text:
\section{Introduction}

Recent experimental advances in trapping and cooling atoms have made it possible
to produce atomic Bose-Einstein Condensates (BECs)
\cite{ketterle95,hulet95,dalfovo99,bec_stri} and degenerate Fermi gases
\cite{demarco99,salomon01,ketterle03} at temperatures in the microkelvin range.
The atomic BECs and degenerate Fermi gases are the systems where an atomic
physicist often meets physical phenomena encountered in condensed matter
physics. For instance, atoms in optical lattices are often studied using the
Hubbard model \cite{dieter98} familiar from solid state physics.

Ultra-cold atomic gases have turned out to be a remarkably good medium for
studying a wide range of physical phenomena. This is mainly due to the fact that
it is relatively easy to experimentally manipulate parameters of the system,
such as the strength of interaction between the atoms, properties of a lattice
in which the atoms are trapped, the geometry of an external trap, etc.  Such a
freedom of manipulating parameters is usually not possible in other
systems known from condensed matter or solid state physics.

Atoms forming quantum gases are electrically neutral particles and there is no
vector potential type coupling of the atoms with a magnetic field. Therefore, a
direct analogy between the magnetic properties of degenerate atomic gases and
solid state phenomena is not necessarily straightforward. It is possible to
produce an effective magnetic field in a cloud of electrically neutral atoms by
rotating the system such that the vector potential will appear in the rotating
frame of reference \cite{bretin04,schweikhard04,baranov04}. This would
correspond to a situation where the atoms feel a uniform magnetic field. Yet
stirring an ultracold cloud of atoms in a controlled manner is a rather
demanding task.

There have also been suggestions to take advantage of a discrete periodic
structure of an optical lattice to introduce assymetric atomic transitions
between the lattice sites \cite{jaksch03,mueller04,sorensen04,osterloh05}. Using
this approach one can induce a nonvanishing phase for the atoms moving along a
closed path on the lattice, i.e.\ one can simulate a magnetic flux
\cite{jaksch03,mueller04,sorensen04,osterloh05}. However such a way of creating
the effective magnetic field is inapplicable to an atomic gas that does not
constitute a lattice.

A significant experimental advantage would be gained if a more direct way could
be used to induce an effective magnetic field. In previous papers
\cite{prl04,pra05}, we have shown how this can be done using two light beams in
an Electromagnetically Induced Transparency (EIT) configuration. Here we present
a more detailed analysis of the phenomenon for various spatial distributions of
the laser fields. We demonstrate that if at least one of these beams contains an
Orbital Angular Momentum (OAM), an effective magnetic field appears, which acts
on the electrically neutral atoms. In other words, the coupling between the
light and the atoms will provide an effective vector potential in the atomic
equations of motion. Compared to the rotating atomic gas, where only a constant
effective magnetic field is created \cite{bretin04,schweikhard04,baranov04},
using optical means will be advantageous since the effective magnetic field can
now be shaped by choosing proper control and probe beams. The appearance of the
effective vector potential is a manifestation of the Berry connection which is
encountered in many different areas of physics \cite{jack03,Sun90,Dum96}.

The outline of the paper is as follows.  In \sref{sec:form} we define a system
of three level atoms in the $\Lambda$-configuration interacting with the control
and probe beams.  We allow the two beams to have orbital angular momenta along
the propagation axis $z$. In \sref{sec:gen} we present a general treatment of
the adiabatic motion of multilevel atoms and apply it to derive the equation of
motion for the atom driven to the dark state by the control and probe beams of
light.  The resulting effective equation of motion contains the effective
trapping and vector potentials.  In sections \ref{sec:analysis} and
\ref{sec:spec} we analyse the effective magnetic field and effective trapping
potential in the case where at least one of the laser beams contains an orbital
angular momentum. We show that the spatial profile of the effective magnetic
field can be controlled by applying proper control and probe beams. We analyse
several situations where the effective magnetic field exhibits a radial
dependence. In particular we study effective magnetic fields induced by Bessel beams,
and demonstrate how to generate a constant effective magnetic
field for ring geometry of the atomic trap. We also discuss a possibility to create
an effective field of a magnetic monopole.
Finally in the
concluding \sref{sec:concl} we summarise the findings.

\section{\label{sec:form}Formulation}

\subsection{The atomic system}

We shall consider an ensemble of atoms characterised by two hyper-fine ground
levels $1$ and $2$, as well as an electronic excited level $3$. The atoms
interact with two resonant laser beams in the EIT configuration (see
\fref{BildSchema}). The first beam (to be referred to as the control beam) drives
the transition $|2\rangle\rightarrow |3\rangle$, whereas the second beam (the
probe beam) is coupled with the transition $|1\rangle\rightarrow |3\rangle$, as
shown in \fref{BildSchema}a. The control laser has a frequency $\omega_c$,
a wave-vector $\bi{k}_c$, and a Rabi frequency $\Omega_c$. The probe field,
on the other hand, is characterised by a central frequency $\omega_p=ck_p$, a
wave-vector $\bi{k}_p$, and a Rabi frequency $\Omega_p$. Of special interest
is the case where the probe and control beams can carry OAM along the
propagation axis $z$. In that case, the spatial distribution of the beams is
given by \cite{allen99,oam}
\begin{equation}
\Omega_p=\Omega_p^{(0)}\rme^{\rmi(k_pz+l_p\phi)}
\label{omega-p}
\end{equation}
and
\begin{equation}
\Omega_c=\Omega_c^{(0)}\rme^{\rmi(k_cz+l_c\phi)},
\label{omega-c}
\end{equation}
where $\Omega_p^{(0)}$ and $\Omega_c^{(0)}$ are slowly varying amplitudes for
the probe and control fields, $\hbar\ell_p$ and $\hbar\ell_c$ are the
corresponding orbital angular momenta per photon along the propagation axis
$z$, and $\phi$ is the azimuthal angle.

\begin{figure}[tbp]
\begin{center}
\includegraphics[width=0.7\textwidth]{fig1.eps}
\end{center}
\caption{a) The level scheme for the $\Lambda$ type atoms interacting with the
resonant probe beam $\Omega_p$ and control beam $ \Omega_c$. b) Schematic
representation of the experimental setup with the two light beams incident on
the cloud of atoms. The probe field is of the form
$\Omega_p\sim\rme^{\rmi\ell\protect\phi}$, where each probe photon carry an
orbital angular momentum $\hbar\ell$ along the propagation axis $ z$.}
\label{BildSchema}
\end{figure}

\subsection{Hamiltonian for the electronic degrees of freedom of an atom}

Adopting the rotating wave approximation, the Hamiltonian for the electronic
degrees of freedom of an atom interacting with the control and probe fields is
in the rotating frame:
\begin{equation}
\hat{H}_0(\bi{r})=\epsilon_{21}|2\rangle\langle 2|+\epsilon
_{31}|3\rangle\langle 3|-\hbar(\Omega_p|3\rangle\langle 1|+\Omega
_c|3\rangle\langle 2|+\mathrm{H.c.})
\label{H-0}
\end{equation}
where $\epsilon_{21}=\hbar(\omega_2-\omega_1+\omega_c-\omega_p)$ and
$\epsilon_{31}=\hbar(\omega_3-\omega_1-\omega_p)$ are, respectively, the
energies of the detuning from the two- and single-photon resonances, with
$\hbar\omega_j$ being the electronic energy of the atomic level $j$. Note that
the spatial dependence of the Hamiltonian $\hat{H}_0(\bi{r})$ emerges
through the spatial dependence of the Rabi frequencies
$\Omega_p\equiv\Omega_p\left(\bi{r}\right)$ and $
\Omega_c\equiv\Omega_c\left(\bi{r}\right)$.

In what follows the control and probe fields are assumed to be
tuned to the two-photon resonance: $\epsilon_{21}=0$. The remaining two photon
mismatch (if any) can be accommodated within the trapping potential
\begin{equation}
\hat{V}(\bi{r})=V_{1}(\bi{r})|1\rangle\langle 1|+
V_{2}(\bi{r})|2\rangle\langle 2|+
V_{3}(\bi{r})|3\rangle\langle 3|.
\label{V}
\end{equation}
where $V_j(\bi{r})$ is the trapping potential for an atom in the electronic
state $j$, with $j=1,2,3$.  Neglecting the two-photon detuning, the Hamiltonian
(\ref{H-0}) has the eigenstate
\begin{equation}
|D\rangle \equiv |D(\bi{r})\rangle =\frac{1}{\sqrt{1+|\zeta |^2}}
(|1\rangle -\zeta |2\rangle)
\label{D}
\end{equation}
characterised by the zero eigenenergy: $\hat{H}_0(\bi{r})|D\rangle=0$. Here
\begin{equation}
\zeta =\frac{\Omega_p}{\Omega_c}
\end{equation}
is the ratio of the amplitudes of the probe and control fields.

The state $|D\rangle$ is known as the dark state
\cite{Arimondo96,Harris97,eit,lukin03}. We shall be interested in a situation
where the atoms are driven to their dark states. If an atom is in the dark state
$|D\rangle$, the resonant control and probe beams induce the absorption paths
$|2\rangle\rightarrow |3\rangle$ and $|1\rangle\rightarrow |3\rangle$ which
interfere destructively, resulting in the Electromagnetically Induced
Transparency \cite {Arimondo96,Harris97,eit,lukin03}. In such a situation, the
transitions to the upper atomic level $3$ are suppressed, so the atomic level
$3$ is weakly populated. This justifies neglection of losses due to spontaneous
emission by excited atoms in the Hamiltonian (\ref{H-0}).

