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Relevant bibliographies by topics / POVM reconstruction

Academic literature on the topic 'POVM reconstruction'

Author: Grafiati

Published: 14 March 2023

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Journal articles on the topic "POVM reconstruction"

1

Vitek, Marek, Michal Peterek, Dominik Koutny, Martin Paur, Bohumil Stoklasa, Libor Motka, Zdenek Hradil, Jaroslav Rehacek, and L. L. Sanchez-Soto. "Reconstruction of coherence matrix in x-representation using nonclassical Hartmann sensor." EPJ Web of Conferences 266 (2022): 10012. http://dx.doi.org/10.1051/epjconf/202226610012.

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We show the coherence properties of a signal can be measured by a Hartmann wavefront sensor in a nonclassical regime. Recasting the detection theory of the classical Hartmann sensor in the sense of quantum tomography enables to measure the coherence function, which is an analogy to the density matrix of mixed quantum states. Two methods were tested for the reconstruction of the coherence matrix from the intensity scan in the nonclassical mode of the Hartmann sensor. The reconstruction was performed in a classic way using the POVM matrix and using data pattern tomography.

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Maciejewski, Filip B., Zoltán Zimborás, and Michał Oszmaniec. "Mitigation of readout noise in near-term quantum devices by classical post-processing based on detector tomography." Quantum 4 (April 24, 2020): 257. http://dx.doi.org/10.22331/q-2020-04-24-257.

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We propose a simple scheme to reduce readout errors in experiments on quantum systems with finite number of measurement outcomes. Our method relies on performing classical post-processing which is preceded by Quantum Detector Tomography, i.e., the reconstruction of a Positive-Operator Valued Measure (POVM) describing the given quantum measurement device. If the measurement device is affected only by an invertible classical noise, it is possible to correct the outcome statistics of future experiments performed on the same device. To support the practical applicability of this scheme for near-term quantum devices, we characterize measurements implemented in IBM's and Rigetti's quantum processors. We find that for these devices, based on superconducting transmon qubits, classical noise is indeed the dominant source of readout errors. Moreover, we analyze the influence of the presence of coherent errors and finite statistics on the performance of our error-mitigation procedure. Applying our scheme on the IBM's 5-qubit device, we observe a significant improvement of the results of a number of single- and two-qubit tasks including Quantum State Tomography (QST), Quantum Process Tomography (QPT), the implementation of non-projective measurements, and certain quantum algorithms (Grover's search and the Bernstein-Vazirani algorithm). Finally, we present results showing improvement for the implementation of certain probability distributions in the case of five qubits.

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3

Wehlau, Ruth. "Rumination and Re-Creation: Poetic Instruction in The Order of the World." Florilegium 13, no. 1 (January 1994): 65–77. http://dx.doi.org/10.3138/flor.13.005.

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The Old English poem The Order of the World contains another poem within itself, a poem that is offered to the reader with the specific purpose of providing a sample or model of good poetry. Although this sample poem is to some extent based on Psalm 18, it is neither a translation nor a paraphrase of the psalm. Rather, it is a reconstruction of the psalm in an Old English idiom.

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Myers, Benjamin. "Predestination and freedom in Milton's Paradise Lost." Scottish Journal of Theology 59, no. 1 (February 2006): 64–80. http://dx.doi.org/10.1017/s0036930605001614.

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John Milton's epic poem Paradise Lost (1667) offers a highly creative seventeenth-century reconstruction of the doctrine of predestination, a reconstruction which both anticipates modern theological developments and sheds important light on the history of predestinarian thought. Moving beyond the framework of post-Reformation controversies, the poem emphasises both the freedom and the universality of electing grace, and the eternally decisive role of human freedom in salvation. The poem erases the distinction between an eternal election of some human beings and an eternal rejection of others, portraying reprobation instead as the temporal self-condemnation of those who wilfully reject their own election and so exclude themselves from salvation. While election is grounded in the gracious will of God, reprobation is thus grounded in the fluid sphere of human decision. Highlighting this sphere of human decision, the poem depicts the freedom of human beings to actualise the future as itself the object of divine predestination. While presenting its own unique vision of predestination, Paradise Lost thus moves towards the influential and distinctively modern formulations of later thinkers like Schleiermacher and Barth.

