Path-integral representation for a stochastic sandpile
电影风雨哈佛路的英文观后感

电影风雨哈佛路的英文观后感Film Review: The Harvard Road of Trials"风雨哈佛路" is a Chinese film that tells the inspiring story of a young man's journey to Harvard University. Directed by Xiaogang Feng, the film explores themes of perseverance, friendship, and the pursuit of dreams. Although the original title is in Chinese, a translated English title for the film might be "The Harvard Road of Trials." This film is a powerful portrayal of the challenges and obstacles faced by individuals striving for success in a competitive world, and it leaves a lasting impact on its viewers.The film revolves around the protagonist, Zhao Rui, and his ambition to study at Harvard University. Zhao Rui comes from a humble background, and throughout the movie, we witness his relentless pursuit of education. The story begins in a small town in China, where Zhao Rui's determination to achieve his dreams is met with skepticism and doubt from his friends and family. Undeterred, he decides to take matters into his own hands and embarks on a journey to prepare for the admissions examination.One of the most striking aspects of the film is the portrayal of Zhao Rui's unwavering determination. Despite facing numerous setbacks and rejections, he remains resolute in his pursuit of education. This resilience is showcased when he tackles heavy workload, late nights of studying, and even personal sacrifices. Such dedication and commitment resonate deeply with the audience, as they reflect the universal struggles faced by individuals striving for success.Throughout Zhao Rui's journey, he encounters various characters who shape his outlook on life and lend him support. The friendships he forges on his path to Harvard are an integral part of the narrative. These relationships not only provide emotional support to the protagonist but also highlight the importance of solidarity and camaraderie in the pursuit of dreams. The film eloquently portrays the significance of having a support system, as it enables individuals to overcome challenges that may seem insurmountable alone.In addition to its heartwarming portrayal of friendships, "The Harvard Road of Trials" also explores the themes of social inequality and the impact of economic disparities on individuals' chances of success. Zhao Rui's journey is not only a personal one but also a representation of the struggles faced by many from less privileged backgrounds. The film raises questions about the accessibility of quality education and the role of socioeconomic factors in determining one's opportunities. These thought-provoking themes force the audience to reflect on the realities of social mobility and the challenges faced by those determined to break free from their circumstances.Another notable aspect of the film is the cinematography and the attention to detail in capturing the different settings where the story unfolds. From the tranquil beauty of the small town to the bustling streets of Beijing and the prestigious halls of Harvard, each location is meticulously depicted, providing a visually rich experience for the viewers. The vivid cinematography enhances the narrative, making it more immersive and impactful."The Harvard Road of Trials" is not just a film about a young man's personal journey; it is a reflection of society's struggle to bridge the gapbetween aspirations and opportunities. The film touches upon themes that resonate with people from all walks of life: the importance of perseverance, the significance of relationships, and the impact of socioeconomic factors on individual success. It serves as a reminder that no matter the challenges faced, determination and hard work can lead to the fulfillment of our dreams.In conclusion, "The Harvard Road of Trials" is a captivating film that manages to capture the essence of the human spirit and the pursuit of dreams. Through its powerful storytelling and compelling characters, the film inspires and resonates with its audience. The struggles faced by the protagonist, Zhao Rui, reflect the universal challenges encountered by individuals striving for success. This film is a testament to the power of resilience, friendship, and the belief that no dream is too big to be achieved. "The Harvard Road of Trials" is a must-watch for anyone seeking inspiration on their own journey towards their goals.。
势能面的交叉

Nuclear coordinate R
Energy
When electronic states approach each other, more than one of them should be included in the expansion
Na
T (r,R) I (R)Ie (r;R)
fIJ
I J
I H J EJ EI
fIJ fJI
fII 0
For real wavefunctions
I 2 J fIJ fIJ fIJ
The derivative coupling is inversely proportional to the energy difference of the two electronic states. Thus the smaller the difference, the larger the coupling. If E=0 f is infinity.
T (r,R) I (R)Ie (r;R)
HT T ET T
H eIe
E
e I
Ie
Electronic eq.
(T N
E
e I
)
I
ET I
Nuclear eq.
Nonadiabatic processes are facilitated by the close proximity of potential energy surfaces. When the potential energy surfaces approach each other the BO approximation breaks down. The rate for nonadiabatic transitions depends on the energy gap.
八骏图的寓意英文作文

八骏图的寓意英文作文The Symbolic Meaning of the Eight Celestial SteedsThe Eight Celestial Steeds, a renowned painting masterpiece, has captivated the hearts and minds of art enthusiasts and scholars alike for centuries. This iconic work, attributed to the renowned Chinese artist Zhang Sengyou, offers a profound and multifaceted exploration of the symbolic significance that lies at the core of this timeless visual masterpiece.At the heart of the Eight Celestial Steeds lies a profound and intricate tapestry of metaphorical representations, each steed serving as a embodiment of a distinct aspect of the human experience and the natural world. These eight magnificent creatures, imbued with a sense of power, grace, and mysticism, transcend the boundaries of mere artistic expression, inviting the viewer to delve into the depths of their symbolic meaning.The first steed, adorned with a vibrant crimson hue, is often interpreted as a representation of the element of fire. This celestial horse, with its fierce and unwavering spirit, symbolizes the passion, energy, and vitality that drive the human spirit. It serves as areminder of the importance of embracing the fiery essence within us, harnessing it to fuel our ambitions and ignite the flames of transformation.The second steed, cloaked in a shimmering azure hue, is associated with the element of water. This majestic creature embodies the fluidity, adaptability, and emotional depth that are integral to the human experience. Much like the ever-changing tides of the ocean, this steed reminds us of the importance of navigating the ebbs and flows of life with grace and resilience.The third steed, adorned in a vibrant emerald green, is often linked to the element of wood. This celestial horse symbolizes the life-giving force of nature, the endless cycle of growth, and the rejuvenating power of the natural world. It serves as a poignant reminder of the interconnectedness between humanity and the natural environment, urging us to nurture and preserve the delicate balance that sustains all life.The fourth steed, draped in a rich, earthy tone, is associated with the element of earth. This majestic creature embodies the grounding, stabilizing, and nourishing qualities that are essential to our well-being. It serves as a symbol of the importance of finding balance, rooting ourselves in the solid foundation of the physical world, and drawing strength from the enduring wisdom of the earth.The fifth steed, adorned in a radiant golden hue, is often interpreted as a representation of the element of metal. This celestial horse symbolizes the qualities of precision, clarity, and unwavering determination. It serves as a reminder of the importance of honing our skills, refining our thoughts, and forging a path forward with steadfast resolve.The sixth steed, cloaked in a serene and luminous white, is associated with the element of air. This majestic creature embodies