Fermi Records Lighthouse Effect

John Keats talked of "unweaving the rainbow", suggesting that Newton destroyed the beauty of nature by analysing light with a prism and splitting it into different colours. Keats was being a prat. Physicists also smile when we see rainbows, but our emotional reaction is doubled by our understanding of the deep physics relating to the prismatic effects of raindrops. Similarly, physicists appreciate sunsets more than anybody else, because we can enjoy the myriad colours and at the same time grasp the nuclear physics that created the energy that created the photons that travelled for millions of years to the surface of the Sun, which then travelled eight minutes through space to Earth, which were then scattered by the atmosphere to create the colourful sunset. Understanding physics only enhances the beauty of nature.See:'Keats claimed physics destroyed beauty. Keats was being a prat'

In this illustration, one photon (purple) carries a million times the energy of another (yellow). Some theorists predict travel delays for higher-energy photons, which interact more strongly with the proposed frothy nature of space-time. Yet Fermi data on two photons from a gamma-ray burst fail to show this effect, eliminating some approaches to a new theory of gravity. The animation link below shows the delay scientists had expected to observe. Credit: NASA/Sonoma State University/Aurore Simonnet

See: Fermi Telescope Caps First Year With Glimpse of Space-Time

"This measurement eliminates any approach to a new theory of gravity that predicts a strong energy dependent change in the speed of light," Michelson said. "To one part in 100 million billion, these two photons travelled at the same speed. Einstein still rules."

What I want people to know now is that a question arises about "theoretical conclusions drawn" about joining, "Electromagnetism and Gravity." This basically what their saying?

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We see a pulsar, then, when one of its beams of radiation crosses our line-of-sight. In this way, a pulsar is like a lighthouse. The light from a lighthouse appears to be "pulsing" because it only crosses our line-of-sight once each time it spins. Similarly, a pulsar "pulses" because we see bright flashes every time the star spins. See: Pulsars

Link to tutorial site has been taken down, and belongs to Barb of  http://www.airynothing.com

For some it is not a hard thing to remember when the Sun, or a light has blinded one to seeing what is in front of you, it aligns to the realization, that if one shifts to the right or left, they can come out of the bright directional gaze of emissions from that other time.

M87's Energetic Jet., HST image. The blue light from the jet emerging from the bright AGN core, towards the lower right, is due to synchrotron radiation.

See Also: Light House Keeper as well as Label Lighthouse at bottom of Post entry.

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Simple Jet Model. A simple model for a jet is a relativistic sphere emitting synchrotron radiation. This simple model hides the complexity of a real jet but can still be used to illustrate the principles of relativistic beaming.

Electrons inside the blob(Crab Nebula) travel at speeds just a tiny fraction below the speed of light and are whipped around by the magnetic field. Each change in direction by an electron is accompanied by the release of energy in the form of a photon. With enough electrons and a powerful enough magnetic field the relativistic sphere can emit a huge number of photons, ranging from those at relatively weak radio frequencies to powerful X-ray photons.-(In brackets added by me)See: Relativistic beaming

So the spectrum at this end reveals Gamma ray perspective that when considered under this watchful eye, reveals views of our Sun and views of the Cosmos of very different ranges used in that spectrum, still, shows the Sun.

It is not so difficult to realize then how much energy is directed that one could say that what we had seen in the light effect can help spotters on ships realize the coastlines during those frightful storms at sea.

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The bluish glow from the central region of the nebula is due to synchrotron radiation.

Synchrotron radiation is electromagnetic radiation, similar to cyclotron radiation, but generated by the acceleration of ultrarelativistic (i.e., moving near the speed of light) charged particles through magnetic fields. This may be achieved artificially in synchrotronsstorage rings, or naturally by fast electrons moving through magnetic fields in space. The radiation produced may range over the entire electromagnetic spectrum, from radio wavesinfrared light, visible light, ultraviolet light, X-rays, and gamma rays. It is distinguished by its characteristic polarization and spectrum.

Gravity is Talking, LISA will Listen

It seems by measure the Interferometer has come a long way. If one recognizes how gravitational waves are measured, you come to understand how they can have a affect on laser light.

