b
\sqrt{t}).
\end{equation}

 Now one can derive the basic result
(probably absent in publications) of the section.

{\bf Theorem.} {\it Zeta-function $\zeta_D(s)$ has the following
representations:}
\begin{equation}\label{zetaD1}
    \zeta_D(s) = \frac{4 \Gamma(s + 1 - d/2)}{(4\pi)^{d/2}\Gamma(s)}\sum_{\nu=1}^n(\nu b)^{d-1}(\frac{M}{\nu b})^{2s}
\int_0^1(\tau^2 - 1 + \frac{\lambda }{\nu^2 b^2})^{d/2-1-s}d\tau;
\end{equation}
 \begin{equation}\label{zetaD2}
    \zeta_D(s) = b(\frac{\lambda}{4\pi})^{\frac{D}{2}-1}(\frac{M^2}{\lambda})^s\frac{\Gamma(s+1-1/2)}{\pi
\Gamma(s)} \sum_{\nu=1}^{n}\nu
F(s+1-d/2,1,3/2;\frac{\nu^2b^2}{\lambda}).
\end{equation}

 {\bf Proof.} The integral that define error
function may be transformed by the simple change of variables to
the form
$$ Erf(z) = 2z\int_0^1exp[-z^2\tau^2]d\tau/\sqrt{\pi}.$$
Substituting this representation to the formulae (\ref{g0}) and
further in (\ref{tr}), (\ref{gam}) and (\ref{zetaM}), by means of
analytical prolongation in s, one arrives at the expression
(\ref{zetaD1}). The integral in it is transformed via
Hypergeometrical function \cite{Ku} that gives (\ref{zetaD2}).
This expression is cited from esthetic point; further only the
formulae (\ref{zetaD1}) is used.
\section{Quantum correction to the kink and periodic solutions mass in the   1,2,3,4 dimensions.}
Now we go to the  zeta-function derivative evaluation. The meaning
of $\zeta_D'(0)$ should be calculated in different ways for d=1,
even $d > 2$, and odd ones. For the beginning we formulate and
prove the following useful intermediate result.

{\bf Proposition 3}. {\it When d=1, $\lambda > n^2 b^2$ and when d
= 2N-1, N = 2,3,.. , $\lambda \geq n^2b^2$ the following equality
is valid
\begin{equation}\label{18}
    \zeta_D'(0) = 4(4\pi)^{1/2 - N} \Gamma(3/2 - N)\sum_{\nu=1}^n(\nu b)^{2(N-1)}
R_N(\lambda/\nu^2b^2),
\end{equation}
where,
\begin{equation}\label{19}
    R_N(z) = \int(\tau^2 - 1 +z)^{N-3/2}d\tau.
\end{equation}
When d = 1, $\lambda\geq n^2b^2,$
\begin{equation}\label{20}
    \zeta_D'(0) = \frac{2}{\sqrt{\pi}}2\sum_{\nu=1}^{n-1}R_1(n^2/\nu^2) - \frac{d}{ds}(\frac{\Gamma(s +
1/2)}{\Gamma(s + 1)}(\frac{M}{nb})^{2s})|_{s=0}.
\end{equation}
When d = 2N, N = 1,2,.., $\lambda \geq n^2b^2$,
\begin{equation}\label{21}
    \zeta_D(0) = \frac{4(-1)^{N+1}}{(4\pi)^{N}(N-1)!}\sum_{\nu=1}^n (\nu b)^{2N-1}((\gamma_N +
2\ln[\frac{M}{\gamma b}])P_{N-1}(\frac{\lambda}{\nu^2b^2}) -
 J_{N-1}(\frac{\lambda}{\nu^2b^2}),
\end{equation}
where. for N = 0,1,2,...,
\begin{equation}\label{22}
    P_N(z) = \int_0^1(\tau^2 - 1 + z)^Nd\tau,\quad J_N(z) = \int_0^1(\tau^2 - 1 + z)^N
\ln(\tau^2 -1 + z)d\tau,
\end{equation}
and
 $$\gamma_N =
\sum_{j=1}^{N-1} 1/j.$$}

{\bf Proof. } At d =2N1 the formulae (\ref{zetaD1}) converts in
the following one:
\begin{equation}\label{23}
    \zeta_D(s) = 4(4\pi)^{1/2-N}\frac{\Gamma(s + 3/2 - N)}{\Gamma(s)}\sum_{\nu=1}^n(\nu b)^{2(N-1)}
(\frac{M}{\nu b})^s\int_0^1(\tau^2-
 1 + \frac{\lambda}{\nu^2 b^2})^{N-s-3/2}d\tau
\end{equation}
In the cases $N \geq 2, \lambda \geq n^2b^2,$ and $N = 1, \lambda
> n^2b^2$, the function in the right-hand side is analytical in
the vicinity of the point $s = 0$ and
$\lim_{s\rightarrow0}\zeta_D(s) = 0$. Therefore
 $\zeta'_D(0) = \lim_{s\rightarrow0}\zeta_D(s)/s$.
As $\lim_{s \rightarrow 0}\frac{1}{s\zeta_D(s)}= 1$, from
(\ref{23}) one immediately obtain (\ref{18}).

