The physical properties and the stability of alcohol containing emulsions made with sodium caseinate using two types of oil, canola oil and coconut oil, were investigated. The region of emulsion stability was presented on ternary phase diagrams. Emulsion stability was limited to emulsion compositions in the range of sodium caseinate solutions between 32-68 %wt, oil contents between 10-53 %wt and ethanol concentrations from 8 to 32 %wt. The type of oil had a minor effect on emulsion stability, but stability was sensitive to ethanol content and casein/oil ratio. Emulsions were classified as Newtonian fluids, with high ethanol content (> 20 %wt) being low viscosity and those of low ethanol content (< 20 %wt) being of high viscosity. Analysis of emulsion droplet sizes showed that the presence of ethanol affected the average droplet size. From lipid oxidation determinations, there was no clear correlation between casein/oil ratio and concentration of lipid hydroperoxides

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The physical properties and the stability of alcohol containing emulsions made with sodium caseinate using two types of oil, canola oil and coconut oil, were investigated. The region of emulsion stability was presented on ternary phase diagrams. Emulsion stability was limited to emulsion compositions in the range of sodium caseinate solutions between 32-68 %wt, oil contents between 10-53 %wt and ethanol concentrations from 8 to 32 %wt. The type of oil had a minor effect on emulsion stability, but stability was sensitive to ethanol content and casein/oil ratio. Emulsions were classified as Newtonian fluids, with high ethanol content (> 20 %wt) being low viscosity and those of low ethanol content (< 20 %wt) being of high viscosity. Analysis of emulsion droplet sizes showed that the presence of ethanol affected the average droplet size. From lipid oxidation determinations, there was no clear correlation between casein/oil ratio and concentration of lipid hydroperoxides

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1994. / Vita. Abstract. Includes bibliographical references (leaves 101-103). Also available via the Internet.

Thesis (M.S.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Étudier et pratiquer l'art n'est souvent pas affaire de contemplation directe et matérielle ou de face à face avec les œuvre mais plutôt de lecture sémantique, de compréhension et de savoir qui logent dans la périphérie et dans la médiation. Lorsque l'œuvre est absente, les mots la remplacent et les illustrations la révèlent. Les documents, archives, livres et site contribuent à sa circulation au-delà des frontières topographiques et représentent souvent l'unique source de référence. Les appareils de médiation forment à la fois une frontière et un lieu d'accès à l'œuvre, à la fois une limite et un passage où se transforment, s'opèrent et se déplacent les langages et les formats de l'œuvre. Cet environnement sémantique constitue une base de donnée calculable et traduisible source de nouvelles pratiques plastiques. Nous verrons en quoi le régime de pensée diagrammatique permet une médiation entre contenu et expression, engendrant un dispositif de visualisation, un format et une expérience de pensée qui instaurent une grille de lecture soutenant une création processuelle. Le diagramme nous permettra de penser les appareils techniques de médiation et d'interroger des pratique et formats originaux qui sous-tendent une pensée philosophique particulière de l'art par l'art. À partir d'une articulation descriptive d'une pratique plastique personnelle, nous mettons en évidence Bibliothèque et Musée comme ateliers et prothèses techniques pour appréhender le savoir dans sa globalité par indexation, fouille et exploration de données. Ces pratiques questionnent la recherche de la vérité dans l'œuvre et dans ses métadonnées à travers les dispositifs techniques et nouveaux médias numériques de clairvoyance et de révélation du sens et éclairent une instrumentation qui orchestre une époque de traductibilité technique / Studying and practicing art is often not a matter of direct and material contemplation or coming face to face with the works but rather semantic reading, understanding and knowledge of what lies in the mediation. When the work is missing, words replace it and pictures reveal it. Documents, archives, books and sites promote its circulation beyond topographie boundaries and are often the only sources of reference. Mediation deviees are both a border and a tool to access the work both a limit and a path where languages and formats are transforming. This semantic environment is a quantifiable and translatable database which is also a source of new art practices. We will see how the diagrammatic thinking allows mediation between content and expression, generating a visualization device, a specifie format and a thought experiment that establish an interpretive framework supporting process-based creation. The diagram allows us to think technical and mediation devices and to question original formats and practices underlying a particular philosophical thought of art by art, From a description of a personal plastic practice, we highlight Library and Museum as workshops and as technical prostheses to understand knowledge as a whole by indexing, searching and data mining. These practices question the pursuit of truth in the work and its metadata through technical deviees and new digital media of clear-sightedness and revelation of meaning. These practices shed light on the instrumentation that rules an era of technical translatability.

We study the relations among unitarity cuts of a Feynman integral computed via diagrammatic cutting rules, the discontinuity across the corresponding branch cut, and the coproduct of the integral. For single unitarity cuts, these relations are familiar, and we show that they can be generalized to cuts in internal masses and sequences of cuts in different channels and/or internal masses. We develop techniques for computing the cuts of Feynman integrals in real kinematics. Using concrete one- and two-loop scalar integral examples we demonstrate that it is possible to reconstruct a Feynman integral from either single or double unitarity cuts. We then formulate a new set of complex kinematics cutting rules generalising the ones defined in real kinematics, which allows us to define and compute cuts of general one-loop graphs, with any number of cut propagators. With these rules, which are consistent with the complex kinematic cuts used in the framework of generalised unitarity, we can describe more of the analytic structure of Feynman diagrams. We use them to compute new results for maximal cuts of box diagrams with different mass configurations as well as the maximal cut of the massless pentagon. Finally, we construct a purely graphical coproduct of one-loop scalar Feynman diagrams. In this construction, the only ingredients are the diagram under consideration, the diagrams obtained by contracting some of its propagators, and the diagram itself with some of its propagators cut. Using our new definition of cut, we map the graphical coproduct to the coproduct acting on the functions Feynman diagrams and their cuts evaluate to. We finish by examining the consequences of the graphical coproduct in the study of discontinuities and differential equations of Feynman integrals.

archives@tulane.edu / In this work, five algorithms of negative dimensional integration (NDIM) are compared in several examples of Feynman diagram calculations, and the resulting solutions are compared. The methods used are the Ricotta method without parametrization, the Ricotta method with Schwinger parametrization, the Suzuki method, the Anastasiou method, and the method of brackets. It is found that for one-loop diagrams, the method of brackets gives the same solution as the other methods, but without requiring analytic continuation of the gamma factors in the solution. For multi-loop diagrams, the method of brackets gives solutions in a simpler form than the other methods, and often gives fewer possible solutions as well. In addition to its use in the evaluation of Feynman diagrams, the method of brackets is also useful when extended to the evaluation of definite integrals over the positive real numbers. This extended method of brackets is applied to several examples of definite integrals, and the five NDIM methods are also used to evaluate these examples when possible. In particular, it is shown that the method of brackets is the only method of NDIM which may be extended to the evaluation of a large class of definite integrals over the positive real numbers. / 1 / Kristina E. VanDusen

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