Bee and Stefan of Backreaction have gone to visit the historical location of the beginnings of how we use interferometers.

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LISA Desktop Backgrounds

The Cosmos sings with many strong gravitational voices, causing ripples in the fabric of space and time that carry the message of tremendous astronomical events: the rapid dances of closely orbiting stellar remnants, the mergers of massive black holes millions of times heavier than the Sun, the aftermath of the Big Bang. These ripples are the gravitational waves predicted by Albert Einstein's 1915 general relativity; nearly one century later, it is now possible to detect them. Gravitational waves will give us an entirely new way to observe and understand the Universe, enhancing and complementing the insights of conventional astronomy.

LISA, the Laser Interferometer Space Antenna, is a joint NASA–ESA mission to observe astrophysical and cosmological sources of gravitational waves of low frequencies (0.03 mHz to 0.1 Hz, corresponding to oscillation periods of about 10 hours to 10 seconds). This frequency band contains the emission from massive black-hole binaries that form after galactic mergers; the song of compact stellar remnants as they slowly spiral to their final fate in the black holes at the centers of galaxies; the chorus of millions of compact binariesshortly after the Big Bang.

LISA consists of three identical spacecraft flying in a triangular constellation, with equal arms of 5 million kilometers each. As gravitational waves from distant sources reach LISA, they warp space-time, stretching and compressing the triangle. Thus, by precisely monitoring the separation between the spacecraft, we can measure the waves; and by studying the shape and timing of the waves we can learn about the nature and evolution of the systems that emitted them.

New Synesthete Character on Heroes

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shine. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.

I had been searching for the latest TV Show on Heroes.

I finally came across somebody who pretty well sees it the way Synesthesis  does?  A fictional TV show cut forYoutube which provided for reference below which was what I was looking for.


Now the followers of this blog must know by now, that I see the "Colour of Gravity" as a link between what can conceptually transpire when the photon is travelling through, or "showing itself" in a gravitational field.

Now, what is right scientifically on this, that what we can say of theoretics which has combined electromagnetism with gravity, is to reveal "a colourful gravitational history" in this way? It brought to mind a dream I had of Einstein stirring a glass container of juice with ice in it. In my cognisance of how sound would reveal and be indicative of gravity speaking, I look to see what Einstein meant by display.

This was triggered I believe by  Joseph Weber's research into the aluminum bars detectors for gravitational wave detection.

Gravitational Wave Detectors are Best Described as "Sounds."

 

Weber developed an experiment using a large suspended bar of aluminum, with a high resonant Q at a frequency of about 1 kH; the oscillation of the bar after it had been excited could be measured by a series of piezoelectric crystals mounted on it. The output of the system was put on a chart recorder like those used to record earthquakes. Weber studied the excursions of the pen to look for the occasional tone of a gravitational wave passing through the bar...

Some might not understand the history to which I had devoted to building and understanding the emotive qualities combined with the intellectual. Which lead to seeing dynamical movement between the inner and outer world with respect to the state of mind at any given time. There have always been attempts on my part to describe this motion, not just on the psychological level, but on what also transpires emotively while the emotive state is being expressed.

I cannot say I am a Synesthesis by the 61 definitions given by Sean Day. So in the truest sense, I am not by that definition one. But conceptually linking and intertwining sound and colour with the physiological and the psychological, it was important by that definition be given, what colourful state the mind can be in.

Albert Einstein's perception of time and beauty seemed relevant to me about the quality given in measure, but by this perspective I am sure that is not what Einstein wanted to give meaning too, while thinking of the curvature of space and time.

This then is based on a perspective I have formed around gravity. What attach itself to all of us, whether we see the colours or not by consequence. This is an evolutionary form in my mind of what the soul can gain and loose by recognizing the colourful state of mind at any given time, and how it harbours colour in the truest sense as an expression of that being.

To be left with "no physical form" a mode of being becomes a retention of the abstract thinking mind, sets a tone in my mind for what is to come home to roost.

That we exist then mentally in that very realm, means to learn to recognize the pain and the "duration of time" we associated with those given memories. Upon reflection, we learn something then about the way we relate to the world and people around us which allows us to project "forward future consequences" intellectually bound by creative advances in language construction advancements of "creating in the mental world."