\section{\label{sec:gen}Equations of the atomic motion}

\subsection{Translational motion for a multilevel atom}

Let us now consider translational
motion of an atom taking into account its internal degrees of freedom.
The full atomic Hamiltonian is given by
\begin{equation}
\hat{H}=\frac{\hat{p}^2}{2M}+\hat{H}_0(\bi{r})+\hat{V}(\bi{r}),
\label{eq:full-H}
\end{equation}
where $\hat{\bi{p}}\equiv -\rmi\hbar\nabla$ is the momentum operator for the
atom positioned at $\bi{r}$, and $M$ is the atomic mass. The Hamiltonian for the
electronic degrees of freedom $\hat{H}_0(\bi{r})$ and the external trapping
potential $\hat{V}(\bi{r})$ featured in \eref{eq:full-H} are defined by
equations (\ref{H-0}) and (\ref{V}).

For fixed $\bi{r}$ the electronic Hamiltonian $\hat{H}_0(\bi{r})$ can be
diagonalised to give a set of eigenvectors $|X(\bi{r})\rangle$ and eigenvalues
$\varepsilon_X(\bi{r})$, where $X=D,+,-$.  The state with $X=D$ is the dark
atomic state given by \eref{D} and characterised by zero eigenenergy:
$\varepsilon_D(\bi{r})=0$. If the single and two photon detuning is zero, the
remaining eigenstates are:
\begin{equation}
|\pm(\bi{r})\rangle =\frac{1}{\sqrt{2}}(|B\rangle \pm |3\rangle),
\label{pm}
\end{equation}
corresponding eigenenergies being
\begin{equation}
\varepsilon_{\pm}(\bi{r})=\pm\Omega.
\label{e-pm}
\end{equation}
Here $\Omega = \sqrt{\Omega_p^2+\Omega_c^2}$ is the total Rabi frequency and
\begin{equation}
|B\rangle \equiv |B(\bi{r})\rangle =\frac{1}{\sqrt{1+|\zeta |^2}}
(\zeta^{*} |1\rangle +|2\rangle)
\label{B}
\end{equation}
is the atomic bright state.

The full atomic wave function $\Phi$ can then be expanded as:
\begin{equation}
|\Phi(\bi{r})\rangle =\sum_{X=D,+,-}\Psi_X(\bi{r})
|X(\bi{r})\rangle,
\label{eq:expansion}
\end{equation}
where a composite wavefunction $\Psi_X(\bi{r})$ describes the translational
motion of an atom in the electronic state $X$, with $X=D,+,-$.

Substituting \eref{eq:expansion} into the Schr{\"o}dinger equation
$\rmi\hbar\partial\Phi/\partial t =\hat{H}\Phi$, one arrives at a set of coupled
equations for the components $\Psi_X$. Introducing the column $\Psi
=\left(\Psi_D,\Psi_+,\Psi_-\right)^T$, it is convenient to represent these
equations in a matrix form:
\begin{equation}
\rmi\hbar\frac{\partial}{\partial t}\Psi =\left[\frac{1}{2M}(-\rmi\hbar\nabla -
\bi{A})^2+U\right]\Psi ,
\label{eq:matrix}
\end{equation}
where $\bi{A}$ and $U$ are the $3\times 3$ matrices with the following
elements:
\begin{eqnarray}
\bi{A}_{X,X'}=\rmi\hbar\langle X|\nabla X'\rangle,
\label{eq:A} \\
U_{X,X'}=\varepsilon_X(\bi{r})\delta_{X,X'}+\langle X|\hat{V}(
\bi{r})|X'\rangle,
\label{eq:V}
\end{eqnarray}
i.e.\ the matrix $U$ includes contributions from both the internal atomic
energies and also the external trapping potential.

Since the atomic internal motion is much faster than the external
(translational) one, the difference in the atomic energies $U_{X,X}-U_{X',X'}$
is normally much larger than the energies of non-adiabatic coupling between these
states. In such a situation, the translational motion of atoms in different
internal levels can be considered to be independent. This leads to the adiabatic
approximation.

\subsection{Effective equation of motion for a dark-state atom}

Specifically, let us suppose that the atomic dark state  $|D\rangle$
is well separated from the remaining
atomic states $|\pm\rangle$. Neglecting
transitions to the latter states, \eref{eq:matrix} provides an
effective equation for the translational motion of an atom in the
electronic dark state  $|D\rangle$:
\begin{equation}
\rmi\hbar\partial\Psi_D /\partial t=\hat{H}_{\mathrm{eff}}\Psi_D
\label{eq:matrix-q}
\end{equation}
where the effective Hamiltonian
\begin{equation}
\hat{H}_{\mathrm{eff}}=\frac{1}{2M}(-\rmi\hbar\nabla -
\bi{A}_{\mathrm{eff}})^2+V_{\mathrm{eff}}
\label{eq:H}
\end{equation}
is characterised by the effective vector and trapping potentials:
\begin{equation}
\bi{A}_{\mathrm{eff}}\equiv
\bi{A}_{D,D}=\rmi\hbar\langle D|\nabla D\rangle
\label{A-D}
\end{equation}
and
\begin{equation}
V_{\mathrm{eff}}=U+\phi,
\label{V-eff}
\end{equation}
with $U\equiv U_{D,D}$ being defined by the above \eref{eq:V}.  An additional
scalar potential $\phi$ appears due to the exclusion of the electronic states
with $X=\pm$ in the effective equation of motion (\ref{eq:matrix-q}).  In particular, we have
\begin{eqnarray}
\phi & =\frac{1}{2M}\sum_{X=\pm}\bi{A}_{D,X}\bi{A}_{X,D}
\nonumber\\
& = \frac{\hbar^2}{2M}\left(\langle\nabla D|\nabla D\rangle
+\langle D|\nabla D\rangle\langle D|\nabla D\rangle\right)
\label{eq:fi1}
\end{eqnarray}
and
\begin{equation}
U = \frac{V_1(\bi{r})+|\zeta |^2 V_2(\bi{r})}{
1+|\zeta |^2} .
\label{U}
\end{equation}
Since $V_1(\bi{r})$ and $V_2(\bi{r})$ are the trapping potentials for an atom in
the electronic states $1$ and $2$ respectively, $U$ represents the external
trapping potential for the atom in the dark state.

In this way, the full effective trapping potential $V_{\mathrm{eff}}$ is
composed of the external trapping potential $U$ and the geometric scalar
potential $\phi$.  The former $U$ is determined by the shape of the trapping
potentials $V_1(\bi{r})$ and $V_2(\bi{r})$, as well as the intensity
ratio $|\zeta|^2$. The latter geometric potential $\phi$ is determined
exclusively by the spatial dependence of the dark state $|D\rangle$ emerging
through the spatial dependence of the ratio between the Rabi frequencies
$\zeta=\Omega_p/\Omega_c$.  Note that the effective vector potential
$\bi{A}_{\mathrm{eff}}$ (known as a Berry connection \cite{jack03}) has a
geometric nature as well, because it also originates from the spatial dependence
of the atomic dark state $|D\rangle \equiv |D(\bi{r})\rangle$.

\subsection{Adiabatic condition}

The energy difference between the dark state and the remaining atomic
states $|\pm(\bi{r})\rangle$ is characterised by the total Rabi frequency
$\Omega = \sqrt{\Omega_p^2+\Omega_c^2}$.  Assuming that the control and probe
fields are tuned to the one- and two-photon resonances
($\epsilon_{31},\epsilon_{21}\ll\hbar\Omega$), the adiabatic approach holds if
the non-diagonal matrix elements in \eref{eq:matrix} are much smaller than the
total Rabi frequency $\Omega$.  This leads to the following condition
\begin{equation}
F\ll\Omega
\label{condition-adiabatic}
\end{equation}
where the velocity-dependent term
\begin{equation}
F=\frac{1}{1+|\zeta |^2}\left|\nabla\zeta\cdot\bi{v}\right|
\label{F}
\end{equation}
reflects the two-photon Doppler detuning \cite{pra05}. Note that the condition
(\ref{condition-adiabatic}) does not accommodate effects due to the decay of the
excited atoms. The dissipation effects can be included replacing the energy of
the one-photon detuning $\epsilon_{31}$ by $\epsilon_{31}-\rmi\hbar\gamma_3$,
where $\gamma_3$ is the excited-state decay rate. In such a situation, the dark
state can be shown to acquire a finite lifetime
\begin{equation}
\tau_D\sim\gamma_3^{-1}\Omega^2/F^2
\label{Gamma-D}
\end{equation}
which should be large compared to other characteristic time scales of the
system.

The condition (\ref{condition-adiabatic}) implies that the inverse Rabi
frequency $\Omega^{-1}$ should be smaller than the time an atom travels a
characteristic length over which the amplitude or the phase of the ratio $\zeta
=\Omega_p/\Omega_c$ changes considerably. The latter length exceeds the optical
wavelength, and the Rabi frequency can be of the order of $ 10^7$ to $
10^8\,\mathrm{s}^{-1}$ \cite{hau99}. Therefore the adiabatic condition
(\ref{condition-adiabatic}) should hold for atomic velocities up to
tens of meters per second, i.e. up to extremely large velocities in the
context of ultra-cold atomic gases. The allowed atomic velocities become lower
if the spontaneous decay of the excited atoms is taken into account.
The atomic dark state accquires then a finite lifetime $\tau_D$ equal to
$\gamma_3^{-1}$ times the ratio $\Omega^2/F^2$, see Eq. (\ref{Gamma-D}).
The atomic decay rate $\gamma_3$ is typically of the order $ 10^7\,\mathrm{s}^{-1}$.
Therefore if the atomic velocities are of the order of a
centimeter per second (a typical speed of sound in an atomic BEC), the atoms
should survive in their dark states up to a few seconds. This is comparable to
a typical lifetime of an atomic BEC.

