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."

(click on image for larger viewing)

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.