the qualities of lightness, freedom, and the transcendent nature of the human spirit. It serves as a symbol of the importance of embracing the boundless possibilities that lie within us, soaring above the constraints of the material world.The seventh steed, adorned in a rich and vibrant indigo, is often linked to the element of yin. This celestial horse symbolizes the qualities of introspection, intuition, and the mysterious depths of the human psyche. It serves as a reminder of the importance of honoring the inner landscape of our being, embracing the hidden currents that shape our lives.The eighth and final steed, cloaked in a radiant and luminous violet, is associated with the element of yang. This majestic creature embodies the qualities of outward expression, creativity, and thedynamic energy that propels us forward. It serves as a symbol of the importance of embracing the duality of our nature, balancing the yin and yang within us to achieve a state of harmony and wholeness.Together, these eight celestial steeds, each representing a distinct element and symbolic meaning, weave a tapestry of profound insight into the human experience. They invite us to explore the intricate interplay between the physical, emotional, and spiritual realms, encouraging us to cultivate a deeper understanding of ourselves and the world around us.Through the contemplation of the Eight Celestial Steeds, we are challenged to reflect on the delicate balance that sustains our existence, the cyclical nature of life, and the powerful forces that shape our individual and collective journeys. This iconic work of art serves as a timeless gateway to the exploration of the universal truths that lie at the heart of the human condition, guiding us towards a more profound and meaningful understanding of our place in the grand tapestry of the universe.。
分子模拟中静电力计算方法的研究

分子模拟中静电力计算方法的研究摘要:分子模拟是现今科学家们探索物质特性的微观机制与内在联系的重要手段,承担着沟通模型与理论、与实验的关键作用。
通过分子力场建模,人们可以设定分子内、分子间的化学键作用和非键作用。
其中被赋予了部分电荷的原子之间的非键且长程的静电作用因收敛缓慢、有效距离长,而常常占用着大量的计算时间、制约着模拟尺度的扩大。
在静电算法的发展过程中,Ewald3D求和方法首先使精确计算成为可能,而后PME的提出更使原子个数在百万量级的模拟成为可能,也揭开了分子模拟广泛应用于生物分子体系的序幕。
随着研究内容向多样性发展,静电算法也向着专门化、特异化发展,这里面的主要原因是体系的维度决定了静电作用的具体形式。
因此,相对于百年前的Ewald3D-tinfoil,晚近才诞生的Ewald2D拥有一套独立的数学表达,但也不该忽视两者之间物理图像上或数学原理上的相似性,这正是各种近似方法(Ewald3DC、Ewald3DLC等)具有等价性的基础。
这篇论文的第一个原创性研究工作正是进一步探索Ewald2D的数学基础,并以此严格地证明了几种近似方法的物理图像的完备。
我们先把Ewald2D虚部能量写成傅里叶变换的形式,利用简单的梯形法则做近似,再借助留数定理将原式与近似式化作复平面积分的形式,最后通过估计两复平面积分的差值给出一个误差界限,并将此与实际计算误差进行对比、发现二者始终相当,故从数值的角度证明了此种方法之可行。
这个过程其实是将Mori 等人的数值估计与误差处理的经验应用到Ewald2D的分析中。
尤其复平面路径积分中的奇点贡献恰好对应了Ewald3DLC中的多余镜像层的静电作用,因而从精确数值的角度肯定了后者物理含义的正确。
既然Ewald2D公式天然地分成若干项,我们优化算法也就从对这些分量的相对大小和计算时间的消耗对比入手。
论文中简单的举例说明了一个算法优化的准则,即找到计算中不怎么影响精度又占用大量计算资源的那些成分、直接约去以显著提高计算效率。
最喜欢的中国传统艺术形式英语作文

最喜欢的中国传统艺术形式英语作文全文共3篇示例,供读者参考篇1My Favorite Form of Traditional Chinese ArtAs a student with a deep appreciation for the rich cultural heritage of China, I find myself drawn to the captivating world of traditional Chinese art forms. Among the myriad of artistic expressions that have emerged from this ancient civilization, one form resonates with me on a profound level – Chinese calligraphy.Calligraphy, the art of beautiful writing, has been an integral part of Chinese culture for centuries, transcending its functional purpose as a means of communication and elevating it to a sublime artistic expression. To me, calligraphy is not merely a representation of words on paper; it is a living embodiment of the artist's spirit, a manifestation of their emotions, and a reflection of their inner world.The allure of Chinese calligraphy lies in its ability to harmonize the seemingly contradictory elements of discipline and freedom, structure and fluidity. Each brushstroke,meticulously executed with a delicate balance of pressure and flow, carries within it a narrative – a story of the calligrapher's state of mind, their emotional landscape, and their mastery of the art form.One aspect of Chinese calligraphy that captivates me is the profound connection between the physical and the spiritual realms. The act of creating calligraphic art is not merely a physical exercise; it is a meditative journey, a dance between the artist's hand, the brush, and the ink. As the brush glides across the paper, it leaves behind a trail of energy, a visual representation of the calligrapher's inner essence.The beauty of Chinese calligraphy lies not only in the final product but also in the process itself. Each stroke, each pause, each breath holds significance, contributing to the overall harmony and rhythm of the piece. It is a practice that demands focus, patience, and a deep understanding of the art form's traditions and principles.Furthermore, Chinese calligraphy is a testament to the enduring legacy of Chinese culture. Each character, with its intricate strokes and unique forms, carries within it a rich tapestry of history, philosophy, and literary traditions. By studying and practicing calligraphy, one gains insight into the profoundwisdom and aesthetic sensibilities that have shaped Chinese civilization for millennia.As a student of Chinese calligraphy, I am constantly in awe of the masters who have dedicated their lives to this art form. Their works are not merely beautiful; they are living embodiments of the human spirit, capturing the essence of emotions, thoughts, and experiences in a single stroke. Each masterpiece is a testament to the artist's mastery, their ability to transcend the limitations of the physical world and create something truly sublime.Beyond its aesthetic appeal, Chinese calligraphy holds a deeper significance for me as a student. It is a practice that cultivates discipline, focus, and mindfulness – qualities that are invaluable not only in the pursuit of artistic excellence but also in the realm of academic and personal growth.As I immerse myself in the study and practice of calligraphy, I find myself on a journey of self-discovery, a quest to unlock the depths of my own creative potential and to connect with the rich cultural heritage that has shaped my identity. Each stroke of the brush is a meditation, a moment of stillness amidst the chaos of the modern world, a reminder of the timeless wisdom and beauty that has endured through the ages.In a world that often prioritizes speed and efficiency over artistry and contemplation, Chinese calligraphy stands as a powerful reminder of the importance of slowing down, embracing the present moment, and allowing ourselves to be fully immersed in the act of creation. It is a sanctuary, a refuge where the mind can find solace and the soul can soar.As I continue my journey as a student of Chinese calligraphy, I am filled with a profound sense of gratitude for this art form and the countless generations of artists who have contributed to its evolution and preservation. It is a testament to the enduring power of human creativity, a bridge that connects us to our ancestral roots while simultaneously inspiring us to push the boundaries of artistic expression.In the gentle whispers of the brush against the paper, I find solace, inspiration, and a deep connection to the rich tapestry of Chinese culture. Calligraphy is not merely an art form; it is a way of life, a path to self-discovery, and a means of honoring the timeless beauty and wisdom that have shaped the heart and soul of this ancient civilization.