\section{\label{sec:analysis}Analysis of the effective vector and trapping
potentials}

Substituting the expression (\ref{D}) for the dark state into
\eref{A-D} for the effective vector potential, the latter takes the form:
\begin{equation}
\bi{A}_{\mathrm{eff}}=\rmi\hbar\frac{\zeta^*\nabla\zeta
-\zeta\nabla\zeta^*}{2(1+|\zeta|^2)}.
\label{eq:vector-2}
\end{equation}
The effective magnetic field reads then:
\begin{equation}
\bi{B}_{\mathrm{eff}}=\nabla\times\bi{A}_{\mathrm{eff}}
=\rmi\hbar\frac{\nabla\zeta^*\times\nabla\zeta}{(1+|\zeta|^2)^2}
\end{equation}
and the geometric scalar potential is
\begin{equation}
\phi=\frac{\hbar^2}{2M}\frac{\nabla\zeta^*\nabla\zeta}{(1+|\zeta|^2)^2}.
\end{equation}

\subsection{Separation into the amplitude and phase}

Let us express the ratio of Rabi frequencies $\zeta$ in terms of the amplitude
and phase:
\begin{equation}
\zeta =\frac{\Omega_p}{\Omega_c}=|\zeta |\rme^{\rmi S}.
\end{equation}
The effective vector potential, the effective magnetic field, and the effective
scalar potential then read
\begin{eqnarray}
\bi{A}_{\mathrm{eff}} = -\hbar\frac{|\zeta|^2}{1+|\zeta|^2}\nabla S, \\
\bi{B}_{\mathrm{eff}} = \hbar\frac{\nabla
S\times\nabla|\zeta|^2}{(1+|\zeta|^2)^2},\\
\phi = \frac{\hbar^2}{2M}\frac{(\nabla|\zeta|)^2+|\zeta|^2(\nabla
S)^2}{(1+|\zeta|^2)^2}.
\end{eqnarray}

\subsection{Representation in terms of the mixing angle}

It is convenient to introduce the mixing angle $\alpha$ via the following
relationships:
\begin{equation}
\sin\alpha =\frac{1}{\sqrt{1+|\zeta |^2}},\quad\cos\alpha =\frac{|\zeta
|}{\sqrt{1+|\zeta |^2}}.
\end{equation}
If the intensity ratio $|\zeta |^2$ is much larger than the unity, the mixing angle
is $\alpha \approx 1/ \zeta $. On the other hand, if $|\zeta |^2 \ll 1$,
we have $\alpha \approx \pi /2-|\zeta |$.

The dark state can now be represented as
\begin{equation}
|D\rangle =\sin\alpha |1\rangle -\cos\alpha\,\rme^{\rmi S}|2\rangle.
\end{equation}
The effective vector and scalar potentials can also be rewritten in terms of
the mixing angle:
\begin{equation}
\bi{A}_{\mathrm{eff}}=-\hbar\cos^2\alpha\nabla
S=-\frac{\hbar}{2}\left(1+\cos(2\alpha)\right)\nabla S
\label{eq:vector}
\end{equation}
and
\begin{eqnarray}
\phi &=\frac{\hbar^2}{2M}\left[\left(\frac{1}{2}\sin(2\alpha)\nabla
S\right)^2+(\nabla\alpha)^2\right]\nonumber\\
 & = \frac{\hbar^2}{8M}\left[\left(1-\cos^2(2\alpha)\right)(\nabla
S)^2+\frac{(\nabla\cos(2\alpha))^2}{1-\cos^2(2\alpha)}\right],
\label{eq:scalar}
\end{eqnarray}
i.e.\ both potentials can be expressed through the quantity
\begin{equation}
\cos(2\alpha)=\frac{|\zeta |^2-1}{|\zeta |^2+1}.
\label{cos-2aplha}
\end{equation}
The same applies to the effective magnetic field:
\begin{equation}
\bi{B}_{\mathrm{eff}}=\nabla\times\bi{A}_{\mathrm{eff}}
=\frac{\hbar}{2}\nabla S\times\nabla\cos(2\alpha).
\label{eq:B}
\end{equation}

\subsection{Co-propagating control and probe beams with OAM}

If the co-propagating probe and control fields carry OAM, their amplitudes
$\Omega_p$ and $\Omega_c$ are given by equations
(\ref{omega-p})--(\ref{omega-c}).  The phase of the ratio $\zeta
=\Omega_p/\Omega_c$ then reads
\begin{equation}
S=l\phi,
\label{S}
\end{equation}
where $l=l_p-l_c$. Note that although both the control and probe fields are
generally allowed to have non-zero OAM by equations
(\ref{omega-p})--(\ref{omega-c}), it is desirable for the OAM to be zero for one
of these beams. In fact, if both $l_p$ and $l_c$ were non-zero, the amplitudes
$\Omega_p$ and $\Omega_c$ should simultaneously go to zero along the $z$-axis.
In such a situation, the total Rabi frequency $\Omega
=\sqrt{\Omega_p^2+\Omega_c^2}$ would also vanish, leading to the violation of
the adiabatic condition (\ref{condition-adiabatic}) along the $z$-axis.

Substituting \eref{S} into equations (\ref{eq:vector}),
(\ref{eq:scalar}) and (\ref{eq:B}), one has
\begin{eqnarray}
\bi{A}_{\mathrm{eff}}=-\hbar\cos^2\alpha\frac{l}{\rho}\bi{e}_{
\varphi}, \label{eq:vector1} \\
\phi  = \frac{\hbar^2}{2M}\left[\left(\frac{1}{2}\sin(2\alpha)
\frac{l}{\rho}\right)^2+(\nabla\alpha)^2\right],
\label{eq:scalar1}
\end{eqnarray}
and
\begin{equation}
\bi{B}_{\mathrm{eff}}=\frac{\hbar}{2}\frac{l}{\rho}\bi{e}_{\varphi}
\times\nabla\cos(2\alpha)
\label{eq:B1}
\end{equation}
where $\bi{e}_{\varphi}$ is the unit vector in the azimuthal direction, and
$\rho$ is the cylindrical radius.

In what follows the intensity ratio $|\zeta |^2$ is considered to depend on the
cylindrical radius $\rho$ only (unless stated otherwise). In that case the effective scalar potential and
magnetic field reduce to
\begin{equation}
\phi =\frac{\hbar^2}{2M}\left[\left(\frac{1}{2}\sin(2\alpha)\frac{l}{
\rho}\right)^2+\left(\frac{\partial\alpha}{\partial\rho}\right)^2\right]
\label{eq:scalar2}
\end{equation}
and
\begin{equation}
\bi{B}_{\mathrm{eff}}=-\frac{\hbar}{2}\frac{l}{\rho}\frac{\partial}{
\partial\rho}\cos(2\alpha)\bi{e}_z .
\label{eq:B2}
\end{equation}
In such a situation the effective magnetic field is directed along the $z$-axis.

\section{\label{sec:spec}Specific cases}

\subsection{Polynomial case}

If we take
\begin{equation}
|\zeta | = a\rho +b\rho^2  ,
\end{equation}
then
\[
\cos(2\alpha)=\frac{(a\rho +b\rho^2)^2-1}{(a\rho +b\rho^2)^2+1}.
\]
Consequently one has:
\begin{eqnarray}
\bi{A}_{\mathrm{eff}} = -\hbar
l\frac{\rho(a+b\rho)^2}{1+\rho^2(a+b\rho)^2}\bi{e}_{\varphi},\\
\phi =\frac{\hbar^2}{2M}\frac{(l^2+1)a^2+2(l^2+2)ab\rho
+(l^2+4)b^2\rho^2}{(1+\rho^2(a+b\rho)^2)^2} .
\end{eqnarray}
In this case the effective magnetic field
\begin{equation}
\bi{B}_{\mathrm{eff}}=-\hbar l\frac{2(a+b\rho)(a+2b\rho)}{(1+\rho^2(a+b\rho
)^2)^2}\bi{e}_z
\end{equation}
exhibits a radial dependence.

\subsection{Bessel beam}

Suppose the probe field represents a Bessel beam and the Rabi frequency of the
control beam is almost constant within an atomic cloud. In such a case we have
\begin{equation}
\zeta =b J_l(a\rho)\rme^{\rmi l\varphi}
\end{equation}
where $b$ is a dimensionless constant determining the relative strength of the
probe field.  The effective vector and scalar potentials are then:
\begin{eqnarray}
\bi{A}_{\mathrm{eff}} = -\hbar\frac{b^2 J_l(a\rho)^2}{1+b^2 J_l(a\rho)^2}
\frac{l}{\rho}\bi{e}_{\varphi},\\
\phi = \frac{\hbar^2 b^2}{2M}\frac{4l^2J_l(a\rho)^2+
a^2\rho^2(J_{l-1}(a\rho)-J_{l+1}(a\rho))^2}{ 4\rho^2(1+b^2 J_l(a\rho)^2)^2} .
\end{eqnarray}
In this case the effective magnetic field
\begin{equation}
\bi{B}_{\mathrm{eff}}=-\hbar\frac{a b^2 l}{\rho}\frac{J_l(a\rho)
(J_{l-1}(a\rho)-J_{l+1}(a\rho))}{(1+b^2 J_l(a\rho)^2)^2}\bi{e}_z
\label{eq:B-bessel}
\end{equation}
also exhibits a radial dependence. Furthermore, the
strength of the effective magnetic field alternates its sign, i.e. the
regions with the effective magnetic field aligned along $z$-axis are replaced by
the regions in which the effective magnetic field is directed opposite to the
$z$-axis and \textit{vice versa}.

