Physical implementations of quantum computers will inevitably be subject to errors. However, provided that the error rate is below some threshold, it is theoretically possible to build fault tolerant quantum computers that are arbitrarily reliable. A particularly attractive fault tolerant proposal, due to its high threshold value, relies on Clifford group quantum computation and access to ancilla qubits. These ancilla qubits must be prepared in a particular state termed the 'magic' state. It is possible to distill faulty magic states into pure magic states, which is of significant interest for experimental work where perfect state preparation is generally not possible. This thesis describes a liquid state nuclear magnetic resonance based scheme for distilling magic states. Simulations are presented that indicate that such a distillation is feasible if a high level of experimental control is achieved. Preliminary experimental results are reported that outline the challenges that must be overcome to attain such precise control.

The concept of magic is most often considered as a foil by scholars in the fields of philosophy and religious studies, or it is discussed as part of the investigation of “primitive” systems of belief and ritual. In this essay, magic is investigated as a system of inquiry and explanation unto itself, connected to but distinct from both philosophy and religious studies, and an argument is presented for understanding systems of magic as both natural and rational outgrowths of a particular perspective on reality.

The purpose of this work is to investigate if simple vehicle models are realisticand useful in simulator environment. These simple models have been parametrisedby the Department of Electrical Engineering at Linköping University and havebeen validated with good results. The models have been implemented in a simulatorenvironment and a simulator study was made with 24 participants. Eachtest person drove both slalom and double lane change manoeuvres with the simplemodels and with VTI’s advanced model. The test persons were able to successfullycomplete double lane changes for higher velocities with the linear tyre modelcompared to both the non-linear tyre model and the advanced model. The wholestudy shows that aggressive driving of a simple vehicle model with non-linear tyredynamics is perceived to be quite similar to an advanced model. It is noted significantdifferences between the simple models and the advanced model when drivingunder normal circumstances, e.g. lack of motion cueing in the simple model suchas pitch and roll.

No description available.

Physical implementations of quantum computers will inevitably be subject to errors. However, provided that the error rate is below some threshold, it is theoretically possible to build fault tolerant quantum computers that are arbitrarily reliable. A particularly attractive fault tolerant proposal, due to its high threshold value, relies on Clifford group quantum computation and access to ancilla qubits. These ancilla qubits must be prepared in a particular state termed the 'magic' state. It is possible to distill faulty magic states into pure magic states, which is of significant interest for experimental work where perfect state preparation is generally not possible. This thesis describes a liquid state nuclear magnetic resonance based scheme for distilling magic states. Simulations are presented that indicate that such a distillation is feasible if a high level of experimental control is achieved. Preliminary experimental results are reported that outline the challenges that must be overcome to attain such precise control.

Video games are a part of modern culture. As video game spaces begin to enter a new generation’s spatial lexicon, it is important for architects, curators of spatial design, to understand this new medium of space. This thesis aims to introduce two concepts specific to video game design, the magic circle and flow, to architects as a means of understanding the design of video game spaces. First coined by the Dutch historian Johann Huizinga in Homo Ludens, and later adapted by video game designers Katie Salen and Eric Zimmerman, the magic circle refers to the boundary created by the rules of a game that separate reality from the fantasy of the game. Within the magic circle, the rules of play can transform and give new meaning to spatial organizations that could be considered problematic in real world architectural design. Flow is a psychological concept introduced by Hungarian psychology professor Mihály Csíkszentmihályi. When completing a task, flow occurs when both the skill level of the participant and the challenge level of the task are equally high. When a state of flow is achieved, the task becomes enjoyable and can be carried out indefinitely until the balance is broken. Effective video games spaces are specifically designed to contribute to flow experiences, while ineffective spaces can make a game too easy or too hard, creating a boredom or anxiety for the player. Through a series of explorations and video game case studies, specifically in the first-person and third person shooter genre, this thesis first observes the transformation of implied spatial meanings in the magic circle. It then introduces the unique spatial languages used to generate spaces that support the creation of flow alongside the gameplay and narrative of a video game. This thesis culminates with the design and execution of an original capture the flag map created with the Unreal Engine that tests the concepts of the magic circle and flow in video game spaces. As video games become increasingly ubiquitous, this thesis acts as means of entry for architects to understand the unique properties of an emerging form of spatial design.