篇2My Favorite Traditional Chinese Art FormAs a student of Chinese culture, I have always been fascinated by the rich tapestry of artistic traditions that have been woven throughout the country's long and storied history. From the delicate brushstrokes of calligraphy to the intricate movements of Peking Opera, each art form represents a unique expression of China's diverse cultural heritage. However, among this vast array of artistic marvels, one form stands out as my personal favorite – the ancient art of Chinese shadow puppetry.Shadow puppetry, known as pǐyǐngxì (皮影戏) in Chinese, is a captivating form of storytelling that dates back over a thousand years. This art form combines the elements of theater, sculpture, and performance to create a mesmerizing spectacle of light and shadow. At its core, shadow puppetry involves the manipulation of intricate, flat puppets made from leather or colored paper, which are carefully maneuvered behind a translucent screen. As a bright light source illuminates the puppets from behind, their shadows are projected onto the screen, bringing to life a vibrant and dynamic world of characters and narratives.What has always captivated me about shadow puppetry is its ability to transport the audience into a realm of pure imagination. With each flick of the puppeteer's wrist, the two-dimensional figures are imbued with life, dancing and interacting in a waythat defies their flat, inanimate nature. The artistry lies not only in the intricate craftsmanship of the puppets themselves but also in the skill and dexterity of the puppeteers, who breathe life into these shadows through their masterful manipulation.One of the most remarkable aspects of Chinese shadow puppetry is its rich storytelling tradition. Many of the tales depicted in these performances are drawn from classical literature, folklore, and historical events, serving as a powerful medium for preserving and disseminating cultural narratives. From the epic battles of the Romance of the Three Kingdoms to the timeless love story of the Butterfly Lovers, these tales have been passed down through generations, captivating audiences with their universal themes of love, honor, and heroism.Beyond its narrative power, shadow puppetry is also a testament to the ingenuity and craftsmanship of Chinese artisans. The creation of these intricate puppets is a painstaking process, requiring skilled carvers to meticulously sculpt and articulate each figure from thin sheets of leather or paper. Every detail, from the delicate folds of a robe to the intricate patterns of a warrior's armor, is carefully crafted to ensure that the shadows cast on the screen are as vivid and lifelike as possible.Moreover, the art of shadow puppetry extends beyond the puppets themselves, encompassing a range of complementary elements that contribute to the overall spectacle. The stages on which these performances take place are often elaborately decorated with vibrant backdrops and intricate set pieces, setting the scene for the unfolding drama. Additionally, the accompaniment of traditional Chinese instruments, such as the erhu (a two-stringed fiddle) and the pipa (a four-stringed lute), adds an auditory dimension to the performance, further immersing the audience in the richness of Chinese culture.As a student, I have had the privilege of attending several shadow puppetry performances, and each one has left me with a profound sense of wonder and appreciation for this ancient art form. The sight of the flickering shadows dancing across the screen, accompanied by the haunting melodies of traditional instruments, is a truly captivating experience that transcends cultural boundaries and speaks to the universal power of storytelling.Moreover, shadow puppetry has also had a significant influence on my academic pursuits. In my studies of Chinese literature and history, I have come to appreciate the way in which these performances have served as a vehicle for preserving andtransmitting cultural narratives across generations. The tales depicted in shadow puppetry offer invaluable insights into the beliefs, values, and traditions that have shaped Chinese society over the centuries, providing a unique lens through which to understand the complexities of this rich and diverse culture.Beyond its cultural significance, shadow puppetry has also inspired me artistically. As an aspiring artist myself, I am in awe of the skill and creativity required to breathe life into these flat, inanimate figures. The art of shadow puppetry has challenged me to think beyond conventional mediums and to explore the interplay between light, shadow, and movement as a means of artistic expression.In conclusion, Chinese shadow puppetry holds a special place in my heart as a student of Chinese culture and an admirer of artistic expression. This ancient art form represents a powerful synthesis of storytelling, craftsmanship, and performance, captivating audiences with its ability to transport them into a world of imagination and cultural richness. As I continue my academic and artistic pursuits, I know that the enchanting spectacle of shadow puppetry will remain a constant source of inspiration, reminding me of the enduring power of creativity and the enduring legacy of Chinese artistic traditions.篇3My Favorite Traditional Chinese Art Form: CalligraphyEver since I was a young child, I have been fascinated by the ancient art of Chinese calligraphy. There is something so profoundly beautiful, yet deceptively simple about the fluid strokes of ink transforming a blank space into a work of art. Calligraphy has been an integral part of Chinese culture for thousands of years, and I feel a deep connection to this rich heritage every time I pick up a brush.In its purest form, calligraphy is the art of writing Chinese characters in an aesthetically pleasing manner. However, it is so much more than just beautiful handwriting. Calligraphy is a discipline that requires immense focus, skill, and dedication to master. It is a way to express one's inner thoughts and emotions through the seemingly simple act of putting ink to paper.The roots of calligraphy can be traced back to the ancient Chinese practice of inscribing characters on oracle bones and bronze vessels during the Shang Dynasty (c. 1600 BC - 1046 BC). Over time, the art form evolved, and different scripts and styles emerged, each with its own unique character and historical significance.One of the most revered calligraphic scripts is thesemi-cursive script known as xingshu (行书). This style is characterized by its fluid, continuous strokes that flow seamlessly from one character to the next. Mastering xingshu requires years of practice and a deep understanding of the subtle nuances of each stroke and its relationship to the overall composition.Another celebrated script is the cursive script, or caoshu (草书), which is renowned for its abstract and expressive nature. Caoshu is often described as a dance of the brush, with each character taking on a life of its own, twisting and turning in a beautiful display of controlled chaos.While the beauty of calligraphy lies in its intricate brushwork, the true essence of this art form is found in the philosophical and spiritual principles that underpin it. Calligraphy is not merely about creating aesthetically pleasing characters; it is a practice that demands complete harmony between the mind, body, and spirit.One of the fundamental concepts in calligraphy is the notion of "qi" (气), which can be translated as "energy" or "breath." The calligrapher must cultivate and channel their qi through the brush, imbuing each stroke with a sense of vitality and dynamicenergy. This concept is closely tied to the Taoist principles of balance, harmony, and the interconnectedness of all things.Another important aspect of calligraphy is the concept of "yun" (韵), which refers to the rhythm and flow of the characters on the page. A skilled calligrapher must carefully consider the placement, spacing, and composition of each character, creating a harmonious visual melody that captivates the eye and soothes the soul.Beyond its artistic and philosophical merits, calligraphy has also played a crucial role in shaping Chinese culture and society. Throughout history, calligraphers have been highly revered, and their works have been collected and treasured by emperors, scholars, and art connoisseurs alike.Calligraphy has also been a powerful tool for self-expression and social commentary. During times of political turmoil or oppression, calligraphers have used their art to convey subtle messages of resistance or to preserve and celebrate cultural traditions.For me, the allure of calligraphy lies in its ability to transcend time and space. When I practice this ancient art form, I feel a profound