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Iplina, Antonina Alekandrovna. "Reconstruction of Uzbek poetry image system in translation." Interactive science, no. 10 (44) (October 19, 2019): 30–32. http://dx.doi.org/10.21661/r-508132.

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The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.

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Bammesberger, Alfred. "A Doubtful Reconstruction in the Old English Ruthwell Crucifixion Poem." Studia Neophilologica 74, no. 2 (January 2002): 143–45. http://dx.doi.org/10.1080/003932702321116163.

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Staroń, Ireneusz. "Wiersz jako parodia cytatu. „List do PI” Krzysztofa Koehlera." Prace Literackie 57 (July 12, 2018): 89–103. http://dx.doi.org/10.19195/0079-4767.57.8.

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The poem as aparody of aquote. Krzysztof Koehler’s List do PIThe article attempts to analyse the poem List do PI The letter to PI, one of the most representative of Krzysztof Koehler’s poetry. In the poem aquote from Horace’s Letter to the Pisos is treated as acrucial component of the lyrical subject creation. The lyrical “I” is both an Amfion’s creator and an ironist who changes the sense of each word during his “comic journey”. It must, however, be borne in mind that on the global level the ironisation of the lyrical world is only that what Linda Hutcheon called an “authorized transgression”. Essential for the Koelher’s parody is the reconstruction of the language.

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Nauta, Ruurd. "Catullus 63 In a Roman Context." Mnemosyne 57, no. 5 (2004): 596–628. http://dx.doi.org/10.1163/1568525043057900.

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AbstractIn this paper,1) Catullus' intentions in writing the Attis poem and his possible use of a Greek model are deliberately left out of account. Instead, the focus is on the meaning his poem may have had for his contemporary audience. Attis is a gallus, a castrated devotee of the Mater Magna, and thus a reconstruction is attempted of the mental picture that Romans of Catullus' time had of galli. Special importance is given to Lucretius' excursus on the Mater Magna, and his interpretation of castration as a punishment for lack of pietas. Finally, a slightly later source, Vergil's Aeneid, is used to suggest that Catullus' poem may also have been read as participating in a discourse about Roman national identity.

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Krasnikova, A. S. "Selvinsky’s Ulyalaevshchina in 1924–1927." Voprosy literatury, no. 4 (August 19, 2021): 34–69. http://dx.doi.org/10.31425/0042-8795-2021-4-34-69.

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A detailed reconstruction of the history behind the creation and publication of I. Selvinsky’s Ulyalaevshchina, a narrative poem about the Russian civil war in the Urals, following the 1917 revolution. Composed in 1924, Ulyalaevshchina was first published in 1927 and then underwent numerous alterations by Selvinsky, to a detrimental effect. The 1920s–1930s saw four publications of the poem as a separate book; the poem was considered a masterpiece of Selvinsky’s and of contemporary Soviet poetic output in general. However, its subsequent publications in the 1930s were unofficially vetoed up until the early Thaw years, when, in 1956, the poem was published again upon radical redrafting by the author. The scholar makes a meticulous comparison between various archive versions of Ulyalaevshchina, comments on textual juxtapositions and finds that the poem, conceived as a ‘verse novel’ about the Russian civil war and the Bolshevik pillaging of rural settlements during the food confiscation campaign (prodrazvyorstka), was intentionally rewritten by Selvinsky as an exemplary Soviet epic, which could not but damage the poem’s quality and intonation.

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Feduta, Alexander I. "Reappearance of a Mistake. (On the history of a disappeard text by N.A. Nekrasov)." Literary Fact, no. 18 (2020): 393–402. http://dx.doi.org/10.22455/2541-8297-2020-18-393-402.