Next we shall examine situations where the effective magnetic field is constant.

\subsection{Constant effective magnetic field for ring geometry}

In the previous paper \cite{pra05} we have analysed a constant effective field
in the case where the atomic motion is restricted to distances where
$\rho < \rho_{\mathrm{max}}$. This can be achieved if the
intensity ratio is:
\begin{equation}
|\zeta |^2=\frac{\left(\rho /\rho_{\mathrm{max}}\right)^2}{1-\left(\rho
/\rho_{\mathrm{max}}\right)^2},
\label{zeta-exploding}
\end{equation}
so that the effective vector potential, \eref{eq:vector1}, takes the form
\begin{equation}
\bi{A}_{\mathrm{eff}}=-\hbar
l\rho\rho_{\mathrm{max}}^{-2}\bi{e}_{\phi}.
\label{A-constant}
\end{equation}
This yields a constant effective magnetic field
\begin{equation}
\bi{B}_{\mathrm{eff}}=-2\hbar l\rho_{\mathrm{max}}^{-2}\bi{e}_z ,
\label{B-constant}
\end{equation}
with the corresponding cyclotron frequency $\omega_c=\hbar 2l/M
\rho_{\mathrm{max}}^2$ and the magnetic length $\ell_B=\sqrt{\hbar /M\omega_c}
=\rho_{\mathrm{max}}/\sqrt{2l}$.

Let us now consider a situation where the atomic motion is restricted
additionally from below, i.e.\ $\rho >\rho_{\mathrm{min}}$.  In such a case the
constant effective magnetic field is obtained provided
\begin{equation}
|\zeta |^2=\frac{\rho^2-\rho_{\mathrm{min}}^2}{\rho_{\mathrm{max}}^2-\rho^2}.
\label{zeta-exploding1}
\end{equation}
The effective vector potential then takes the form
\begin{equation}
\bi{A}_{\mathrm{eff}}=-\hbar\frac{\rho^2-\rho_{\mathrm{min}}^2}{\rho_{
\mathrm{max}}^2 -\rho_{\mathrm{min}}^2}\frac{l}{\rho}\bi{e}_{\varphi} ,
\label{A-constant1}
\end{equation}
giving the following magnetic field strength:
\begin{equation}
\bi{B}_{\mathrm{eff}}=-\frac{2\hbar l}{\rho_{\mathrm{max}}^2
-\rho_{\mathrm{min}}^2}\bi{e}_z .
\label{B-constant1}
\end{equation}
For $\rho\rightarrow \rho_{\mathrm{min}}$ and $\rho\rightarrow
\rho_{\mathrm{max}}$, the intensity ratio $|\zeta |^2$ goes  respectively to
zero and infinity, so the equations (\ref{zeta-exploding1})-(\ref{B-constant1})
have a meaning only within a disc where
$\rho_{\mathrm{min}}<\rho<\rho_{\mathrm{max}}$. In other words,
\eref{zeta-exploding1} can model an actual intensity distribution of the control
and probe beams only within this region. The effective magnetic flux over the
disc is given by $\Phi = 2\pi\hbar l$.  Since the winding number $l$ of light
beams can currently be as large as several hundreds \cite{courtial97, curtis02},
it is possible to induce a substantial flux $\Phi$ in the atomic cloud. This
might enable us to study phenomena related to filled Landau levels with a large
number of atoms in the quantum gas.

Finally the scalar potential is given by
\begin{equation}
\phi =\frac{\hbar^2}{2M}\left(\frac{l^2}{\rho^2}
\frac{(\rho_{\mathrm{max}}^2-\rho^2)(\rho^2-\rho_{\mathrm{min}}^2)}{
(\rho_{\mathrm{max}}^2-\rho_{\mathrm{min}}^2)^2}
+\frac{\rho^2}{(\rho_{\mathrm{max}}^2-\rho^2)(\rho^2-\rho_{\mathrm{min}}^2)}
\right).
\end{equation}
The potential $\phi$ has singuliarities both at $\rho =\rho_{\mathrm{min}}$ and
$\rho =\rho_{\mathrm{max}}$, as illustrated in \fref{fig:ring}. This might provide a
natural trapping container confining the atoms within the ring.

\begin{figure}[tbp]
\begin{center}
\includegraphics[width=0.7\textwidth]{fig3.eps}
\end{center}
\caption{Geometric scalar potential $\phi$ for the case of constant effective
magnetic field $B_{\mathrm{eff}}$ in the ring geometry.  The constants are
$M=1$, $\hbar=1$, $l=10$, $\rho_{\mathrm{min}}=1$, and
$\rho_{\mathrm{max}}=10$.}
\label{fig:ring}
\end{figure}

\subsection{Effective magnetic field of a magnetic monopole}

The method for creating an effective magnetic field allows us to consider
various exotic cases. An interesting possibility is to create an effective field
of a magnetic monopole. Such an idea was proposed in \cite{Sun04}.

A possible expression for the vector potential of the monopole field has the
form
\[
\bi{A}\sim\frac{1-\cos\theta}{r\sin\theta}\bi{e}_{\varphi} ,
\]
where $r$, $\theta$ and $\varphi$ are the spherical coordinates.  Such a
potential has a singularity at the string where $\theta = 0$.  Unlike in
\cite{Sun04} we do not attempt to eliminate this singularity, since the
elimination does not make the field esier to create.

In order to get an effective vector potential of a magnetic monopole the
intensity ratio should obey the condition
\begin{equation}
|\zeta |^2=\frac{1-\cos\theta}{1+\cos\theta} .
\label{eq:zeta-monop}
\end{equation}
where we are no longer making the paraxial approximation.  In such a situation
\[
\cos(2\alpha)=-\cos\theta =-z/r .
\]
Consequently the effective vector potential, the effective magnetic field and
the scalar potential are
\begin{eqnarray}
\bi{A}_{\mathrm{eff}}=-\frac{\hbar l}{2}\frac{1-\cos\theta}{r\sin\theta}
\bi{e}_{\varphi},\\
\bi{B}_{\mathrm{eff}}=-\frac{\hbar l}{2r^2}\bi{e}_r ,
\label{eq:B-monop}\\
\phi =\frac{\hbar^2}{2M}\frac{l^2+1}{4r^2} .
\end{eqnarray}
The magnetic charge of the effective monopole is now proportional to the
difference of the orbital angular momentum of the light beams $\hbar l \equiv
\hbar(l_p-l_c)$. On the other hand, the emerging scalar potential $\phi$ is
repulsive and spherically symmetrical, and is characterised by the $r^{-2}$
behaviour.

In order to satisfy the condition (\ref{eq:zeta-monop}) the Rabi frequencies
should obey the following:
\begin{eqnarray}
|\Omega_p|^2=f(\bi{r})(1-\cos\theta), \\
|\Omega_c|^2=f(\bi{r})(1+\cos\theta)
\end{eqnarray}
where $f(\bi{r})$ is an arbitrary function of the coordinates. For a light beam
with an OAM, its intensity is known to be zero along the propagation axis $z$
\cite{allen99,oam}. Therefore if the probe beam has an OAM, the function
$f(\bi{r})$ should be zero for $\cos\theta =-1$, i.e. along the negative part of
$z$-axis.  Under this condition the control beam should also be zero along the
negative part of $z$-axis, so the adiabatic condition
(\ref{condition-adiabatic}) is violated there.  Similar conclusions can be
reached if the control beam has OAM.

In this way the effective field of a magnetic monopole cannot be created in the
whole space, i.e. the effective field differs from the field of a monopole in
the vicinity of the negative (or positive) part of the $z$-axis.  This
conclusion is valid even if the singularity of the potential is eliminated
\cite{Sun04}, since the intensities of the beams remain of the same form using
such a procedure.  It should be noted that a posibilitiy of creating the field
of a magnetic monopole can be improved applying a more complex scheme where
three laser beams act resonantly on four-level atoms in the tripod configuration
\cite{prl-nonabelian}.

\section{\label{sec:concl}Conclusions}

In this paper we have studied the effects of using probe and control beams with
orbital angular momentum in an EIT configuration. The nontrivial phase and
intensity of the incident light beams gives rise to effective magnetic vector
potentials and trapping potentials for the atoms. The theory holds for both
fermions and bosons where the effects from collisional interactions can be
readily included \cite{pra05}. Recent advances in spatial light modulator
technology enables us to consider rather exotic light beams \cite{mcgloin03}.
Indeed one of the advantages of using light to create the effective vector
potential, and consequently an effective magnetic field, is the freedom to
choose almost any spatially dependent effective magnetic field, as long as the
corresponding light fields obey Maxwell's equations. This means we have complete
freedom to choose the effective magnetic field in a two-dimensional geometry,
but we can also control the effective field in three dimensions.  Shaping light
beams in three dimensions is more difficult but certainly not impossible
\cite{whyte05}. We have analysed different cases where the radial dependence of
the magnetic fields was exploited. In particular the homogenous magnetic field
in a ring geometry and magnetic fields using Bessel beams were studied.