connection to the generations of calligraphers whocame before me, each leaving their mark on the rich tapestry of Chinese culture.The process of calligraphy itself is a meditative journey, a dance between the mind and the brush. As I prepare my tools –the ink stone, brushes, and paper – I enter a state of focused tranquility. Each stroke becomes a meditation, a moment of mindfulness where the outside world fades away, and all that remains is the harmony between the brush and the paper.One of the most rewarding aspects of calligraphy is the sense of accomplishment that comes with mastering a particularly challenging script or composition. The joy of seeing a once-blank page transformed into a work of art is unparalleled, and it is a feeling that never grows old, no matter how many years I have practiced this craft.Calligraphy has also taught me invaluable lessons about patience, perseverance, and the pursuit of excellence. Mastering this art form is a lifelong journey, and there is always room for improvement and growth. Each stroke, each character, is an opportunity to refine my technique and deepen my understanding of this ancient tradition.As I continue my journey with calligraphy, I am constantly inspired by the rich history and cultural significance of this artform. I am humbled by the knowledge that I am part of a lineage that stretches back thousands of years, and I am driven to honor and preserve this incredible heritage.Whether I am practicing calligraphy for personal enjoyment or creating works for exhibitions or commissions, I approach each piece with reverence and respect for the traditions that have shaped this art form. Every stroke is a testament to the enduring beauty and resilience of Chinese culture, and a reminder of the power of art to transcend boundaries and unite people across generations.In a world that often feels chaotic and disconnected, calligraphy provides me with a sense of grounding and inner peace. It is a sanctuary where I can escape the noise of modern life and immerse myself in the timeless elegance of this ancient art form.As I look to the future, I am filled with hope and excitement for the continued growth and appreciation of calligraphy. While this art form has endured for millennia, it is not static or frozen in time. Rather, it is a living, breathing tradition that continues to evolve and adapt to new generations of artists and audiences.I am inspired by the innovative ways that contemporary calligraphers are pushing the boundaries of this art form,blending traditional techniques with modern styles and mediums. From large-scale installations to digital calligraphy, the possibilities for creative expression are limitless.Yet, even as calligraphy embraces new forms and interpretations, its core essence remains unchanged – a celebration of the beauty of the written word, a pursuit of harmony and balance, and a profound connection to the rich cultural heritage of China.For me, calligraphy is more than just an art form; it is a way of life, a journey of self-discovery and personal growth. With each stroke of the brush, I am reminded of the enduring power of tradition, the resilience of the human spirit, and the beauty that can be found in the simplest of gestures.As I continue to practice and study this ancient art, I am filled with a deep sense of gratitude for the generations of calligraphers who have paved the way, and a renewed commitment to carrying this tradition forward, ensuring that the timeless elegance of calligraphy will continue to inspire and captivate for generations to come.。
代数英语

(0,2) 插值||(0,2) interpolation0#||zero-sharp; 读作零井或零开。
0+||zero-dagger; 读作零正。
1-因子||1-factor3-流形||3-manifold; 又称“三维流形”。
AIC准则||AIC criterion, Akaike information criterionAp 权||Ap-weightA稳定性||A-stability, absolute stabilityA最优设计||A-optimal designBCH 码||BCH code, Bose-Chaudhuri-Hocquenghem codeBIC准则||BIC criterion, Bayesian modification of the AICBMOA函数||analytic function of bounded mean oscillation; 全称“有界平均振动解析函数”。
BMO鞅||BMO martingaleBSD猜想||Birch and Swinnerton-Dyer conjecture; 全称“伯奇与斯温纳顿-戴尔猜想”。
B样条||B-splineC*代数||C*-algebra; 读作“C星代数”。
C0 类函数||function of class C0; 又称“连续函数类”。
CA T准则||CAT criterion, criterion for autoregressiveCM域||CM fieldCN 群||CN-groupCW 复形的同调||homology of CW complexCW复形||CW complexCW复形的同伦群||homotopy group of CW complexesCW剖分||CW decompositionCn 类函数||function of class Cn; 又称“n次连续可微函数类”。
Cp统计量||Cp-statisticC。
讲述中国书法艺术的英语作文

讲述中国书法艺术的英语作文Chinese Calligraphy: An Artistic Expression of the SoulCalligraphy, the art of beautiful handwriting, has been an integral part of Chinese culture for centuries. It is not merely the act of putting pen to paper, but a profound expression of the artist's inner self, a harmonious blend of technique, emotion, and philosophical contemplation. In the realm of Chinese calligraphy, the strokes of the brush become a canvas for the artist to convey their unique perspective on the world, their connection to the divine, and their mastery of the written word.The origins of Chinese calligraphy can be traced back to the development of the Chinese writing system, which evolved from primitive pictographic symbols to the complex and elegant characters we know today. As the written language developed, so too did the art of calligraphy, with each dynasty and region contributing its own distinct style and aesthetic. From the bold and dynamic "seal script" of the Qin Dynasty to the fluid and graceful "cursive script" of the Tang Dynasty, Chinese calligraphy has continuously reinvented itself, reflecting the cultural and political changes that have shaped the nation.At the heart of Chinese calligraphy lies the concept of "qi," or the life force that animates all things. The calligrapher's task is to capture this ethereal energy and infuse it into the strokes of their brush, creating a work of art that transcends the mere representation of words on a page. This pursuit of the "spirit" within the form is what sets Chinese calligraphy apart from the purely functional aspects of writing, transforming it into a meditative practice that requires a deep understanding of the self and the natural world.The tools of the calligrapher's trade are as much a part of the art as the finished product. The brush, with its supple bristles and tapered tip, becomes an extension of the artist's hand, responding to the slightest nuance of pressure and movement. The ink, ground from solid sticks of pigment, offers a range of tones and textures that can convey a multitude of emotions and moods. Even the paper, carefully selected for its absorbency and surface texture, plays a crucial role in the overall aesthetic of the work.As the calligrapher's brush dances across the page, the act of creation becomes a meditative ritual, a harmonious interplay of mind, body, and spirit. The calligrapher must be attuned to the flow of energy within themselves, allowing it to guide the movement of the brush and the formation of each character. This state of heightened awareness is not merely a technical skill but a deep spiritual practice,one that requires years of dedicated study and self-reflection.The appreciation of Chinese calligraphy is not limited to the artist alone. The viewer, too, is invited to engage in a profound dialogue with the work, deciphering the layers of meaning and emotion embedded within the strokes. The elegance of the characters, the balance of positive and negative space, the rhythm of the composition – all of these elements come together to create a work of art that transcends the boundaries of language and culture.In a world increasingly dominated by digital technology and mass-produced communication, the art of Chinese calligraphy stands as a testament to the enduring power of the human hand and the beauty of the written word. It is a living tradition that continues to inspire and captivate audiences around the globe, reminding us of the profound connection between the physical and the spiritual, the individual and the universal.As we immerse ourselves in the timeless art of Chinese calligraphy, we are invited to slow down, to quiet our minds, and to connect with the deeper currents that flow through the human experience. In the elegant flourishes of the brush, we see the reflection of our own souls, and in the harmonious interplay of form and spirit, we find a path to a greater understanding of ourselves and the world around us.。