This thesis adopts the medieval medical discourse on love melancholy to analyze the representation of erotic love in Keats¡¦s poetry and to the changes in his ideas concerning love. In medieval discourse on love melancholy, women are seen as demonic agents to seduce men. In the process of their seductions, these temptresses also use amatory magic and love philters to bewilder and to enthrall their ¡§games.¡¨ People who fall in love usually lose their minds, their senses, and their judgments. They appear obsessed and insane, which leads to weakness, absurdity, and mental obscurity. Many of Keats¡¦s poems depict lovesickness, such as ¡§Lamia¡¨ and ¡§La Belle Dame sans Merci.¡¨ There are evidences showing that when he was composing these poems, he was also reading medieval treaties on love melancholy, which suggests that he might to a great extent be influenced by medieval concepts on lovesickness and sexuality. The characters in these poems, furthermore, can be seen as representations of the medieval images of the ¡§agents of love,¡¦ who, usually female, seduce men and cause all kinds of symptoms of ¡§love.¡¨ Keats was influenced by medieval discourse on lovesickness not only in his poetry but also in his personal life. When he first fell in love with Fanny Brawne, seemed to act under the influence of the so-called ¡§love-sickness,¡¨ and he strived to escape from love. Nevertheless, his failure to cure himself of this ¡§disease¡¨ enabled him to perceive the restraining viewpoint of this medieval discourse in regard to being love sick. Realizing this restrictive rational ideology lurking behind the medieval ideas of love melancholy and sexuality, Keats changed his belief in lovesickness. With Lycius¡¦s accusation of Apollonius and the knight¡¦s aimless loitering, he satirizes in ¡§Lamia¡¨ and ¡§La Belle Dame sans Merci¡¨ the derogation of reason on lovesickness, while in ¡§the Ode on Melancholy¡¨ and ¡§To Autumn,¡¨ Keats represents melancholy in a way that differs from the discourse he has inherited. Instead of showing feminine beauty as threatening and haunting, he delineates it as giving a perplexing delight. Rather than sober male characters, he prefers and describes indecisive male characters in love who demonstrates qualities such as softness, capriciousness and uncertainty¡Xqualities usually associated with females. Keats came to realize that the female perplexing beauty is suppressed and disliked in a society dominated by men, and males were not allowed to express feminine traits and emotions. The emphasis on rationality in late-eighteenth century somewhat resembled the medieval times in that both emphasize male calmness and intelligence. However, experience enabled Keats to realize that, rather than singularly repel the feminizing symptoms aroused by love melancholy, it is healthier to accept both the female and male features demonstrated within a man. Emotional perturbation and temporary irrational passions are human emotions that should be permitted. Instead of running away from love, Keats with his insight into lovesickness cured his fear for lovesickness. The idea of medieval sexuality no longer haunted on Keats on his journey to love, but is criticized for its excessive rationality.

This thesis aims to explore how the idea of American Dream is presented in White Noise, how the Dream is represented as ¡§American magic,¡¨ and how eventually it turns into ¡§American dread,¡¨ the ultimate American nightmare. In Chapter One, I provide a brief historical survey on the concept of the American Dream, the idea that mainly shaped the American nation in history. I turn to Jim Cullen¡¦s The American Dream: A Short History of an Idea That Shaped a Nation and Andrew Delbanco¡¦s The Real American Dream: A Meditation on Hope to explore how the idea of the American Dream changes through the course of American history as well as construct a historical background of the American Dream. Chapter Two explores how the American Dream in White Noise is exposed and transformed into what DeLillo terms in the novel as the ¡§American magic¡¨ via the novel¡¦s extreme emphasis on the issue of mass media, the operation of simulated magic. First, I briefly analyze the American Dream succeeded in White Noise based on my survey of the American Dream in the previous chapter. Reading DeLillo¡¦s ¡§American magic¡¨ as the simulated dream in White Noise in light of Baudrillard¡¦s theory of simulacra and simulation, I argue that White Noise is in fact a novel based on the critique of the American Dream due to the falsehood of the protagonists¡¦ American Dream televised through media and consumer culture. In Chapter Three, by recalling the novel¡¦s emphasis on the protagonists¡¦ fear of death, I aim to examine the true reason for such fatal fear. While many may read White Noise simply as a postmodern representation of man¡¦s uncontrollable natural fear of death, I examine the connection of this major theme of fear towards death to DeLillo¡¦s American magic and point out the possibility of American magic acting both as a cause and reinforcement of this fear as well as relating it to the larger issue of DeLillo¡¦s ¡§American dread¡¨ ¡Xa portrayal of the American Dream and magic brought to its extremity and stirred towards a possible apocalyptic end.

Thesis--Yale. / Bibliography: p. 109-110.

Thesis (D. Min.)--Harding University Graduate School of Religion, 2002. / Includes bibliographical references (leaves 213-231).