An effective magnetic field acting on an atomic quantum gas offers some truly
remarkable possibilities. We are now in a position to study magnetic effects
encountered in solid state situations with electrons. The effective magnetic
field can also be applied to investigate other intriguing phenomena which
intrinsically depend on the magnetic field.  For instance, the properties of a
gas described by a single completely filled Landau level can now be explored
using a cold gas of electrically neutral atomic fermions \cite{pra-hall}. In
addition, if the collisional interaction between the atoms is taken into
account, we can study the magnetic properties of a superfluid atomic Fermi gas
\cite{zwierlein03,regal04,salomon04,zwierlein05} where insight into the BCS-BEC
crossover regime could be gained.

\ack

This work was supported by the Royal Society of Edinburgh, the Alexander von
Humboldt Foundation and the Marie-Curie Trainings-site at the University of
Kaiserslautern. Helpful discussions with M. Fleischhauer are gratefully
acknowledged.

\section*{References}

redpajama_set_name: RedPajamaArXiv


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'Game of Thrones' has been the target of hackers, who have stolen 1.5 terabytes of HBO's data. The stolen data includes entire episodes of HBO series, cast members' personal information, and scripts.
Nikolaj Coster-Waldau, who plays Jaimer Lannister in the hit HBO series has a suggestion for the company in the wake of recent hacking scandals. What is it?
Just give us the hard copies instead of all this email and digital stuff.
I think that's what's going to happen in a few years' time, because you know, you talk to cops on the street, 'What's the biggest crime now?' It's all credit card fraud. It's all that stuff. It's digital. So we got to go back to cash.
As it stands, this is merely a suggestion and there is no indication that HBO plans to regress to hard copy any time soon.
The show has recently drawn criticism from the online community as well as high profile actors such as John Boyega for its lack of diversity. In previous seasons, some have also criticized the show for what some see as excessive and unnecessary amounts of sexual violence and violence against women.
However, despite the criticism and the leaks, 'Game of Thrones' continues to surge in popularity. It even broke its own ratings record with 'Spoils of War,' which attracted 10.2 million viewers.
Did You Catch This Harry Potter Reference in Game of Thrones?


text:
В групата съм () е комедиен сериал на Disney XD.

Излъчване

Сюжет
Трип Кембъл спечелва вечеря с любимата си група "Iron Weasel" и успява да се сдобие с мястото на водещ китарист в групата. Разведената му майка се съгласява тримата членове на групата да останат да живеят в тяхната къща, като се надява, че ще му бъдат модели за подражание. Но те всъщност се оказват безгрижни, мързеливи и откачени рокери. Съжителството с тях значи пълен купон, но понякога води до доста неприятности.

Герои

Главни
 Трип Кембъл – 15-годишно момче, което винаги е мечтало да се присъедни към рок банда. След като се запознава с членовете на "Iron Weasel", той успява да ги убеди да го вземат за водеща китара в групата им. Той е най-малкият от цялата група, но е и най-умният. Трип е този, който обикновено разрешава проблемите на групата. Когато е ядосан често свири на китара. Трип харесва различни момичета. Алергичен е към фъстъци.

 Дерек Джупитър – британец. Наперен, често егоист, но много чаровен. Той е вокалиста на "Iron Weasel". Дерек е добър магьосник и говори испански. Той е най-високият в групата. Често причинява повечето проблеми на групата. Трип го определя като душата на групата. Има мотор, който е потрошен от Трип. Често казва оптимистично "едва ли е някой забелязал...".

 Аш – симпатичния барабанист, който често е определян за най-глупавия член на групата. Той е смешен и глупав, без да го осъзнава. Имал е две рибки Суши и Суши 2, но Бъргър убил и двете без да иска с ток от бас китарата. Знае някой любопитни факти. Пищи като момиче. Използва четири различни гела за да поддържа косата си. Често сънува барабани на сън.

 Бъргър Пит – обичащ храна бас китарист на Iron Weasel. Той е най-откачения в групата. Има наднормено тегло и отвратителни навици, включително ядене на червеи. Изпитва наслада от физически действия като това да троши бас китарите си или да си удря главата в стената. Лакира си ноктите в черно. Влюбен е в майката на Трип.

 Изи Фуентес – една от най-близките приятели на Трип. Тя е голяма фенка Iron Weasel както и на други рок групи. Тя също така е амбициозна певица и неведнъж е опитвала да стане бек вокалистка на Iron Weasel. Тя не знае какво е да погаждаш номера. Тя събира щури сувенири от известните рок звезди (например Дерек: нокът, Бъргър: не доядена храна, Аш: косъм от косата му).

Второстепенни
 Бет Кембъл – майката на Трип. Обича и подкрепя сина си във всяко начинание, но с идването на "Iron Weasel" всичко се променя. Съгласява се членовете на групата да живеят в къщата ѝ, като модели за подражание.

 Корнелиус Стрикланд – директорът на гимназията в която учи Трип. Не харесва "Iron Weasel" от които се отвращава всеки път, не обича учениците да правят пакости в училището. Във втори сезон е заменен от Морис Джънкинс.

 Джаред – приятел на Трип и Изи. Изперкал, изключително умен и странен. Крещи като момиче когато се изплаши. Влюбен е в домакинката на гимназията.

 Ернесто Силнесто – кечист и бивш асистент на "Iron Weasel". По време на един концерт на групата решава да предложи брак на приятелката си Джули, Iron Weasel го унижават пред всички след като му свалят панталоните. След този случай се заканва да отмъсти на групата за стореното, но бива арестуван след като се опитва да ги нападне.

 Чарлз "Чъки" Албъртсън – доведен син на Саймън Крейг. Мрази "Iron Weasel" наричайки го Чъки, дори изпада в диви истерии, след като някой го нарече така.

 Саймън Крейг – мениджър на "Iron Weasel" и пастрок на Чарлз.

 Морис Джънкинс – директорът на гимназията във втори сезон. Не харесва Трип и го притеснява флиртуването с дъщеря му Джия.

 Брайс Джонсън – умен, красив и богат младеж. Капитан на училищния отбор по баскетбол. Не харесва Трип, след като открадва първата му любов в детската градина и гаджето му Лана на два пъти.

 Арлийн Рока – досадната съученичка на Трип. Има голямо, но и донякъде страховито влюбване в него. Имала е котка на име Хип-хоп и има костенурка на име Джаз. Баща ѝ Бари е музикален продуцент.

 Бари Рока – музикален продуцент и баща на Арлийн. Харесва "Iron Weasel" и се опитва да направи рекордна сделка с тях, но не успява.

 Лана – нелепато, материалистично момиче и гадже на Брайс Джонсън. Зарязва Трип два пъти – първия път заради групата и втория защото не е богат.

 Нана – бабата на Трип.

 Метъл Улф – рок група и съперници на "Iron Weasel". Не харесват музиката си и правят всичко за пари.

В България
В България сериалът се излъчва от 17 юли 2010 г. по Disney Channel всеки делник. От 5 юли 2011 започва излъчване на втори сезон във вторник от 18:00 часа и събота и неделя от 12:30 часа. Дублажът е синхронен и е на студио Доли. Ролите се озвучават от Мариан Бачев, Ненчо Балабанов, Георги Тодоров, Владимир Пенев, Лина Шишкова, Ирина Маринова, Адриана Андреева, Емил Емилов, Петър Бонев и други.