英文介绍中国传统文化

英文介绍中国传统文化《Chinese Cultural Heritage: Exploring the Depth of Tradition》China, a land rich in history and cultural heritage, encompasses a treasure trove of traditional customs and practices that have enchanted the world for centuries. The country's deeply rooted traditions reflect the profound wisdom and beauty of its people. In this article, we will embark on a journey to uncover and explore the essence of China's traditional culture.One fundamental aspect of Chinese culture is its language. Chinese characters, with their intricate strokes and symbolism, have captivated linguists and scholars worldwide. With a history spanning over 5,000 years, the Chinese writing system plays a vital role in preserving the country's cultural heritage. Each character carries profound meaning, often rooted in ancient folklore, providing a glimpse into the hearts and minds of the Chinese people throughout the ages.The philosophical teachings of Confucianism and Taoism have also greatly shaped Chinese culture. Confucius, the revered philosopher, advocated for harmony, filial piety, and respect for authority. These principles continue to guide Chinese society, emphasizing the importance of familial bonds and hierarchical relationships. Taoism, on the other hand, emphasizes the path of nature and the pursuit of harmony with oneself and the universe. Its teachings emphasize simplicity, balance, and the cultivation of inner peace.Traditional Chinese cuisine is another cultural marvel that has gained international acclaim. From the tantalizing flavors of Sichuan cuisine to the delicate artistry of Cantonese dim sum, Chinese cuisine reflects the country's diverse geography and rich culinary traditions. With a focus on fresh ingredients, balanced nutrition, and intricate culinary techniques, Chinese cuisine is not only a feast for the taste buds but also a representation of the culture's emphasis on the harmony between aesthetics and health.The world-renowned art forms of calligraphy, painting, and traditional Chinese medicine also play an integral role in China's cultural heritage. Calligraphy, often referred to as the art of writing, is seen as an expression of one's inner self and a way to connect with the divine. Chinese painting, with its delicate brushstrokes and use of vibrant colors, often depicts landscapes, flowers, and birds, capturing the natural beauty of the world. Traditional Chinese medicine, with its holistic approach to wellness, employs herbs, acupuncture, and other natural remedies to restore balance in the body and promote overall health.Beyond language, philosophy, cuisine, art, and medicine, Chinese celebrations and festivals offer a window into the country's vibrant cultural tapestry. The Spring Festival, also known as Chinese New Year, is a time of family reunions, feasting, and the honoring of ancestors. The Mid-Autumn Festival, on the other hand, celebrates the beauty of the moon and fosters familial unity. These festivals are marked by colorful decorations, traditional performances, and time-honored rituals, infusing life with meaning and joy.China's traditional culture, with its rich history and diversity, continues to thrive and inspire. From the ancient script and profound philosophies to the tantalizing flavors of its cuisine and the exquisitebrushstrokes on silk, Chinese traditions offer a glimpse into the soul of a nation deeply connected to its roots. As we explore the depths of Chinese culture, we are reminded of the timeless wisdom and enduring beauty that continues to shape our world.。
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a r X i v :c o n d -m a t /0206525v 1 [c o n d -m a t .s t a t -m e c h ] 26 J u n 2002Path-integral representation for a stochastic sandpileRonald Dickman †and Ronaldo Vidigal Departamento de F´ısica,ICEx,Universidade Federal de Minas Gerais,30123-970Belo Horizonte -MG,Brasil (February 1,2008)Abstract We introduce an operator description for a stochastic sandpile model with a conserved particle density,and develop a path-integral repre-sentation for its evolution.The resulting (exact)expression for the effective action highlights certain interesting features of the model,for example,that it is nominally massless,and that the dynamics is via cooperative diffing the path-integral formalism,we construct a diagrammatic perturbation theory,yielding a series expansion for the activity density in powers of the time.PACS:05.70.Ln,02.50.Ga,05.10.Gg,05.40.-a Short title:Path-integral for sandpile †electronic address:dickman@fisica.ufmg.brI.INTRODUCTIONSandpile models were introduced somefifteen years ago as examples of self-organized criticality(SOC),or scale-invariance in the apparent absence of control parameters[1–5].Subsequently the appearance of such“spontaneous”criticality was shown to result from a control mechanism that forces the system to a critical point marking a phase transition to an absorbing state[6,7].In fact,sandpiles with the same local dynamics as the original“self-organized”versions,but with strictly conserved particle density,p,exhibit an absorbing-state phase transition as p is varied.Thus the particle density is the temperature-like control parameter for these models.Sandpiles with strictly conserved particle density(so-calledfixed-energy sandpiles or FES[8]),exhibit absorbing-state phase transitions[9–11],which have attracted much interest of late,in connection with epidemics[12],catalysis[13,14],and the transition to turbulence[15–17].While continuous phase transitions to an absorbing state fall generically in the universality class of directed percolation(DP)[18,19], numerical evidence indicates that this is not so for sandpiles[20–23].The non-DP nature of the transition has been attributed to the coupling of the order parameter (the density of active sites),to a second,conservedfield(the local particle den-sity),which relaxes diffusively in the presence of activity,and remains frozen in its absence[24].Independent of the connection with SOC,fixed-energy sandpiles furnish intriguing examples of phase transitions far from equilibrium,incorporating cooperative relaxation in the form of activated diffusion.Until now,all quantita-tive results for FES have been numerical,based either on simulations[20,24,21,22], or on coherent-anomaly analysis of a series of n-site cluster approximations[23]. Phenomenologicalfield theories for sandpiles have been proposed[25–27],but their analysis is far from straightforward.It is therefore of great interest to develop the-oretical approaches for FES.This paper is thefirst of a series analyzing a stochastic sandpile using operator and path-integral methods.In this work we establish the path-integral represen-tation,and use it to develop a time-dependent perturbation theory that yields an expansion for the activity density in powers of time.In subsequent work the series will be extended and analyzed.Our analysis uses two principal tools.Thefirst is an operator formalism for Markov processes,of the kind developed by Doi[28],and applied to various mod-els exhibiting nonequilibrium phase transitions[29–33].The second is an exact mapping,due to Peliti,from the Markov process to a path-integral representation [34,35].This approach is often used to generate an effective action,which may then be analyzed using renormalization group(RG)techniques[36–38].In the present instance,however,we use the formalism not as the basis for an RG analysis,but to generate a series expansion for the order parameter.The expansion variable is the time;the coefficients are polynomials in the particle density,p.The balance of the paper is organized as follows.In Sec.II we define the model and the master equation governing its dynamics