IN the most purest sense then, all combined is the birthing to segregation of sensory abilities according to "cabinets of perspective" that are arranged according to the principals of how we will interact in this community. This by arrangement, on entering materiality.

See:Emotion and Reason Balanced: The Mind's Consequence?

See Also: Art and Science: Kandinsky

Leon Lederman and Starting Out

"The soul is awestruck and shudders at the sight of the beautiful." Plato

Leon Max Lederman (born July 15, 1922) is an American experimental physicist and Nobel Prize in Physics laureate for his work with neutrinos. He is Director Emeritus of Fermi National Accelerator Laboratory (Fermilab) in Batavia, Illinois. He founded the Illinois Mathematics and Science Academy, in Aurora, Illinois in 1986, and has served in the capacity of Resident Scholar since 1998.

 The lessons of history are clear. The more exotic, the more abstract the knowledge, the more profound will be its consequences." Leon Lederman, from an address to the Franklin Institute, 1995 

I found the following clip from the article linked at bottom of Quote. Very funny indeed.

After the test (I felt only slightly better), I returned to the lab to find a janitor mopping the wire-strewn floor and singing an Italian operatic tune. As I entered, the guy shouted something in Italian and offered a handshake.

I said, "Okay, but be careful. The wires are carrying a high current and your wet mop may produce a short circuit." He stared cluelessly and, in total disgust, I walked out in the hall to wait for the guy to leave.

In the hall, there was the department chairman. "We have a new, dumb janitor, huh?" I said.

"New? No, wait! You mean the guy in your lab? "

"Yeah."

"That's no janitor, dummy, that's Professor Gilberto Bernardini, a world-famous Italian cosmic-ray expert whom I invited to spend a year here to help you in your research."

"Oh, my God!" I gasped and rushed in to repair my damage.

Over time, Bernardini and I learnt how to communicate and I began to watch Gilberto. There was his habit of entering a dark room, pushing the light switch: light. Pushing it again: off. On, off five or six times. Each time there would be a loud "fantastico!" Why? He seemed to have this remarkable sense of wonder about simple things.

Then the cloud chamber.

Gilberto: "Wat's dat wire in de middle?"

Leon: "That's carrying the radioactive source."

Gilberto: "Tayk id oud."

Leon: "It makes tracks."

Gilberto: "Tayk id oud."

After a few minutes, tracks appeared. My source had been far too radioactive for the chamber! Now we had a success. See:Life in physics and the crucial sense of wonder

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Blackhole Analogue Introduction

Hydraulic spray

The hydraulic spray nozzle utilizes the liquid kinetic energy as the energy source to break the liquid into droplets. This type of spray is less energy consuming than a gas atomized or twin-fluid spray nozzle. As the fluid pressure increases the flow increases and the drop size decreases. But this leads to problems in selecting a droplet size and to achieve a certain flow rate at a given pressure. To overcome this situation a special hydraulic nozzle (Lechler Spillback Nozzle) has been developed. This nozzle can vary the liquid flow rate at a particular droplet size and pressure. This nozzle creates a better and optimum control on the liquid spray and in certain applications can eliminate the need of expensive compressed air.

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Sometimes knowing the real world exists one has to take what is theoretical and apply some working model to help direct thinking toward being realist. Point toward to how one sees cosmic ray spallating enters a contact point and exits for distribution.  Yes of course one has to be careful on such assumptions, but isn't this part of removing incorrect ideas from the new terrain of burgeoning conceptions that are coming forth from young scientist bright young minds?

Fig. 2. Image showing how an 8 TeV black hole might look in the ATLAS detector (with the caveat that there are still uncertainties in the theoretical calculations).


So the idea here is that "information is never lost? " It includes all information around and within contact point in order for it to be disseminated according  an archetypal structure for examination of it's many parts to make up all that information. Dimensionally, all of it's "degrees of freedom."

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Gauguin, Paul

Where Do We Come From? What Are We? Where Are We Going?