Външни препратки
 Официален сайт

Американски сериали
Детски сериали
Сериали на Дисни
Предавания на Disney XD

redpajama_set_name: RedPajamaWikipedia


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William Tyson, formerly of Cecil County, Maryland, purchased a large tract of land from A. Lawrence Foster in 1852 at the intersection of Route 7 (Leesburg Turnpike) and Route 123 (Chain Bridge Road) in what was then Peach Grove, VA, a farming community in Fairfax County. Tyson became Postmaster of the Peach Grove post office in 1854, a position he held until 1866. After the Civil War ended in 1865, Peach Grove was renamed Tysons Crossroads, and later Tysons Corner, a location destined to play an indispensable role in Fairfax County history.
John Roll McLean was the publisher and owner of The Washington Post who, along with fellow investor Senator Stephen B. Elkins of West Virginia, launched an electrified railroad in 1906 called the Great Falls and Old Dominion line linking bustling Washington, D.C. to rural Fairfax County, VA. The railroad originated in Georgetown and traveled northwest through the scenic orchards, farmland and forests of Arlington and Fairfax counties along today's Old Dominion Drive. At the end of the line in Great Falls, VA, they constructed an amusement park to the delight of their many passengers. At that time, electric trolleys were the main form of commuter transportation, fueling economic growth everywhere they traveled.
One trolley stop was named after John Roll McLean himself, as was the new village which formed around it in 1910—McLean, VA, right next door to Tysons Corner. That year, the Storm family opened a general store at the McLean stop on Elm Street and Chain Bridge Road, which became a hub of activity. For lack of their own railway stations, two neighboring communities, Langley and Lewinsville, situated on opposite sides of the new railroad, closed their post offices and merged with the new McLean post office next to the general store, which put the village of McLean—and future home of The Commons of McLean—on the map.
Until the mid 1950s, Tysons Corner remained a quiet farming community centered around a general store called the Crossroads Market at the intersection of Routes 7 and 123. But big changes were foreshadowed in 1955 by the start of construction on the transformative Capital Beltway which made its way through Tysons Corner and brought economic progress along with it. Adding momentum, in 1958, President Dwight Eisenhower selected a site for Dulles International Airport on the western Fairfax County border, requiring construction of the Dulles Access Road, another large thoroughfare, running between Tysons Corner and McLean, setting the stage for far-reaching growth in the decades ahead. From 1950 to 1960 alone, Fairfax County's population tripled.
Gerald T. Halpin, a former Atlantic Research Corp. executive, who would one day become the foremost landowner in Tysons Corner, and Col. Rudolph G. Seeley, a like-minded local resident and investor, combined their land holdings, which included the well-known Storm and Ulfelder-Seeley family dairy farms. They recognized the huge potential their proximity to the Beltway and the Dulles Access Road offered and conceived a plan to transform their farmland into a novel research and industrial office park with nearby homes and stores for its employees. In 1962, with two additional partners, they formed the real estate firm Westgate, and thus began their pioneering role in the development boom coming to Tysons Corner.
In 1962, Halpin and Seeley's vision coincided with two powerful sources of Tysons' initial expansion. In the retail sector, Fairfax County rezoned a parcel of land between Routes 7 and 123 and the Beltway and approved construction of a $20 million dollar shopping center which was destined to put Tysons Corner on the metropolitan map. And, in the defense sector, the U.S. Government completed construction of the Central Intelligence Agency headquarters in Langley (long a part of McLean), ushering in a prosperous period of Cold War funding that fueled further defense and technology-related economic development in Fairfax County.
In 1964, Westgate hired famed and prolific Washington, D.C.-based architect Charles M. Goodman to design a master site plan for Westgate Research Park on Colshire Drive in McLean, the first office park in the Washington D.C. area. It would eventually grow to 268 acres and serve as headquarters for many national corporations, amongst them a striking Goodman building originally occupied by aerospace corporation TRW, now by Northrop Grumman. With the foresight to place Goodman at the design helm, so began a fruitful relationship which would address the commercial, and a year later, the residential needs of the burgeoning communities of Tysons Corner and McLean.
Goodman's next project for Westgate was The Commons of McLean, with initial design plans approved by Fairfax County in December of 1965. Construction commenced in early 1966 on this 38-acre development (adjacent to the Westgate Research Park) which was to include garden apartments and townhouses, with rents ranging from $135 to $325 a month. Phase 1 was completed by December 1966. The following year it won 1st prize in the garden apartment category from the Northern Virginia Builders Association. The townhouses were completed first in October 1966, with Goodman making his trademark full use of the lush, natural setting.
Tysons Corner Center opened on July 25, 1968 on Route 123 (Chain Bridge Road), near the original crossroads with Route 7. At that time, it was one of the country's largest enclosed shopping malls, attracting shoppers from well beyond Fairfax County. The original stores, including anchor department stores Hechts, Lansburgh's, and Woodward & Lothrop, soon numbered over 100. By 1976, with the addition of Bloomingdale's, it became the region's destination of choice for the sophisticated shopper. Tysons Corner was a sleepy country crossroads no more!
Today, Tysons Corner, or simply Tysons as it is now known, is the economic engine of Fairfax County. It has grown tremendously since its rural days, becoming more vibrant with each passing decade. Now, the transition from an auto-dependent office suburb to a pedestrian-friendly urban center is well underway. Home to the corporate headquarters of Hilton Worldwide, MITRE Corporation, USA Today and many other top companies, it is also fast becoming a place where more and more people will enjoy living as well as working. And shopping...ask the 55,000 shoppers who already come to Tysons every day!
Ideally located by the new Tysons McLean Metro Station, the reimagined Commons marks Tysons' transformation into an urban community for the 21st century and beyond. Charles M. Goodman's enduring legacy has greatly inspired this new community, and will forever be honored via architectural elements, historic markers, a central public plaza and abundant park space. Fairfax County's bold vision and Goodman's timeless style are launching The Commons and all of Tysons into a breathtaking future!