using an operator formalism, which is then mapped to the path-integral representation.Sec.III develops the perturbative expansion of the activity density in powers of time.In Sec.IV,we study some general properties of the diagrammatic expansion,allowing us to simplify and extend the analysis.A brief comparison with simulation results is presented in Sec.V.A summary and discussion of our results is given in Sec.VI.II.EVOLUTION OPERATORWe consider Manna’s stochastic sandpile in itsfixed-energy(particle-conserving) version[21,39,40].The configuration is specified by the occupation number n i at each site;sites with n≥2are said to be active,and have a positive rate of toppling. When a site topples,it loses exactly two particles(“grains of sand”),which move randomly and independently to nearest-neighbor(NN)sites.In this work,we adopt a toppling rate of n(n−1)for a site having n particles.This choice of rate represents a slight departure from the examples studied previously,in which all active sites have the same toppling rate.The present rate leads to a much simpler evolution operator,and,on the other hand,should yield the same scaling properties,since sandpiles,like critical phenomena in general,exhibit a high degree of universality. (Close to the critical point,the density of sites with n≥3particles is quite low, so that in practical terms our choice of rate should not alter quantitative properties greatly.Since studies of restricted-height sandpiles[22,24]reveal that they belong to the same universality class as their unrestricted counterparts,there is good reason to expect that a small change in transition rates,that does not modify the sym-metry or conservation laws of the model,will have no effect on critical exponents.) Preliminary simulation results[41]indicate that the model studied here exhibits a continuous phase transition at p c=0.9493,in one dimension;the corresponding value for the model with the same toppling rate for all active sites is p c=0.94885 [21].For simplicity we begin the analysis in one dimension;the generalization to d dimensions is straightforward.We represent the dynamics of this continuous-time Markov process via the master equation,written in the form[34,35]:d|Ψwith occupation numbers{n i},and the state|{n i} is a direct product of states |n j ,representing exactly n j particles at site j.The evolution operator L is written in terms of creation and annihilation oper-ators,defined via the relations:a i|n i =n i|n i−1andπi|n i =|n i+1 .The evolution operator for the one-dimensional stochastic sandpile takes the form,L= i 1N k e ijk a k,(3) (and similarly forπk,etc.),where the allowed vales for the wave vector are:k=−π,−π+2πN,0,2πN.(4)(To avoid heavy notation,we indicate the Fourier transform by the subscript k;the subscript j denotes the corresponding variable on the lattice.)In Fourier represen-tation,L=−N−3 k1,k2,k3ωk1,k2πk1πk2a k3a−k1−k2−k3,(5) whereωk1,k2=1−cos k1cos k2.Since L is in normal form(all operatorsπto the left of all operators a),we can immediately write the evolution kernel,following Peliti’s prescription[34,35]:U t({z k},{ζk})= DˆψDψexp − t0dt′ N−1 kˆψk˙ψ−k+N−3 k1,k2,k3ωk1,k2ˆψk1ˆψk2ψk3ψ−k1−k2−k3+N−1 k z kψ−k(t),(6)with the boundary conditionsψk(0)=ζk andˆψk(t)=z k.(The dot denotes a time derivative;{z}stands for the set of parameters z k associated with each wave vector, and similarly for{ζ}.)The functional integrals are over the variablesψk andˆψk:DˆψDψ≡ k Dˆψk Dψk(7)[The product is over thefirst Brillouin zone,Eq.(4).]In the d-dimensional case,Eq.(6)remains valid if we letωk1,k2=1−λd(k1)λd(k1),(8) withλd(k)≡12πe−i kζkζ′−k U t({z k},{ζk})Φ0({iζ′k})(t≥0).(10)We consider an initial product-Poisson distribution,with each site having the same mean number of particles,p,so that,Φ0({z j})=exp[p j(z j−1)],(11) corresponding toΦ0({z k})=exp[Np(z k=0−1)],(12) in k-space.Noting thatdζdζ′∂z j z n=1,(15) and the mean activity,n j(n j−1) =∂2Φt({z n})It is convenient at this point to perform a change of variables,letting˜ψk=ˆψk−Nδk,0.As a result,G′gains a factor of e Np[which cancels the prefactor in Eq.(18)],and the boundary term in the argument of the exponential vanishes when we set z k=Nδk,0.Then we haveA = D˜ψDψA G[ψ,˜ψ],(21) whereG[ψ,˜ψ]≡exp −N−1 t0dt′ k˜ψk˙ψ−k+ t0dt′L I ,(22) and where the“interaction”is now:L I=−N−3 k1,k2,k3ωk1,k2˜ψk1˜ψk2ψk3ψ−k1−k2−k3−2N−2 k1,k2ωk1,0˜ψk1ψk2ψ−k1−k2.(23) Eq.(22)with L I≡0defines G0;Eq.(21)with G0in place of G defines A 0.The usual procedure at this point would be to take the continuum(small-k) limit,generating afield theory for the process.While this is not our purpose in the present work,we note some interesting features of the model in this context. Thefirst is that the interaction L contributes nothing to the quadratic part of the action.(This can be seen immediately from Eq.(1):L is quartic in thefields.) Thus the resulting theory is nominally massless,and has no evolution at all in the Gaussian approximation.(Diffusion,in this model,is cooperative,requiring the presence of at least two particles at the same site.)The action,moreover, contains no parameters whatsoever;the relevant parameter p is“hidden”in the initial probability distribution.A further difference from continuum descriptions of more familiar processes such as DP[18,19]is that the order parameter is given by ψ2 not ψ .In simulations and cluster approximations[20–23],FES clearly show a continu-ous phase transition between an active and an absorbing state as the parameter p is varied,in close analogy to more familiar examples,such as directed percolation. Thus at some more reduced level we might expect tofind an effectivefield theory of the usual kind,with a nonzero mass,bare diffusion coefficient,and one or more relevant parameters.Such theories have indeed been proposed for sandpile models [26,27].They include a secondfield(the particle density)whose evolution is cou-pled to that of the order parameter.We leave the systematic derivation of such a description,starting from the present exact action,as a topic for future work.III.PERTURBATION THEORYA.Free expectationsTo evaluate expectations of the form of Eq.(21)we writeA = A e t0dt′L I 0,(24) with the intention of expanding the exponential.Each term in the ex-pansion(corresponding to a diagram,as specified below),can be evalu-ated once we have determined the free expectations of products offields, ψk1(τ1)···ψk m(τm)˜ψq1(κ1)···˜ψq n(κn) 0.As usual,this can be reduced to expec-tations of a singlefield and of pairs offields.To begin,considerψk(s) 0= D˜ψDψψk(s)exp −N−1 t0dt′ k˜ψk˙ψ−k .(25)The integrals over˜ψk force the condition˙ψk=0,so thatψk(s)=ψk(0)=Npδk,0. Evidently,the same reasoning implies that free expectation of a product of nfields ψis(Np)n if all the wave vectors are zero,and is zero otherwise.(The fact that a singlefield has a nonzero expectation may appear unusual,but in fact will not cause any inconvenience.It is possible to make a further change of variables to ψ′k=ψk−Npδk,0,at the cost of introducing four new terms in L i.) To evaluate free expectations involving˜ψ,we define an operator K q(τ)via the property:K q(τ)G0=˜ψk(τ)G0.(26)Integrating by parts in the exponential,we haveδexp N−1 t0dt′ k′ψk′∂t′˜ψ−k′+p˜ψk=0(t=0)δψ−k(τ)=N−1∂τ˜ψk G0.(27)Recalling that˜ψk(t)=0,we haveK q(s)=−N t s dτδ˜ψk(s) 0=−N D˜ψDψ t s dτδδψ−k(τ)G0=Nδk′,−kΘ(u−s),(30) whereΘdenotes the step function.As is usual in this formalism,Θ(0)=0[35]. The free expectation of nfields˜ψand nfieldsψis given by the sum of all products of n pairwise contractions.In case there are m>nfieldsψthere are additional associated with each uncontractedψ.factors of Npδki,0B.Perturbative expansionWe now have in hand all the ingredients needed to expand expectations of the form of Eq.(24).Thefirst and second terms in L I,Eq.(23),correspond to vertices with four and three lines(a“4-vertex”and a“3-vertex”,respectively).Each˜ψk(τ) must be contracted with aψ−k(τ′),whereτ′>τ.