"On the right (Where do we come from?), we see the baby, and three young women - those who are closest to that eternal mystery. In the center, Gauguin meditates on what we are. Here are two women, talking about destiny (or so he described them), a man looking puzzled and half-aggressive, and in the middle, a youth plucking the fruit of experience. This has nothing to do, I feel sure, with the Garden of Eden; it is humanity's innocent and natural desire to live and to search for more life. A child eats the fruit, overlooked by the remote presence of an idol - emblem of our need for the spiritual. There are women (one mysteriously curled up into a shell), and there are animals with whom we share the world: a goat, a cat, and kittens. In the final section (Where are we going?), a beautiful young woman broods, and an old woman prepares to die. Her pallor and gray hair tell us so, but the message is underscored by the presence of a strange white bird. I once described it as "a mutated puffin," and I do not think I can do better. It is Gauguin's symbol of the afterlife, of the unknown (just as the dog, on the far right, is his symbol of himself). 

Realistically "the backreaction" too,  how far we can go as to what constitutes the beginning of the universe is in question, as I reflect on the ideas of Veneziano and the painting he sought to reflect on the nature of constitutions of civilizations and gatherings of that information. Can we exceed the contact point of experiential design to reflect all commentary status of the examination of the output given under the conditions sited here in  Analogue relation? 

Again, no information is lost.

About Complexity

Robert Betts Laughlin (born November 1, 1950) is a professor of Physics and Applied Physics at Stanford University who, together with Horst L. Störmer and Daniel C. Tsui, was awarded the 1998 Nobel Prize in physics for his explanation of the fractional quantum Hall effect.

Laughlin was born in Visalia, California. He earned a B.A. in Physics from UC Berkeley in 1972, and his Ph.D. in physics in 1979 at MIT, Cambridge, Massachusetts, USA. In the period of 2004-2006 he served as the president of KAIST in Daejeon, South Korea.

Laughlin shares similar views to George Chapline on the existence of black holes. See: Robert B. Laughlin

The Emergent Age, by Robert Laughlin

The natural world is regulated both by fundamental laws and by powerful principles of organization that flow out of them which are also transcendent, in that they would continue to hold even if the fundamentals were changed slightly. This is, of course, an ancient idea, but one that has now been experimentally demonstrated by the stupendously accurate reproducibility of certain measurements - in extreme cases parts in a trillion. This accuracy, which cannot be deduced from underlying microscopics, proves that matter acting collectively can generate physical law spontaneously.

Physicists have always argued about which kind of law is more important - fundamental or emergent - but they should stop. The evidence is mounting that ALL physical law is emergent, notably and especially behavior associated with the quantum mechanics of the vacuum. This observation has profound implications for those of us concerned about the future of science. We live not at the end of discovery but at the end of Reductionism, a time in which the false ideology of the human mastery of all things through microscopics is being swept away by events and reason. This is not to say that microscopic law is wrong or has no purpose, but only that it is rendered irrelevant in many circumstances by its children and its children's children, the higher organizational laws of the world.

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In general usage, complexity tends to be used to characterize something with many parts in intricate arrangement. The study of these complex linkages is the main goal of network theory and network science. In science there are at this time a number of approaches to characterizing complexity, many of which are reflected in this article. Definitions are often tied to the concept of a ‘system’ – a set of parts or elements which have relationships among them differentiated from relationships with other elements outside the relational regime. Many definitions tend to postulate or assume that complexity expresses a condition of numerous elements in a system and numerous forms of relationships among the elements. At the same time, what is complex and what is simple is relative and changes with time.

Some definitions key on the question of the probability of encountering a given condition of a system once characteristics of the system are specified. Warren Weaver has posited that the complexity of a particular system is the degree of difficulty in predicting the properties of the system if the properties of the system’s parts are given. In Weaver's view, complexity comes in two forms: disorganized complexity, and organized complexity. ^[1] Weaver’s paper has influenced contemporary thinking about complexity. ^[2]

The approaches which embody concepts of systems, multiple elements, multiple relational regimes, and state spaces might be summarized as implying that complexity arises from the number of distinguishable relational regimes (and their associated state spaces) in a defined system.

Some definitions relate to the algorithmic basis for the expression of a complex phenomenon or model or mathematical expression, as is later set out herein.