The case $d=1$, $\lambda = n^2b^2$ is singular because the
integral in the last term of (\ref{23}) diverges at s = 0 (when
$\nu = n$ it degenerates into the integral $\int_0^1\tau^{ -1 -
2s}d\tau )$. However, due to $1/\Gamma(s) \simeq s$ when $ s
\rightarrow 0$, the term with $\nu = n$ is continued analytically
till $s = 0$ but now $ \lim_{s \rightarrow 0}\zeta_D(s) \neq 0$.
Really, evaluating the integral in this term inside the region of
convergence $\Re s < $,, one gets $\int_0^1\tau^{-1-2s}d\tau =
-1/2s$. Thus the last term in (\ref{23}) in the case of
d=1,$\lambda = n^2b^2$ yields in analytical (in the vicinity of
$s=0$) function
$\frac{\Gamma(s+1/2)}{\sqrt{\pi}\Gamma(s+1)}(\frac{M}{nb})$.
Separating further in r.h.s. of (\ref{23}) the last term and
calculating derivatives of the rest terms in $s=0$ in the same
manner, one arrives at \eqref{20}.

 In even dimensions $d=2N$, the
formula (\ref{zetaD1}) takes the form
\begin{equation}\label{zeteven}
    \zeta_D(s) = \frac{4 \Gamma(s + 1 - N)}{(4\pi)^{N}\Gamma(s)}\sum_{\nu=1}^n(\nu b)^{2N-1}(\frac{M}{\nu b})^{2s}
\int_0^1(\tau^2 - 1 + \frac{\lambda }{\nu^2 b^2})^{N-1-s}d\tau;
\end{equation}
Differentiating it in $s=0$ with account of the equality
$$\frac{d}{ds}\ln\frac{ \Gamma(s + 1 - N)}{\Gamma(s)}|_{s=0} = \gamma_N$$
one obtains \eqref{21}. The statement 3 gives an intermediate
result; the final form derivation needs the calculation of
integrals in (\ref{19},\ref{22}).

Let us start with
$$R_1(z)=\int(\tau^2 - 1 +z)^{-1/2}d\tau = \frac{1}{2} \ln\frac{\sqrt{z}+1}{\sqrt{z}-1}, z>1.$$
Therefore $ \zeta_D(0) = \ln\prod_{\nu=1}^n\frac{\sqrt{z}+\nu
b}{\sqrt{z}-\nu b} $, d=1, $\lambda > n^2b^2.$

It is easy to check (see e.g. \cite{Ku})
$$\frac{d}{ds}\ln\frac{ \Gamma(s + 1/2)}{\Gamma(s+1)}|_{s=0}  = -\ln 4;$$ using this one finds from
(\ref{20}) for d=1, $\lambda=n^2b^2$:
$$\zeta_D(0) = \ln (\frac{4C_{2n-1}^nn^2b^2}{M^2}). $$

The values of $\zeta_D(0)$ are calculated by the recurrences
$$
R_{N+1}(z) = \frac{2N-1}{N}(z-1)R_{N}+\frac{z^{N-1/2}}{2N}, \quad
N=1,2,...,
$$
$$
P_{N+1}(z) = \frac{2(N+1)}{2N+3}(z-1)P_{N}+\frac{z^{N+1}}{2N+3},
\quad N=0,1,2,...,
$$
$$
J_{N+1}(z) = \frac{2N-1}{N}(z-1)R_{N}+\frac{1}2N{z^{N-1/2}}, \quad
N=0, 1,2,.. ;
$$
that start from
$$
R_1, \quad P_0 = 1,\quad J_0(z) =
2\sqrt{z-1}\arcsin\frac{1}{\sqrt{z}};
$$
 (obtained by integrating by parts in integrals of
(\ref{19}) and (\ref{22})). After all transformations, the
following expressions for $d=1.2.3.4$ are collected at the next

 {\bf Statement 4}.{\it At d = 1,
$$ \zeta'_D(0) = \ln \prod_{\nu = 1}^n\frac{\sqrt{\lambda}+\nu b}{\sqrt{\lambda}-\nu b} $$
if $\lambda>n^2b^2$; otherwise,
\begin{equation}\label{zeta1}
   \zeta'_D(0) = \ln(\frac{4C_{2n-1}^n n^2b^2}{M^2}),
\end{equation}
if $\lambda = n^2b^2$.