text:
The Effect
National Theatre, South Bank, London in a co-production with Headlong presents the World Premiere of THE EFFECT by Lucy Prebble in the Cottesloe Theatre.
I saw this production in London, in early January, 2013.
THE EFFECT by Lucy Prebble is a co-production between the National Theatre (NT) and Headlong. This play is the follow-on of the partnership between Ms Prebble and the director Rupert Goold of the Headlong company, that created and presented ENRON, firstly at the Chichester Festival and then on transfer to the Royal Court Jerwood Downstairs Theatre and, subsequently,to the Noel Coward Theatre, in the West End, in 2009. I saw ENRON, in the ill-fated production on Broadway, in 2010.
Depression is the flaw in love. To be creatures who love, we must be creatures who can despair at what we lose, and depression is the mechanism of that despair
-Andrew Solomon, from The Noonday Demon, 2001.
THE EFFECT is a play for four actors and is set in a research facility for a large pharmaceutical company studying the efficacy of a new drug regime in pursuit of relief for depression. Two volunteers, who are being paid to do so, two Triallists, not known to be sufferers of depression, Connie (Billie Piper) and Tristan (Jonjo O'Neil) meet over the first exchange of their urine to the Doctors. They begin the trial and are measured closely, with brain scans etc for the benefits of the drug-given regime, as it escalates and processes over the time of the research. The rules for the trial are strict but these two, whether it be because of the drugs or not, find themselves in a burgeoning affair, catapulted into sexual intercourse after a tap-dancing wooer seduces all, to the tune "I've Got You Under My Skin". Both of these volunteers have emotional baggage and history - she, a part-time psychology student with a teetering outside relationship; he, a free wheeling wastrel not anchored by any firm view for his life's future. What complicates the matter is that Connie suspects that one of them may be on a placebo, and as they try to ascertain as to whether their 'love' for each other is the result of the drugs or otherwise, strain and paranoia sets in: to darkening abysses of hell!
In classical times, when such things were properly understood, Eros was considered a god whose divinity transcended our human limits, and who therefore could be neither comprehended nor represented in any way. I might, as many before me have attempted to do, venture an approach to this daimon, whose range of activity extends from the endless spaces of the heavens to the dark abysses of hell; but I falter before the task of finding the language which might adequately express the incalculable paradoxes of love.
- Carl Jung.
Supervising the trial is a psychiatrist, Doctor James (Anastasia Hille), employed and directed by another doctor, Toby (Tom Goodman-Hill), representative of the pharmaceutical company undertaking the trial. The complication here is that, once, upon a time, not to distant, these two met at a convention and had a love affair, and we learn that Dr James, is herself susceptible to episodes of depression. Her last bout may have being triggered with the breakdown of their relationship.
Love is merely a madness; and, I tell you, deserves as well as a dark horse and a whip as madmen do; and the reason why they are not so punish'd and cured is that the lunacy is so ordinary that the whippers are in love too.
Shakespeare, AS YOU LIKE IT.
The play tackles some big subjects: love; the role of placebos in medicine; the ethics around research been done by commercially biased interests and their ability to read the results accurately, objectively; when reading the scientific-babble, neuroscience literature about the brain, contemporaneously - just how much do the scientists really know of it? how much should we believe "the junk enlightenment of the popular brain industry"? ; whether depression is reaching epidemic status and is simply a chemical imbalance in the brain which the pharmaceutical companies can relieve; or, more simply that depression is a normal, natural state that the super sensitive have always experienced - a natural part of the human condition rather than illness, and that neuroscience does not have the right to be the ultimate arbiter of any human activity; if pain can be relieved, should medication be a safety valve to be able to endure, accepting that it cannot cure, rather just dulling, temporarily the symptoms?; are the after effects worth the risks?
So, here we have two love stories wrapped within a big contemporary debate on issues of great import. Here is an example of the kind of writing that I find so rarely in Australian playscripts. Particularly, of late. Big ideas entwined in an ordinary rom-com mode. Serious, romantic, comic and tragic. Challenging. Intelligent. Researched!
Rupert Goold (we have seen some of his work: SIX CHARACTERS IN SEARCH OF AN AUTHOR) has directed this work in the round in the Cottesloe Theatre, with an immersive set, by Miriam Buether (the second set of her's I have seen in this visit: IN THE REPUBLIC OF HAPPINESS, at the Royal Court, being the other), the audience sitting as if in the waiting room of the clinic, surrounding the actors and their spaces, with some projection design to enhance the science and its explications - not too much - on the surrounding walls and floor, with lighting by Jon Clark and music by Sarah Angliss and sound design by Christoher Shutt.
The performances are gripping and in this small space totally enveloping, Ms Piper and Mr O'Neill travelling through the travails of 'love' and its consequences, and Mr Goodman-Hill anchoring the debate for commercial science balancing the love debris with Anastasia Hille's remarkably detailed and ultimately, dreadfully moving Dr James, from objective clinician to fragile depressant to surrendering survivor. Ms Hille's work is amazing, surrounded by an ensemble of near flawless immersion and support.
The little we know about love does not transcend simple observation, and the little we write about it has been written better by poets and novelists. But of greater concern is the fact that psychologists tend to give progressively less attention to a motive which pervades our entire lives. Psychologists, at least psychologists who write textbooks, not only show no interest in the origin and development of love or affection, but they seem to be unaware of its very existence."
- Harry Harlow, American psychologist, 1958.
One can only hope that Sydney gets to see this play, sooner, rather than, later. Lucy Prebbles a writer of some skill and importance. THE SUGAR SYNDROME, ENRON , THE EFFECT. What's next?
P.S. ENRON is to be seen at the New Theatre in the coming months. It is a mammoth undertaking and I wish that company the best, but, like the New Theatre's artistic management, I agree, it is too important a play not to be seen in Sydney. Too big, I guess for the Sydney Theatre Company or Belvoir and their budgets?
Posted by Editor at 12:08 AM
Labels: Anastasia Hille, Billie Piper, Christoher Shutt, Headlong, Jonjo O'Neil, Lucy Prebble, Miriam Buether, National Theatre, Rupert Goold, Tom Goodman-Hill
That Guy said...
You're developing a somewhat pointed tone towards Belvoir and the STC. For better or worse (and I'd say, mostly for better), the local companies have moved away from just doing a photostat of what the West End and Broadway did last year (to pick examples - Neil Armfield's last season had its weakest point with the two UK imports, "That Face" and "The Power of Yes", and its strongest with classics and new plays ("Measure for Measure", "Diary of a Madman", "Forget Me Not" and "Namitjira"). Sydney Theatre Company has 5 new Australian Plays and 5 classics to go in their current season (plus one import, "One Man Two Govenors" ... the STC approach seems to be that New British or American Plays come in with their original production attached (e.g. The History Boys, August: Osage County or One Man Two Govenors), rather than trying to badly recreate something that worked elsewhere).
And it it is a Good Thing that Australian Theatre is genuinely Australian, and not the photocopies you seem to long for.
How about Too English for Belvoir and STC and their managements?
You seem to have a great problem with Australian Theatre being allowed to be genuinely Australian, rather than just a photocopy of what was on the West End and Broadway. The truth is that's not the reason for the state theatre companies and that's never been what they've been good at, with very rare exceptions.
To pick two examples - Belvoir in Neil Armfield's final season had it's greatest flops with the two fresh-from-the-UK plays (That Face and The Power of Yes) and its greatest successes with Australian Plays and Classics (Forget Me Not, Measure for Measure, Namitjira and The Diary of a Madman). STC currently
STC has 5 australian Plays and 5 classics to go this season (with one import, and in this case it's genuinely an import, bringing the originating company over to do it) - and that seems to be the STC method these days that works best, actually bringing the production along with them (History Boys and August Osage County certainly suggest this is the best approach, rather than trying to do a pale Australian imitation).
I understand you want a photostat theatre in which Australian directors and performers are required to imitate something that was a hit overseas. But that's not something that works with Australian audiences and it isn't something that really leads to us having our own theatre - it just leads to us being a regional outlet of Theatre Inc, serving up half-sized imitations.
Kevin Jackson said...
Hi That Guy,
Thanks for your early morning comment.
I don't know whether my tone is pointed or not, but I do believe that the Sydney Theatre Company and Belvoir, our two largest, and maybe best subsidised companies, have a responsibility to present the best quality work available for the audiences, subscribers, regular theatre goers or the occasional visitor to see.
I think that the works we see should be a mix of the Classic, the best International Contemporary and the best Contemporary Australian work as well. The best of their kinds. There are, of course, only so many plays that can be produced a year - the curating opportunities, then, is finite in number.
I am particularly interested in two kinds of plays. Good plays that are contemporaneously relevant and assist me to understand the world I live in. For example, THE POWER OF YES or ENRON or THE EFFECT or SILENT DISCO. In other words provocative texts of social relevance. And plays that exhibit outstanding playwriting qualities - particularly language. For example, of late, THE MOTHERF**KER WITH A HAT, GLENGARRY GLEN ROSS, TRUCK STOP. ONE MAN, TWO GUVNORS. It should be noted that these plays exhibit in my experience both properties. Indeed, if the plays have both qualities then all the better.
In my history of theatre going I have never known any of the Sydney Companies to do a 'photostat' of the West End or Broadway seasons, it would be impossible to do that, as there are so many more productions collectively and even singularly in each of those places than was ever possible to present here. Even the Old Tote season tended to choose maybe 3 Classics, 3 International Contemporary and 3 or more Australian works. So it is wrong of you to think it is a recent move. It seems to me that might be the 'rough' plan for the STC, now?
My observation is that the Melbourne Theatre Company (MTC) seems to keep much more actively abreast of the better International writing and present a repertoire of more challenging works - it is a subjective point-of-view. The MTC even went so far as to give Australian artists the opportunity to solve two quite interesting plays that the Sydney Theatre Company presented with overseas companies: THE HISTORY BOYS and AUGUST: OSAGE COUNTY. I enjoyed the two companies that presented in Sydney from overseas, but wondered what the Australian artists had brought to the playwright. Certainly, those Australian artists, probably enjoyed the challenge and benefited from those opportunities. I do not believe from what friends have told me that the Melbourne productions of the two mentioned plays were 'badly created' in their 'trying' of something that worked well elsewhere.
I managed to see THE POWER OF YES both in London at the National Theatre and Belvoir in Sydney. The productions were different, principally because of the kind of stage and scale of the venue the work was presented in, and the size of the budget. You felt the Belvoir production was 'a flop', I disagree. I was pleased to see the Australian take on the play made by Mr Strong and his artists, as different as it might have been, to the English company, as it was. It was a great opportunity to see Australian artists allowed to be genuinely Australian in dealing with the play for us. It was no problem for me I can assure you. (They did use the text as written, as well.)
I do not believe that either, THAT FACE or THE POWER OF YES were too English - the latter, particularly world relevant indeed. The GFC and its consequences has affected us all and still does. ENRON is a powerful play that corporations would rather it did not exist. Not only is it wonderfully, theatrically conceived but it is also very, very, informative for a lay person like myself to learn in such an erudite way as to how that disaster was allowed to be. The scale of the production was,maybe, forbidding for the Sydney Theatre Company? THE EFFECT is not, and so I live in hope, for Lucy Prebbles is a playwright all interested theatre goers should know.
It is interesting that Belvoir, it seems had commissioned Lally Katz to write a work concerning the GFC, and instead we have her raconteur's journey looking for a mystic to tell her future instead - I understand, well done , but hardly of real social interest. Was Ms Katz the right person to commission for that task in the first place? I have not read any of her work that would suggest that is where interests lie as a writer. Was she somebody's friend who cbelieved in her capacity to stretch her vision? I remember the STC commissioning a project called MONEY SHOTS which, like wise was to talk about the GFC and didn't. The Australian writer has failed to talk about it at all, and yet I am suffering because of it on a daily basis, as is the International world. Rather glad that I had the opportunity to see THE POWER OF YES and ENRON. I will be glad to see ENRON again, despite the misgivings of the lack of budget that the New Theatre will have to do such a work, well. The text is mightily important and the Australian audience should be in on the debate from an eductaed place, don't you think?
You are wrong to project your "understanding" of me that I want "a photostat theatre in which Australian directors and performers are required to imitate something that was a hit overseas."
I am an artist, too, I have a sense of what we are all trying to do.