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Was Given a link to this Complexity Map above that I find very interesting. It is a interactive Map so I suggest visiting the link provided.

Artifacts in the Exploration of Geometry

Ashmolean Museum, Oxford, UK

It should not be lost on individuals who have followed this blog, that there is a range of connection to Platonic Forms idealization, that such an artifact in Ashmolean Museum although modeled to represent a reality and constituent forming basis, it is by this choice,  that I exercised a" foundational attitude"  about what I can use to push my own perspective forward in science. What others were using.

"The Artist and his Museum"

The first public showing of the mastodon (also known as the "Mammoth", the American incognitum and the "animal de l'Ohio") took place next door to Independence Hall, the building in which both the Declaration of Independence and Constitution were finalized. The venue, known variously as Peale's Museum, the American Museum or simply as The Museum, was the remarkable product of a resourceful, versatile and passionate artist and showman, Charles Wilson Peale.

Peale (1741-1827) was born and raised in Maryland. A vocal opponent of the Stamp Act, he was effectively driven from his first trade, saddle making, when loyalist merchants cut off his credit. He turned to a traveling life of a self-taught, itinerant portrait painter. After a short apprenticeship with Benjamin West in London, Peale returned to Maryland in 1769 to paint wealthy patrons throughout the Chesapeake region.
In 1776 he moved to the largest city of the colonies, Philadelphia, in the hopes of further developing his career. Through his contacts made while serving as a captain of the Continental Army, Peale painted a remarkable assemblage of Revolutionary War figures, including the most comprehensive portrait series ever painted of George Washington. See:Charles Willson Peale's Museum

After doing quite a bit of reading over the years it is surprising what one can come across as they look at the historical perspective with artifacts which sat on shelves to curious onlookers as they examine these items.

Shown here are the models in the mathematical wunderkammer located in the Department of Mathematics at the University of Arizona. Like those in most modern mathematics departments, the collection is a combination of locally-made student and faculty projects together with a variety of commercially produced models. Sadly, a century since their Golden Age, many of the models are in disrepair and much of their documentation has been lost. However, some recent detective work, with the help of the Smithsonian Institution in Washington, has helped the department identify models by the American educators W. W. Ross and R. P. Baker in the collection.

Also see here for further thoughts on this




So you have in fact "forerunners of museums today" revealed in pursuits by individuals to catalog items according to the range of professions and undertakings. In this case, I was interested on geometrical forms as it was some interest to me that we could move our minds around in abstract spaces . I followed the surfaces of "dynamic movement"  issued forth by theoretical application. These would be,  modular forms or Genus figures of string theory, that raised my interest about the space we are working in.

Sylvester's models lay hidden away for a long time, but recently the Mathematical Institute received a donation to rescue some of them. Four of these were carefully restored by Catherine Kimber of the Ashmolean Museum and now sit in an illuminated glass cabinet in the Institute Common Room.

Now you must know that I do not have the education of the universities but this did not stop me from trying to understand what these artifacts in geometry actually represented. Where they were placed by theoreticians to represent the figurative evolution of what actual begins in this universe, from beyond time and space and arrived to a direction of expressions unfolding in the arrow of time. This was a recognition of the times in microseconds that had been "used in minutes" of Steven Weinberg.

A giddy craze was sweeping across Europe at the turn of the 17th century. The wealthy and the well-connected were hoarding things—strange things—into obsessive personal collections. Starfish, forked carrots, monkey teeth, alligator skins, phosphorescent minerals, Indian canoes, and unicorn tails were acquired eagerly and indiscriminately. Associations among these objects, if they were made at all, often reflected a collector's personal vision of an underlying natural "order". Critical taxonomy was rarely in evidence.

So this historical perspective of the artifacts moved my perspective to today and what is going on in mathematical abstraction. What are these shapes actually representing in reality? Is there such a thing once perception has been granted of the close correlative function of the description of that microscopic reality?

It would be that the mind has become capable of moving into the realm of the microscopic, that by measure of energy used, details the plethora of particle and constituents of that energy, that each artifact is leading toward ever finer issues of what began in the formation of the matter, to allow us to see it's constitutions as they are revealed today macroscopically.