(The required factors ofψmay come from other vertices or from A.)We adopt a graphical notation in whichfieldsψ(˜ψ)are represented by lines entering(leaving)a vertex.All lines are oriented toward the left,the direction of increasing time.Fig.1shows the vertices associated with L I,and the nodes that representφandρ.We refer to the latter as“sinks”since they have no outgoing lines.Uncontractedfieldsψare called“external lines”.When we expand the exponential in Eq.(24),the n-th order term carries a factor 1/n!,and there are n time integrations, dt1··· dt n,all over the interval[0,t].We absorb the factor1/n!byfixing the time-ordering t≥t1≥t2≥···≥t n≥0.This imposes certain restrictions on diagram topology,since afield˜ψmust always be contracted with aψat a later time.Once this ordering is imposed,the integrand has no further time dependence,and the time integrations yield t n/n!.Before formulating general rules,we study a few examples.Considerρ=N−2 k ψkψ−k e t0dt′L I 0.(31)The zeroth-order term is simply:N−2 k ψkψ−k 0=p2,(32)i.e.,the initial activity for the product-Poisson distribution.Atfirst order we have the diagrams(a)and(b)shown in Fig.2.For diagram(a)there is a combinatorialfactor of2,since there are two ways to contract the lines exiting the vertex with the fields inρ;the contribution from this diagram is−2 t0dτN−1p2 kωk,k=−p2t(33) In graph(b)we see that the condition that uncontractedψfields have k=0forces the line exiting the vertex to have k=0as well.But there is then a factor of ω0,0=0associated with this vertex,so the contribution due to graph(b)vanishes. In general,we can exclude diagrams in which the two lines entering a3-vertex have momenta that sum to zero.At order t2we have diagrams(c)—(f)shown in Fig.2;(d)and(f)vanish for the same reason as(b).(From here on we simply ignore such diagrams.)The contribution of graph(c)is readily obtained:there is a combinatorial factor of4; the time integrations yield t2/2;there is a remaining factor of N−2times the square of the sum encountered in graph(a).The result is p2t2/2.In graph(e)there is a combinatorial factor of8;its contribution is16(t2/2)p3N−1 k[1−cos2k][1−cos k]=4p3t2.(34) It is easy to see that our expansion conserves the particle density.With a one-line sink in place of the two-line sink corresponding toρ,there will never be enough factors ofψto contract with all the˜ψfactors,if use only four-line vertices.On the other hand,if we contract the sink with a three-line vertex,there will be a factor of ω0,0=0.Thusφ(t)=φ(0)=p.C.Diagram rulesIn the analysis that follows it will be convenient to employ the Laplace transform; the factor t n/n!then becomes1/s n+1,where s is the transform variable.Each diagram in the series for˜ρ(s)carries a factor of N L−3n4−2n3−2,where L is the number of lines(including external lines),and n3and n4are the numbers of3-vertices and4-vertices,respectively.There is exactly one factor of N−1for each free wave vector sum;from here on,we simply associate such a factor with each sum.We can formalize the foregoing discussion into a set of rules forfinding the n-th order contribution to the order parameter˜ρ(s):1)Draw all connected diagrams with n vertices,and a two-line sink to the left of all vertices.It is permissible for a line entering a node to be uncontracted(each external line carries a factor p and must have momentum zero),but each line exiting a vertex(j)must be contracted with a vertex(i<j)to the left;there is a factorofδk′,−k associated with each internal line.(Here k is the wave vector of the lineexiting vertex j and k′the wave vector entering vertex i.)Given the restriction noted above,that the sum of the momenta entering a3-vertex cannot be zero,therightmost vertex of any diagram must be a4-vertex.We refer to this(and any other)4-vertex with two external lines as a source point.2)For each graph there is an overall factor of1/s,and a combinatorial factor count-ing the number of ways of realizing the contractions.In the series forρ,the combi-natorial factor is the product of a factor C V,associated with the choice of lines at each vertex(for afixed set of connections between vertices),and a factor C L givingthe number of choices of,and connections between vertices,consistent with a givendiagram.It is easy to show that C V=2Q,where Q=1+n3+2n4−ℓ−f,with ℓthe number of simple loops,and f the number of source points.By a simple loopwe mean a pair of vertices directly connected by two lines,as in Fig.2(a).The connection factor C L is unity for diagrams of three or fewer vertices,but can take nontrivial values for n≥4.Examples are discussed below.3)Each3-vertex carries a factor of−2s−1ωk,0=−2s−1[1−cos k],where k is themomentum leaving the vertex.Each4-vertex carries a factor of−s−1ωk1,k2,wherek1and k2are the momenta of the lines exiting the vertex.4)After taking into account all of theδ-functions associated with propagators,the remaining free wave vectors are summed over thefirst Brillouin zone,Eq.(4).We close this subsection with a discussion of the combinatorial factor C L.As noted,C L represents the number of distinct choices of vertices,and of connections between vertices,consistent with a given diagram topology.Evidently,diagrams with n vertices arise when we expand the product L I,1,...,L I,n;by“choice of ver-tices”we mean whether the3-vertex,or the4-vertex,associated with each L I,i is selected.The n-th vertex is,as noted,always a4-vertex.Of course,if the remaining n−1vertices of a diagram are all of the same kind,then only one choice exists. In most cases,exchanging the positions a3-vertex and a4-vertex yields a different diagram,but this is not always so.Consider,for example,diagram(a)shown in Fig. 3.Let us refer to the i-th vertex in a given diagram(in order of decreasing time)as V i,with V0denoting the sink.In this diagram V1must be a3-vertex,and V4a4-vertex,but we are free to choose between V2and V3as the other3-vertex. Thus this diagram appears twice in the expansion of the activity,so that C L=2in this case.(That C L=2,and not more,rests on the fact that,given the choice of vertices,there is only one way of connecting them to yield the desired topology.) Next we consider the possibility of different connections among afixed set of vertices.We use[i,j]to denote a link between V i and V j.Consider diagrams(b) and(c)of Fig.3.For diagram(b),the set of connections between vertices is unique: [0,1],[0,4],[1,2],[2,3],and[3,4],so C L=1for this diagram.For diagram(c),by contrast,there are several different sets of connections that yield the same topology. Evidently,the links between V1and V0,and between V4and V3,are obrigatory.Butthis leaves open the question of which vertex the other outgoing line of V4links to, and of which vertex is linked to the other line entering the sink.One readily verifies that the following possibilities exist:i)[0,1],[0,2],[1,4],[2,3],[3,4];ii)[0,1],[0,2],[1,3],[2,4],[3,4];iii)[0,1],[0,3],[1,2],[2,4],[3,4].Thus C L=3for diagram(c).Consider,finally,diagram(d)of Fig.3.If V1and V2 are both3-vertices,there are two possible sets of connections:i)[0,1],[0,2],[1,3]2,[2,4],[3,4];ii)[0,1],[0,2],[2,3]2,[1,4],[3,4].In addition,this diagram can be realized(with a unique set of connections),with V1and V3as the3-vertices,so that C L=3in this case.D.Examples and some general resultsThere are seven diagrams at third order(Fig.4).Diagram(a),which continues the series whosefirst two terms are(a)and(c)of Fig.2,is readily shown to yield −p2/s4.Applying the rules to diagram(b)in Fig.4,wefind:16(−2)N−2p31s4p3.(35)The contribution of diagram(c)is identical.For diagram(d)we have16(−4)N−1p41s4p4.(36)Diagram(e)makes the same contribution.Similar analysis yields−18p3/s4for diagram(f)and−32p3/s4for(g).Collecting results,we haveρ=p2−p2t+p2t26 1+66p+80p2 +O(t4).(37) In evaluating wave vector sums the following observations are helpful.First,note that any wave vector sum N−1 k can be written as(2π)−1 π−πdk.The analysis is facilitated by use of the identity:I n≡1(2n+4)!!.