 At d=2
\begin{equation}\label{d2}
\begin{array}{c}
 \zeta'_D(0) = \frac{n(n+1)b}{2\pi} (ln\frac{M^2}{\lambda})-\frac{2}{\pi}\sum_{\nu=1}^{n}\sqrt{(\lambda-\nu^2b^2)}
 \arcsin\frac{\nu b}{\sqrt{\lambda}},\quad \lambda>n^2b^2 \\
 \zeta'_D(0)   = \frac{n(n+1)b}{ \pi} (\ln\frac{M}{nb})-\frac{2b}{\pi}\sum_{\nu=1}^{n}\sqrt{(n^2b^2 - \nu^2)}
 \arcsin\frac{\nu}{n}, \quad \lambda=n^2b^2 \\
\end{array}
\end{equation}
At d=3
\begin{equation}\label{d2}
\begin{array}{c}
 \zeta'_D(0) = - \frac{n(n+1)b\sqrt{\lambda}}{4\pi} + \sum_{\nu=1}^{n} (\lambda-\nu^2b^2)
 \ln\frac{\sqrt{\lambda}+\nu b}{\sqrt{\lambda}-\nu b},\quad \lambda>n^2b^2 \\
 \zeta'_D(0)   = -\frac{b^2}{4\pi}( n^2(n+1)b+  \sum_{\nu=1}^{n} (n^2  - \nu^2)
 \ln\frac{\nu+n}{n-\nu}), \quad \lambda=n^2b^2 \\
\end{array}
\end{equation}
At d=4
\begin{equation}\label{d2}
\begin{array}{c}
 \zeta'_D(0) = \frac{1}{3\pi^2}\{ \frac{n(n+1)b}{8}(n(n+1)b^2-3\lambda)\ln\frac{M^2}{\lambda}\\
  + \frac{n(n+1)b}{8}(n(n+1)b^2-7\lambda) + \sum_{\nu=1}^{n}
  (\lambda-\nu^2b^2)^{3/2}
 \arcsin\frac{\nu b}{\sqrt{\lambda}}\},\quad \lambda>n^2b^2; \\
 \zeta'_D(0)   = - \frac{b^3}{3\pi^2}\{ \frac{n^2(n+1)(13n-8)}{24}\ln\frac{M}{nb}\\
  + \frac{n^2(n+1)(2n-1)}{4}- \sum_{\nu=1}^{n-1}
  (n^2-\nu^2)^{3/2}\arcsin\frac{\nu }{n}\}, \quad \lambda=n^2b^2. \\
\end{array}
\end{equation}}
These formulas (by other method and notations) at $d=2,3,4$ were
derived in \cite{Ko}.

In the case of the kink (see the sec. 2). n=2, b=$m/\sqrt{2},
\lambda=4b^2=2m^2$, basing on the case $\lambda = n^2b^2$, one
obtains the quantum correction to the mass  $\Delta \epsilon =
\zeta'_D(0)$

\begin{eqnarray}
  d=1: \quad\zeta'_D(0)  &=& -2\ln\frac{M}{2\sqrt{6}m}, \quad \\
  d=2: \quad\zeta'_D(0) &=& -\frac{3\sqrt{2}m}{\pi}(1+\ln\frac{M}{\sqrt{2}m}) \\
   d=3: \quad \zeta'_D(0)  &=&  -\frac{3m^2}{8}(\ln3+4)  \\
  d=4: \quad \zeta'_D(0)  &=&
  \frac{m^3}{8}(\frac{1}{4\sqrt{6}}-\frac{3}{2\sqrt{2}\pi}(1+\ln\frac{M}{2\sqrt{6}m}))
\end{eqnarray}
These expressions reproduce the formulas for kink mass correction
from \cite{Ko} for d=2,3,4.

