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Kali aluminium silikate mineral leucite is a component of odotic porcelain. Porcelain is used in stomatology, producing unnatural teeth and renewing tooth structure. Purpose of this work was to get leucite by crystallizing modified alumosilicate glasses and by synthesizing kaolin in a high temperature. In synthesis of glasses were used these compounds: SiO2, AI2O3, K2CO3, CaCO3, TiO2, ZnO, Li2CO3, Na2CO3. Getting leucite from kaolin, as stock was used: kaolin, Al2(SO4)3, K2SO4. Crystallization of glasses was processed in 900˚C - 1100˚C and the time of exposition was from 2 till 15 hours.

Understanding the relationship between the structure of materials and their properties allows for the development of new applications and technologies. Here the relationship between local structure and optical properties in several binary oxide glass systems containing zinc oxide was examined, in particular the relationship between structure, applied stress and induced birefringence in a glass. The empirical model introduced by Zwanziger and co-workers posits a negative correlation between the ratio of the bond length to coordination number in a glass and the induced birefringence; zinc oxide in this model is predicted to be exactly at the threshold between positive and negative birefringence and is thus of particular interest to investigate. XAFS and Raman spectroscopy were used to determine local structure while the Sénarmont compensator method, Abbe refractometry and spectroscopic ellipsometry were used to measure optical properties.

Nuclei at very high energy, characterized by a saturation scale, can be described by an effective theory of Quantum ChromoDynamics (QCD) called Color Glass Condensates. The earliest phase of the collision of two nuclei is modeled as the collision of two sheets of color glass. The classical field resulting from the collision then decays and equilibrates to a plasma of quarks and gluons. Using a recursive solution of the Yang-Mills equations, we calculate analytic expressions for the gluon field created in ultra-relativistic heavy ion collisions at small times τ. We have worked out explicit solutions for the fields and the energy momentum tensor up to 4^th order in an expansion in τ . We generalize the existing calculations to go beyond the limit of large homogenous nuclei. This allows us to calculate radial and elliptic flow of gluon fields. The resulting transverse and longitudinal structure of the Poynting vector field has a rich phenomenology. Besides the well known radial and elliptic flow in transverse direction, classical quantum chromodynamics predicts a rapidity-odd transverse flow that tilts the fireball for non-central collisions, and it implies a characteristic flow pattern for collisions of non-symmetric systems A + B. The rapidity-odd transverse flow translates into a directed particle flow v_1 which has been observed at RHIC and LHC. The global flow fields in heavy ion collisions could be a powerful check for the validity of classical Yang-Mill dynamics in high energy collisions. We also propose a procedure to calculate the energy momentum tensor of gluon fields on an event-by-event basis. The matching of the initial field energy momentum tensor to viscous hydrodynamic initial conditions is discussed and some preliminary results of a subsequent hydrodynamic evolution are shown. Our results can provide event-by-event initial conditions for hydrodynamic simulations of nuclear collisions that include initial flow and initial shear stress.

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This thesis is an electro-acoustic composition done using the techniques of music concrète. Along with the music is a paper that details the historical context of the piece, specific techniques and procedures used by the composer, and a general overview of the compositional form. “Shattered Dreams” is a 12’30” stereo journey through a soundscape where the sounds of cinderblocks and shattered glass abound. All of the original source material for the music was recorded by the composer using a pair of Neumann km184 microphones. These source sounds were then manipulated using Sound Forge 6.0 and Cubase 4. The processes of manipulation were chosen with regard to the original music concrète techniques laid out by Pierre Schaeffer and Pierre Henry at the Club d’Essai studio at Radiodiffusion-Télévision Française in Paris, France. / School of Music