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In posthumous editions of K.I. Chukovsky’s works, including the newest 15-volume Collected Works, his article “The Poet and the Executioner” (1922), which is essentially devoted to the poem “Raising the Grace Cup...” addressed to M.N. Muravyov-Vilensky, is re-published. In the 1930s B.Ya. Bukhshtab finally disavowed the authorship of N.A. Nekrasov, and Chukovsky not only excluded this poem from the body of the poet's works, but also refused to republish his article. Now its republishing requires detailed reservations and explanations, which can be facilitated by the reconstruction of scientific polemics of the past decades. Thу article is devoted to its history.

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Books on the topic "POVM reconstruction"

1

Gery, John. Davenport's version: A narrative poem. New Orleans, La: Portals Press, 2003.

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2

Rozhkov, I͡Uriĭ, and Kira Matissen. Fotomontazhnyĭ t͡sikl I͡Urii͡a Rozhkova k poėme Vladimira Mai͡akovskogo "Rabochim Kurska, dobyvshim pervui͡u rudu...": Rekonstrukt͡sii͡a neizdannoĭ knigi 1924 goda, statʹi, kommentarii = Vladimir Mayakovsky poem "To the workers of Kursk who extracted the first ore..." : a series of photomontages by Yuri Rozhkov : reconstruction of the unpublished 1924 book, articles, commentary. Sankt-Peterburg: Izdatelʹstvo Europeĭskogo universiteta v Sankt-Peterburge, 2014.

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3

Ruthwell Cross and Its Texts: A New Reconstruction and an Edition of the Ruthwell Crucifixion Poem. de Gruyter GmbH, Walter, 2022.

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4

Majewski, Kerstin. Ruthwell Cross and Its Texts: A New Reconstruction and an Edition of the Ruthwell Crucifixion Poem. de Gruyter GmbH, Walter, 2022.

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Majewski, Kerstin. Ruthwell Cross and Its Texts: A New Reconstruction and an Edition of the Ruthwell Crucifixion Poem. de Gruyter GmbH, Walter, 2022.

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6

Taylor, Barnaby. Lucretius and the Language of Nature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754909.001.0001.

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Lucretius’ Epicurean poem De Rerum Natura (‘On the Nature of Things’), written in the middle of the first century BC, made a fundamental and lasting contribution to the language of Latin philosophy. This book is a study of Lucretius’ linguistic innovation and creativity. Lucretius is depicted as a linguistic trailblazer, extending and augmenting the technical language of Latin in order to describe the Epicurean universe of atoms and void in all its complexity and sublimity. A core thesis of the book is that a detailed understanding of Epicurean linguistic theory will bring with it a greater appreciation of Lucretius’ own language. Accordingly, the book features an in-depth reconstruction of certain core features of Epicurean linguistic theory. Elements of Lucretius’ style that are discussed include his attitudes to and use of figurative language (especially metaphor); his explorations, both explicit and implicit, of Latin etymology; his uses of Greek; and his creative deployment of compounds and prefixed words. His practice is related throughout not only to the underlying Epicurean theory but also to contemporary Roman attitudes to style and language.

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Book chapters on the topic "POVM reconstruction"

1

Bloothooft, Meye, Joseph G. Shuttleworth, Gabriel Neiman, Ishan Goswami, and Andrew G. Edwards. "Recapitulating Functional Heterogeneity in Electrophysiologically Active Tissues." In Computational Physiology, 45–64. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-25374-4_4.