\section{Conclusion}
Let us note that all results related to the scalar nonlinear
Klein-Gordon equation may be applied directly to many-component
model $\phi(x)\in \mathbb{S^m}$ with account of $\mathbb{SO}(m)$
symmetry. The equation (\ref{KG}) takes the form
\begin{equation}\label{KGm}
   - \phi''+ V'(||\phi||)\frac{\phi}{||\phi||} = 0.
\end{equation}
The scalar operator D is defined by (\ref{D}) goes to the matrix
one
\begin{equation}\label{Dm}
   D = [- \partial^2_x - \Delta_y +  V'(||\phi||)\frac{\phi}{||\phi||}]I_m + [(V"(||\phi||)) -
   V'(||\phi||)\frac{\phi\otimes\phi}{||\phi||^3}].
\end{equation}
The technique developed in this paper is transported to quantum
corrections for periodic static solutions of $\phi^4$ model:
\begin{equation}\label{24}
\phi_0(x) =
\frac{km}{1+k^2}\sqrt{\frac{2}{g}}sn(\frac{mx}{\sqrt{1+k^2}};k),\quad
0< k \leq 1;
 \end{equation}
 where $k$ is a module of the elliptic function. When $k=1$ the
 formula (\ref{24}) goes to one for kink (\ref{kink}). The
 substitution of (\ref{24}) into (\ref{pot}) yields in two-gap Lame potential
that is embedded in Darboux Transformations theory by chain
representation \cite{BL} that give a possibility to derive the Green
function analogue for this case. The results will be published
elsewhere. Some recent papers open new field for applications
\cite{B}.