(38) [This can be shown by writing I n as an integral,and letting u=1−cos k so thatI n=12−u.Integrating by parts one readilyfinds thatI n=22n+12d,kλ4d(k)=3(2d−1)2dλd(q).Two general properties of the expansion are readily verified.First,the leading term at each order is p2(−t)n/n!.This set of contributions sums to p2e−t,describing the relaxation of the initial density of active sites.In d dimensions this becomes p2exp[−(2d−1)t/d].The decay rate,(2d−1)/d,represents twice the probability that the two particles released by a toppling site move to distinct neighbors,the factor of two representing the toppling rate for a site with exactly two particles.A second observation is that the highest power of p appearing at order t n is p n+1, coming from diagrams with one source point and n−1external lines terminating at3-vertices.The coefficient of this term can be found as follows.Note that the relevant diagrams consist of(n−1)3-vertices attached to the lines of the simplest graph(Fig.2a).The number of realizations of such topologies(that is,the sum of the C L over all diagrams of this kind),is given by one half the number of distinct sequences of r symbols A and n−r−1symbols B(A andB corresponding to3-vertices inserted in one or the other line),summed over r from r=0to n−1.(The factor of one half is required because a pair of sequences that merely exchange A’s and B’s in fact represent the same diagram.)The number of such realizations is:1(2n+2)!!p n+1t n41n!=pt)typical of diffusive processes.IV.DIAGRAMMATIC ANALYSISAs is evident from the foregoing discussion,many diagrams represent simple variations of those appearing at some lower order.The calculation will be simplfied if we can identify classes of related diagrams.To begin we enumerate some ways in which diagrams(g′)with v+1vertices can be formed from a v-vertex diagram g.a)Insert a3-vertex into any internal line;g′has one more external line than does g.An example is the generation of diagram(e),starting from(a)in Fig.2.b)Replace any4-vertex by a“4-loop”,consisting of a pair of4-vertices joined by two lines.Diagram(c)(Fig.2)is generated from(a)by this process.c)Replace any3-vertex V by a4-vertex,contracting the new outgoing line with a new3-vertex inserted in an existing internal line.In case the contraction is to a3-vertex V′on the same line as V,and there are no other vertices on this line, between V and V′,we call the resulting structure a“3-loop”.Starting with diagram (e)in Fig.2,we may generate(f)and(g)(Fig.4)by this procedure.Diagram(f) has a3-loop but(g)does not,since in this case V′does not lie on the same line as as V.d)Insert a4-vertex into an internal line,contracting one of its outgoing lines to an existing external line.(The vertex associated with the latter must lie to the left ofthe new4-vertex.)Graphs(f)and(g)(Fig.4)are formed from(e)(Fig.2)by this means.e)Add a new4-vertex to g by joining its outgoing lines to two external lines in g. Consider again(e)in Fig.2;if we join two external lines(one of them associated with the3-vertex)to a new4-vertex,the result(after some redrawing)is(g)of Fig. 4.Now consider the inverse of operations a)-c).Given a graph g with two or more vertices:a’)Remove all3-vertices bearing an external line.b’)“Collapse”any4-loop to a single4-vertex.c’)Collapse any3-loop to a3-vertex.The systematic application of these steps,until no further subtractions are pos-sible,will be called reduction of a diagram.Let us define an articulation point as a4-vertex(other than a source point),which,if removed,will leave the diagram disconnected.(Such a vertex has,by necessity,total momentum zero entering it.) In Fig.2only graph(c)has an articulation point,while graphs(a),(b)and(c)of Fig.4all possess one or more such point.We may now define an irreducible diagram(IRD)as one free of3-vertices bearing external lines,free of collapsible loops,and having no articulation points.The simplest irreducible diagram is(a)of Fig.2;we shall refer to it as the one-loop IRD.At each order only a small minority of the diagrams are irreducible.At second order there are no IRDs;the only one at third order is(g)in Fig.4.The IRDs with four vertices are shown in Fig.5;there are23IRDs withfive vertices.In addition to the local modifications(a-e)described above,we can also form new diagrams via composition.Given two diagrams g and g′we form the composite diagram gg′by:i)Deleting the two lines entering one of the source points r of g;ii)Identifying the sink in g′with r in g.(If g and g′are distinct we can also form g′g.)Graph(b)of Fig.4is composed,in this sense,from(a)and(e)of posite graphs are reducible by definition (the two components are joined at an articulation point.)When we have removed all3-vertices with external lines,and collapsed all collapsible loops in a diagram, the result is either an IRD or a composite of such diagrams.The expansion up to order t v may be organized as follows.First we identify all of the IRDs with v or fewer vertices.For each such IRD,we evaluate its contributionand that of all diagrams with≤v vertices that are directly reducible to it.There remain the composite diagrams.Let˜C g(s)be the contribution to˜ρ(s)due to diagram g.From the definition of the composition process,we see that the contribution of a composite diagram gg′to the activity is:˜Cgg′=sp2˜C g∗(s)+ g′≻g∗˜C g′(s) ,(41)as s/p2times the sum of contributions due to g∗and all graphs reducible to it(we use g′≻g∗to mean“g′is reducible to g∗”).Now define˜F(s)= g∗˜F g∗(s),(42)and˜G(s)= g∗n g∗˜F g∗(s),(43)where the sum is over all IRDs,and and in the second sum n g∗is the number of source points in g∗.Each source point serves as a possible attachment site for the preceding element.Then the sum of(i)all irreducible diagrams,(ii)all diagrams reducible to an IRD,and(iii)all linear composite diagrams is˜ρL(s)=p21−˜G(s).(44)Missing from˜ρL are branching composite diagrams.These are composite diagrams in which at least one component has two or more diagrams attached to its source points.Since diagrams with more than one source point have at least four vertices, branching diagrams must have at least six.Thus˜ρ(s)=˜ρL(s)to O(s−6).Evaluating ˜F to and˜G to this order,we obtainρ=p2−p2t+p2t26 1+66p+80p2+p2t45! 1+2842p+35396p2+52240p3+10752p4 +O(t6).(45)In d dimensions the result is:ρ=p 2−γp 2t +p 2t 26γ3+2p d 3 8d 3−6d +3 +p 2t 4d 5 1152d 5−960d 4+336d 3−128d 2+36d +6 +4p 2d 38d 2(d +1)−9(2d −1) +O (t 5),(46)where γ≡(2d −1)/d PARISON WITH SIMULATIONAlthough the series we have derived are too short to yield reliable predictions for the activity ρ(t )at long times,it is of interest to consider a preliminary comparison with simulation results,as a check on our analysis.We have simulated the one-dimensional model on lattices of L =1000and 2000sites,with periodic boundaries;initially N =pL particles are placed randomly on the lattice,generating a product-Poisson distribution of occupation numbers n j .We average over 5×105independent realizations of the process.A typical result is shown in Fig.6,for p =1/2.Since this is well below the critical value,ρ(t )→0as t →∞.(Note that the average is over all realizations,including those that have fallen into the absorbing state.)The simulation result (data points merging to the bold line)decays quite rapidly at first,and then approaches zero more slowly;a systematic study [41]reveals that the approach to ρ=0is best characterized as a stretched exponential,ρ∼exp[−at β]with β≃1/2.Two theoretical curves derived using the series,Eq.(45),are shown in Fig.6.The upper one is generated by transforming the time series to the variable y =[1−e −bt ]/b ,and then constructing the [3,2]Pad´e approximant to the y -series.For b in the range 0.25to 0.4we find good agreement at short times;for b =0.35(shown here)there is excellent agreement for t ≤10,but the theoretical prediction attains a constant,nonzero value thereafter.Since ρ(t )must decay to zero in this case,it is interesting to study the series for d ln(ρ/p 2)/dt .The latter remains negative for large t ,so that the activity itself decays to zero.The lower curve in Fig.6is obtained by transforming the derivative-log series to the variable z =1−(1+bt )−1/3(with b =2.7),and forming the [2,2]approximant to the z -series,which is then used to evaluate ln(ρ/p 2)via numerical。