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AbstractInter-cellular heterogeneity is central to the dynamic range and robustness of function in many tissues, particularly electrically excitable tissues. In pancreatic islet 𝛽-cells, inter-cellular heterogeneity underlies the range of insulin response to glucose. In human-induced-pluripotent stem cell-derived cardiomyocytes (hiPSCCMs), inter-cellular heterogeneity presents a key challenge for drug screening applications. In this study, we assess the ability to reconstruct inter-cellular heterogeneity in silico by applying a “population of models” (PoMs) framework, i.e. collections of computational cells created via Monte Carlo variation of model parameters. We define parameter variation based on experimentally observed heterogeneity in properties such as ion current conductances and enzymatic affinities. We then assess the accuracy of those reconstructions, based on the degree to which variation in PoM outputs (e.g. action potential duration) matches experimentally observed variation. We report that this “ground-up” approach underestimates functional heterogeneity in the hiPSC-CM population, but overestimates it in adult human cardiomyocytes. In contrast, the 𝛽-cell PoM captures three distinct and physiologically relevant subclasses of 𝛽-cell function. In the future, we expect PoM approaches like these willpermit incorporation of realistic cellular heterogeneity in detailed models of intact tissues, and thereby aid development of sophisticated tissue-engineered platforms for therapeutics.

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2

"The reconstruction of the poem." In The Derveni Papyrus, 92–131. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511584435.005.

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3

Coward, Thomas. "A Hesiodic Heldendämmerung: Some Textual Problems and Reconstructions." In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/003.

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This chapter examines the ending of the Hesiodic Catalogue of Women (204.94-180 M.-W. = 155.94-180 Most = 110.94-180 Hirschberger). Based on fresh collations of the papyri, it proposes a hypothetical reconstruction of a papyrus roll of the fifth and final book of the poem, as well as several readings and suggestions.

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"Diagnosing memorial reconstruction: the Poem, the Play, the Text." In Shakespearean Suspect Texts, 159–226. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511553134.008.

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"7 A New Reconstruction of The Ruthwell Crucifixion Poem." In The Ruthwell Cross and its Texts, 260–326. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110785449-008.

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6

Matthews, Samantha. "Reconstructing the ‘Cossey Hall’ Album." In Album Verses and Romantic Literary Culture, 58–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857945.003.0003.

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The Jerningham family began their influential British country house album at Cossey Hall, Norfolk, in 1785: a defining moment in public awareness of the elite practice. Lady Frances Jerningham’s letters chart the book’s transition from a novel amusement to a meaningful agent in the family’s social network, and in constructing their public image. Contributors ranged from the family’s children and neighbours, to authors including Arthur Murphy and Amelia Opie. Edward Jerningham’s ‘Lines written in the Album, at Cossey Hall’ (1786), appropriated by the periodicals, became the most widely known album poem of the late-eighteenth century, and made the Cossey volume the most famous English album of the age. Drawing on family letters and contemporary periodicals, the chapter demonstrates how a unique manuscript book kept behind closed doors became not only a record of domestic and local affairs, but of public and political events, over two generations.

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7

Celati, Marta. "Orazio Romano’s Porcaria." In Conspiracy Literature in Early Renaissance Italy, 29–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863625.003.0002.

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This chapter presents a thorough critical study of Orazio Romano’s poem Porcaria, a not very well-known text on Stefano Porcari’s conspiracy against Pope Nicholas V, in 1453. The comprehensive analysis of this work provides a complete reconstruction of the history of the text, based on the examination of the only manuscript copy of the poem still extant, and a thorough investigation of the wide-ranging classical sources used by the author in his work: in particular Vergil, Lucan, Statius, Sallust, Livy, and Claudian. The intertextual analysis points out the complex and multifunctional process of imitation performed by Orazio Romano in the creation of his sophisticated poem: a practice that affects both stylistic and thematic elements and is also aimed at creating a complex dimension of exemplarity. Moreover, the chapter analyses the political perspective of the text, which proves to be closely connected with the system of cultural politics developed by Nicholas V in the same years. Orazio Romano’s poem, in fact, is informed by a secular dimension in dealing with the issue of the conspiracy against the pope. Nicholas V himself emerges in the Porcaria as the figure of a papal prince, whose power is legitimized by an ennobling connection with the classical tradition. Classical symbols, values, and exemplars play a prominent function in bestowing authority on a new kind of papal government typical of the Renaissance age, which assumes the traits of a secular principality.