redpajama_set_name: RedPajamaArXiv


In its own habitat, to our surprise!
Half price on dignity and decency!
With no commitment down and no responsibility until infinity!
(for the sake of art, of course) absolutely free; a great gift for your child!
Distilled from the purest confusion, no contentment added (dissatisfaction guaranteed).
Next to the foul language and across from any sign of happiness!
The day had gone cold like last night's dinner. He hadn't eaten anything since he'd moved in, and yet he'd still determined to prepare his meals on a regular schedule. It's the way Mom would have needed, he told himself. Such superficialities were fast becoming his only scrutable link to the life that had left him behind. Ennui should have set in by now, but that would have required him to care, an ability which had continued to elude him despite his honest attempts otherwise. Called to detachment, he lived as a new man – minus the fictive resurrection or rejuvenation, and substituted for the inevitably slow abasement of college.
All his life, he had listened to stories about fulfillment as an insincere utterance which had taken root in the archaic dreams. "All his life," had affected him in ways too complex to quickly understand or comprehend. His chest wracked in the purest combination of sorrow and anger, one he had known before, as he pulled the carved maple box from one of five green plastic moving containers in the otherwise empty northern corner of his basement dormitory. His hands moved slowly across its cherry sunburst décor; his eyes followed the waves of yellow, orange, and red as they faded into the black nether regions of the box. It reminded him of fireworks, of concert lights flowing in sheer brilliant spectrum across a humid summer night…of the sunrise that had changed his life.
Indeed, it was not the sunset that had taken his father from him, but the man may well have combusted to shed light for the world in William's child-eyes. He thought, as he always did, to focus back on the night before, as if some clue had floated under his previous retrospection, but to no avail. Thus, the pictures that greeted Will as he cracked open the box once more assaulted him with a cruel irony: in the dark, he had seen his father, and in the light, he was gone.
This twisted perception had plagued him for the latter half of his life, but he finally came to admit that the gloom was beginning to throttle him. He had been in college for less than a day since he had said good-bye to his mother, Leanore, and yet he had found no peace in this place, which she had so often touted to him as "one of the pinnacles of his life." He pictured her face for a moment; there always seemed to be a smile present across her Greek features, when he didn't understand how she could, or even should, be happy. He felt as if he was the most prominent reminder of the greatest mistakes of her life. His mixed feelings played havoc with his current reactions – I want to be near her, but as far away as possible, at the same time. He grabbed his coat, a strange garment which had little to no actual resistance to wind or weather, but was still a possession he loved for its similarities in texture and odor to his family's pug, Icarus. With both the coat and maple box in hand, he stepped across his threshold, locked his door, and proceeded to walk to Jameson Park in patterns wrought of discontent.
The trees had begun to turn against the earth, rebelling in a brilliant palette that could strangely belie the pure abundance, or complete lack, of passion. On the one hand, the colors were mesmerizing – they danced in the gentle wafting of the breeze, promising life after loss with lips painted bright oranges, reds, speckled browns, and the fading remnants of a living green. On the other, Autumn was certainly a season of dying, and wasn't it simply a masquerade of the senses? Even blood that flows out of a body tells the vivid crimson tale of departing life….
The fact that life had kept coming back year after year halted his logical assault before it began. He found a beaten bench to rest upon, its molting structure supporting him like an ancient bird's nest. Within this temporary sanctuary, his attention turned to his maple box, once again. His hands trembled as he lay them across its sides, finger by finger, then palms, and lifted its lid with a lingering creak.
Inside was an amalgamation of items that pitifully reconstructed his childhood. The back of one weathered Polaroid revealed a deceptively basic identity to the scene kept faithfully on the other side. He read softly, "August 31, 1993…Willie and E. with Icarus." A familiar chill began simultaneously in his shoulders and the apex of his spine, working its way down his back as if it were late for some dire appointment. It may as well have started in his fingertips, however…the short summary contained a rime as potent as the ample glass of scotch he knew to be in his father's hand at the time. "E." was the only name his mother had ever offered to Will in satiation of his paternal curiosity, and even that was not often bestowed verbally. As a young child, he had not even begun to understand the ramifications of such detachments in a family, much less in a singular descriptive phrase. As a growing man, he still had trouble registering how his mother could have placed so much enmity in a single letter.
Logically, at some point, his mom and dad had to have been in love. He had often examined a space in his consciousness that housed his preconceptions of love, and refused to believe that he could exist for any other reason. His eyes slowly crossed the event horizon of the photograph's edge when he turned it over, washing his world in acquainted tears. William searched for the love in his father's countenance. It was there, in the way he rested his hand upon his son's dusty blonde hair. It was in the way his mouth was edged in a smile, as if to say that he lived for such silent, secret joys as sitting on that rustic couch and watching his family delight in everything he had to offer. "That birthday didn't seem nearly as special to me at the time," he wept quietly and bitterly. As he reclaimed fallen moments in this practiced, almost ritualistic fashion, he understood that love had existed. However, this only seemed to add to these days when he posited existence to be an indefinite disappointment. This overwhelming assessment stretched and sealed itself across the entirety of his principles.
"Principles…," he muttered under his thoughts. "I must have stolen them from somewhere." He chuckled at the ironic resolution that once again sobered him from sorrow, because he had come to fully believe that they couldn't have been a gift from his parents. His mother had kept him in the shadows of his father, deciding that seven-year-old William didn't possess the mental fortitude to deal with the truth of his dad's disappearance. At the time, he hadn't known any better. He hadn't known death before…he hadn't known the necessities that so many eras had instilled within society. "All her lies couldn't dismiss absence…couldn't break the silence," he spat. "Thanks to her, death will never mean a damned thing to me…" He suddenly realized that emotion began to stir him in uncontrollable cycles. With that disturbance in mind, he reluctantly decided, as he had many times before, to wash his hands of it.
"Speaking of the dead, I wonder if Jasper's back, yet," he murmured to himself. He'd been perched on his claimed park bench for over an hour by the time this wayward thought hit him. Jasper Ellis Lyle, or "Jazz" to the multitudinous girls he managed to mistreat on a regular basis, was the other inhabitant of Brighton Hall's single basement room. William could not bring himself to think of Jasper as a roommate, but not out of some self-righteous indignation as to the caliber of his character.
William had been in their room a couple of days ago, sorting out where he was going to put the two guitars he had brought with him out of his collection. He'd barely laid his two-tone gold and white Strat in its black corner stand when the improverbial rap sounded at the door. The rhythm of beat boxing lazed around the corner, following Jazz's smooth gait as he slipped into the room to grab his wallet and a few other pieces of minutiae. "Yo dawg, how's mah boiiiii?" It occurred to Will that Jasper had most likely practiced that particular sliding movement to the point that he could probably stride right up the wall and be done with it.
He thought about the question for just a moment too long, and realized that he wouldn't have the proper response if he'd searched for another week. "I'm well, thanks. How's life treating the illustrious Jasper Lyle?" The beat boxing stopped and was replaced by muffled tittering as Jazz turned to face him. He silently chuckled at the one-two combination he'd just thrown. He didn't figure the youth to be the sort of person who could afford expensive words, and what little he knew about Jasper told him that the fellow hated being referred to by his original name in public, much less in front of any number of girls. Will's expression betrayed slight surprise at the upper corners of his eyes when Jazz fired right back without pause. "Man, if I wa eny betta, I'd haf ta be twins…den, I'd haf ta keel mahself fo bein so daaaym sexay!" His entourage broke out in the laughter of approval, which he apparently collected without movement and used to fuel his almost superhuman ability to disappear as abruptly as he'd arrived. William found that he both completely admired and despised that quality, simultaneously.
The simple fact was that, out of the week of orientation that Sanford College had planned, it was obvious that Jazz had spent most of his time in various female dorms instead of his own. William had used the week to move his room from home, as a sculptor would delicately relocate artwork across his studio. All Jasper had brought to the room were the remains of food purloined from other people, and miscellaneous undergarments of origins that didn't require forensic inspection to discern.