To begin with any artist practicing in Australia , who was something more than a puppet or automaton, could not photostat or duplicate the original English or American production, simply, to begin with, because they live in Australia and are Australian. To own the text, any text they have to relate, personalise it from themselves to tell a truth From their Australianess, their organic self. Our job is to fit that Australianess, all of it, respectfully into the container of the writer's world. - vocabulary, syntax dialect, given circumstances of the origin of the material and all!
…I was fortunate to be a member of the Sydney Theatre Company's production of THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY. An English play that we Australian artists created from our Australian personalisations. It was a tremendous success -critically, artistically and financially.
We did believe that we had done the playwright honour by 'reading' his demands accurately. We also believed that we were faithful to re-creating Dicken's mid-19th Century English characters from a wide variety of classes and localities.
Several months after the end of the STC production a group of us watched the Royal Shakespeare Company's production on video, of the same play. What struck us was the amazing difference of interpretations we had all bought to our work to that of the English company.
Speaking, personally, I had created characters based on my own first hand Australian knowledge of the source material and my reading of history, and what struck me was that a major difference to my work, our work, was that we were playing caricatures of the English 'types' , I was mightily inspired, especially by the David Lean Dickensian films, and other Hollywood versions, usually played by English ex-patriot actors. I was an Anglo-irish Australian actor looking at these English 'dudes', based on Dicken's novel, these ex-gaol keepers of my ancestors ,and coming up with what fitted my truths that I felt the audience could believe and have acces too, to have a good time with this play. In contrast, the English Company were creating the world of their great-great grandparents - they saw them as flesh and blood,relatives, I saw them as exaggerations of a culture, ripe for exposure.
Our set was different, our staging was different, our costumes were different, our acting was different, because we were Australians together telling this story with all our knowledge and skills.
The production was faithful to the writer and yet was enormously different. WE DID NOT NEED TO RE-WRITE THE TEXT, OR IGNORE THE WRITER'S WORK TO PRODUCE A HIGHLY SUCCESSFUL AUSTRALIAN PRODUCTION OF THIS PLAY. WE DID NOT IMITATE OR PHOTOSTAT THE RSC PRODUCTION.
If the Australian artist is imitating the overseas production then he or she are not an artist. It is, at any rate, an impossible thing to do. You are too simplistic in what you understand the artist does to create for the theatre.
My major criticism is that the Australian auteurs do not respect the writer's contribution -they run roughshod over the writer's work. To not to attempt to honestly wrestle with the demands of that writer is to avoid and reduce that writer to a lesser stratum.
My principal bug bear is that the writer is the source of all our work and our job (even legally, according to COPYWRIGHT laws) is to attempt to create what the writer intended, with all the resources we have available, not dismantle the source material. As with my above example, it will be always Australian, we will 'manipulate' it from our lives, our Australian lives. Even my American accent will be through an Australian filter. It is Australian because we are Australian.
Further points bubbling up in me:
How much of the subsidy given to the major companies is actually spent on the artists?
How much goes to paying the wages of the administration of the companies?
Slash the infra-structure and employ artists- a solution?
Are the wages of the artists, usually in casual contracted states, fair in relation to workers in full time work positions in the administration?
The STC has 3 actors on stage in their venue at the moment. One is from Sydney. What happens to the rest of us?
Can we afford to work in this industry?
One does know, doesn't one, that the lively Independent scene in Sydney is hardly if ever receiving wages. Is that well known?
I am simply at advocate for my self and my fellow artists. I have never begun these conversations. The Companies do when they present the season and deliver the work. I pay to see it (mostly) and these are my concerns.
This is an International culture now. The high tech age gives us the opportunity to see the NT and other International Companies (The MET at the Opera) and their work at a very regular rate now.
It is very sad to see some 15 or 18 actors taking a curtain call at the end of the broadcast of PEOPLE by Alan Bennett and know, down at our major house, the STC, we have 3 actors bowing and a whole co-hort of English actors in the National Theatre production of ONE MAN, TWO GUVNORS, DON'T YOU THINK? across the road.
By the way THat GUy, I do believe that PEOPLE is too English. for our company to do. However, have you seen the response to that piece of Englishness from the general public. EXTRA SCREENINGS.!!!! Mr Bennett is a good writer - not my favourite - but a GREAT writer. Should we not see his work.
Thank WORKHORSE THEATRE COMPANY now at the Tap Gallery and go and see a writer that we would not otherwise see in this city. This theatre holds 80 (?) people, how many more theatregoers would love and benefit from seeing this very good American play?
First of all - apologies for the double post - I was under the impression my first post hadn't gone throuhg, hence the virtual rewrite of the same point twice.
Second - The STC actually has 9 australian actors in two different australian plays at the moment (Fury is at Wharf 1 with a cast of 7, Dance Better at Parties in at Wharf 2 with a cast of 2). I don't know where you got the number of 3 actors from.
The NT live approach seems to me to indicate that the STC is taking the right approach with this - why import this stuff that audiences can see the original production of perfectly well anyway (the case of "one Man two Governors" befuddles me, because many of the people seeing seem to have already seen the NT Live version - in effect, they're going to see the same thing all over again, just live this time, and paying up to $105 for the privelege...)
I think it's widely known that the independant scene works on passion, not money. And 'twas ever thus. Co-operatives, independant theatre, amateur, whatever you want to call it, there's always been more people willing to do theatre at low/nil wages and more opportunity for them to do so than there has been paying work.
I see the vast list of employees in the programs of the STC and Belvoir, but what I don't see is who's working there full-and-part time - I don't see who's being paid what and whether those moneys can be spent better elsewhere. Can you say hand on your heart that you know money is being wasted?
As for "The Power of Yes" and other possible plays about the Global Financial Crisis - the big revelation of The Power of Yes was that much of it was due to horrendous trading practices by financial institutions. Practices that are, and always have been, illegal in Australia. So we never had a bank even close to collapsing in the way the US or the UK frequently did at the hight of the GFC.
It's difficult to write a drama about a crisis that never happened. Quite possibly impossible. So... while it was nice to know about the crisis that was going on overseas ... it kinda felt like watching a drama about the battles between Tony Blair and Gordon Brown, or about David Cameron's big-society conservatism. It didn't say anything about what happened in Australia because ... in actual fact, none of this DID happen in Australia. We got away clean. Which is why, presumably, Lally Katz decided to write something else. You can't write a play about a drama that doesn't exist.
I'm intrigued to notice, though, that the one Australian writer who is writing about a topic of urgent attention and political moment is David Williamson, with his upcoming play about Rupert Murdoch (I'm simultaneously surprised nobody else has tried to write a play about him before, and surprised that Williamson thinks he'll be able to avoid an injunction for libel...) Sorta fascinating.
Intriguingly, the writer for Motherf**ker with the Hat has made known his issues with productions of his play that used Caucasian Actors instead of hispanic actors in the roles. Did the Workhouse use hispanic actors, or did they disrespect the author's stated intentions?
Oh, and the article I'm referring to where Stephen Adley Gurgis raises this issue is at http://artsbeat.blogs.nytimes.com/2011/12/09/theater-talkback-diminishing-the-hat-about-that-casting-controversy/
Thanks, 9 actors, still doesn't cover the numbers taking Australian actors jobs over at ONE MAN, TWO GUVNORS or AUGUST:OSAGE COUNTY and THE HISTORY BOYS in Sydney, in their time. If you didn't import those actors you would have to employ some Australian actors to fill the repertoire holes. Australian artists, at least at work, developing their skills and been paid - a good thing even if they are simply doing pale imitations and/or duplicating or photostating other's creations.
By the way, not many people I know saw the NT broadcast of the show, and the cast in Australia is a completely different cast to the one broadcast.
To think that the International Financial Crisis has not affected yourself and this nation, is not to live in Sydney and realise the inflationary cost of living here, to now be the most expensive city to live in in the world, has not a cause and affect beyond these shores. Maybe part of the nation's budgetary crisis which is now beginning to be public as an election time arrives ,has something to do with a world picture of monetary pressures., caused by illegal, thouh foreign sources. I know that I am being directly affected by recent world events that reach back over years. Like you I would like to think that "we got clean away". Unlike you I am a little more cynical and nervous about it all than that.
I have no idea if my money is being wasted,at the subsidised companies, hand on heart, but I would like to be re-assured. I do not know many actors or other artists who have had the opportunity to have holiday pay or any of the benefits of constant employment etc.
Because most of the artists have to work to keep their skills and industry alive for no money, and have always done so beyond the 9 at the STC does not make it a good thing to be happening does it?
I wonder why both companies then, commissioned projects about a non-existent GFC? Strange. Makes you worry about the financial management doesn't it if they are commissioning frivilous ideas? Projects about a non-existent crisis. Hmmm. What a waste.
interesting that the STC did not take on the David Willliamson play, rather ONE MAN, TWO GUVNORS into the subscription season is a better bet. I guess those Australian artists in the MTC from Mr Williamson down are a doubtful commodity to invest in in Sydney.
Maybe the Australian cast of MOTHERF**KER had permission from the writer, I don't know, do you? his representatives have given permission, it seems.
Part of the inflatiory pressures that have made Sydney more expensive than many other cities is BECAUSE we didn't have a financial collapse. The alternative is what happened in many American cities, with a collapse in the housing market and severe deflation in many countries.
It's weird that nearly every review I've seen of "One Man Two Govenors" compares it to the NT Live broadcast if, as you say, "not many people saw it".
There are obviously more than 9 artists employed at the STC - there are 9 actors in two different shows, but there's also australian directors, lighting designers, sound designers, set designers, constumers, prop makers, stage crew as well as two writers on those two shows. Or are these people not artists because they're not on view at the moment?
Also, given there are, of course, at least three other professional fully-paid companies I can think of around town apart from the STC (Belvoir, Ensemble and Griffin), plus professional productions of War Horse and The Addams Family playing elsewhere, all of which are ALSO paying actors, crew, costumers etc... you get the picture. There are rather more than 9 australian jobs out there.
Companies commission plays about contempoarary issues well before they are going to be performed. And the implications of the issue and what they're going to affect change with time. And the important thing is, again, they paid artists to go out and investigate and come back with what they found. They didn't reject it with "this does not meet with our requirements", they paid australian artists. You can't say on the one hand they're not supporting australian artists, and then say "They are and they're not cracking down on them when their muse leads them somewhere else".
You're right, the STC did not take on the Williamson play. Instead, they took on EIGHT other Australian plays for 2013. In the same time period, the MTC has taken on four. And is importing the same British actors rather than using Australian ones for "one Man Two Govs".
Tell me why the MTC model is superior.
could be that the major theatre companies won't touch the GFC or plays like Enron because they are sponsored by banks?
besides there's few playwrights or theatre-makers in Australia who have any understanding of business or macro-economics. anyone who's *established* in the industry has made their focus of study the performing arts, as is required to get anywhere, go straight to acting school, maybe an internship in a theatre, then work yourself to the bone in the unpaid sector.
Talented as they are I wouldn't trust most theatre-makers with a serious analysis of international politics either. (I studied it for five years and it almost destroyed me).
PS - that guy...
what is "genuinely Australian" please? i've no idea what that means.
I admit the term "genuinely Australian" plays as a tad chauvanistic or nationalsitic... but ... okay, maybe a better term is "genuinely live theatre", as compared to "dead theatre", or "Deadly theatre". Theatre that is being done because it means something here, now, to this audience, not because it was a hit in the US or on Broadway. An example of the kind of thing I'm talking about might be the Sydney Theatre company of the early-mid-nineties, where such bland works as "The Sisters Rosenweig" or "Gift Of the Gorgon" took up stage space for no particularly good reason. They were productions with Australian actors, but they said nothing to an Australian Audience apart from "gosh, overseas writing is looking dodgy these days".
The Motherf**cker With The Hat
Arvo Pärt: A Sacred Journey
Lenny Bruce: 13 Daze Un-Dug in Sydney 1962
The Political Hearts of Children
One Scientific Mystery or Why Did the Aborigines E...
Girl in Tan Boots
Variations - The Musical

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