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Schütte, Uwe. "Vertigo (1990)." In W.G. Sebald, 42–56. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312988.003.0003.

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This chapter introduces the reader to Sebald’s poem, Vertigo. Another fragmented epic, it opens with a short biography of Stendhal (the French writer Marie Henri Beyle) which Schütte relates to Sebald’s preoccupation with memory. The second part is an unnamed narrator’s travelogue of two Alpine journeys, whilst the third is a semi-fictional reconstruction of Franz Kafka’s stay in an Italian sanatorium. The fourth is a recounting of a homecoming, mirroring Sebald’s own return to Germany and the repressed fears of his childhood. Schütte presents Vertigo as an example of Sebald’s ability to blur the dividing line between the authentic and the fake, manipulating sensations of memory and dizziness as suggested in the poem’s title.

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Atkinson, Ted, and Jay Watson. "Natasha Trethewey’s Joe Christmas and the Reconstruction of Mississippi Nativity." In Faulkner and the Black Literatures of the Americas. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806345.003.0017.

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This essay references the poet Natasha Trethewey’s publicly expressed appreciation of William Faulkner’s Light in August and identification with the novel’s protagonist, Joe Christmas, to establish a point of contact between two authors with lives and literary pursuits indelibly marked by native ties to Mississippi. A focus on Trethewey’s poem “Miscegenation” opens up an examination of themes and tropes that make for a complex and dynamic intertextual exchange between her acclaimed 2006 collection, Native Guard, and Light in August. Natasha Trethewey’s Joe Christmas is a variation on the original, as she enlists one of Faulkner’s signature characters in a personal project of reclamation that draws on literature, history, and memory. Trethewey signifies Faulkner as part of an overarching effort in Native Guard to give voice to the contradictory feelings and experiences of racial trauma and survival, of recollected exclusion, and negotiated belonging that underwrite her claim to “Mississippi nativity.”

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Lauter, Paul. "Reconstructing American Literature: Curricular Issues." In Canons and Contexts. Oxford University Press, 1991. http://dx.doi.org/10.1093/oso/9780195055931.003.0009.

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Next to where I type, I have tacked up the syllabi for two American literature courses taught in the 1980s at well-known, indeed prestigious, institutions in the United States—one in California, the other in Ohio. Both are survey courses, one called “The American Literary Imagination,” the other “Life and Thought in American Literature.” One covers, in a single semester, thirty-two writers, including Philip Freneau, William Cullen Bryant, Washington Irving, John Greenleaf Whittier, John Crowe Ransom, and Ezra Pound; all are white and male, except for one assignment on Emily Dickinson and one poem by Marianne Moore. The other, a two-term course, includes twenty-three white male writers and Emily Dickinson. I do not want to argue that today such courses have no right to exist, for that kind of statement would engage the significant issue of academic freedom. But such courses are simply not truthful, nor professionally current. The pictures they present to students of the American literary imagination or of American life and thought are woefully incomplete and inaccurate. In the profession of literary study they represent what, in Psychology, was represented by generalizations about moral development based on interviews with a sample of white, male, college sophomores and juniors; or in History, was represented by conclusions about the “expansion” of opportunity under Jacksonian democracy when, in fact, white women's opportunities and those of black people were largely contracting. Were such courses titled “American Literature from the Perspective of ‘'Diner’” (a film set in 1958), they might have accurately represented themselves. But now, over a quarter of a century later, a large new body of scholarship has transformed the intellectual base of our profession. To be responsive to this scholarship and to present an accurate picture of the development of the literary cultures of the United States, teaching has begun to change. A number of recent volumes record such change and offer means for encouraging its systematic development. The changes in our profession I am describing are rooted in the movements for racial justice and sex equity.

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