Songs of the Stars: the Real Music of the Spheres

With the discovery of sound waves in the CMB, we have entered a new era of precision cosmology in which we can begin to talk with certainty about the origin of structure and the content of matter and energy in the universe.-Wayne Hu

The Pythagoreans 2500 years ago believed in a celestial "music of the spheres", an idea that reverberated down the millennia in Western music, literature, art and science. Now, through asteroseismology (the study of the internal structure of pulsating stars), we know that there is a real music of the spheres. The stars have sounds in them that we use to see right to their very cores. This multi-media lecture looks at the relationship of music to stellar sounds. You will hear the real sounds of the stars and you will hear musical compositions where every member of the orchestra is a real (astronomical) star! You will also learn about some of the latest discoveries from the Kepler Space Mission that lets us "hear" the stars 100 times better than with telescopes on the ground See:Don Kurtz, University of Central Lancashire-Wednesday, May 2, 2012 at 7:00 pm

 See Also:

• Listen to the Songs of the Stars: Stellar Sounds at Perimeter's Public Lecture on May 2

Near-Future Photon-Collider Setups

In the search for a quantum theory of gravity it is crucial to find experimental access to quantum gravitational effects. Since these are expected to be very small at observationally accessible scales it is advantageous to consider processes with no tree-level contribution in the Standard Model, such as photon-photon scattering. We examine the implications of asymptotically safe quantum gravity in a setting with extra dimensions for this case, and point out that various near-future photon-collider setups, employing either electron or muon colliders, or even a purely laser-based setup, could provide a first observational window into the quantum gravity regime. Can we see quantum gravity? Photons in the asymptotic-safety scenario

Experimental Search for Quantum Gravity: the hard facts 


October 22-25, 2012
Perimeter Institute
Scientific area: quantum gravity

 Quantum Gravity tries to answer some of the most fundamental questions about the quantum nature of spacetime. To make progress in this area it is mandatory to establish a contact to observations and experiments and to learn what the "hard facts" on quantum gravity are, that nature provides us with.

Quantum Gravity is a field where several approaches, based on different principles and assumptions, develop in parallel. At present it is not clear whether and how some of the approaches are compatible, and might share common properties. This meeting will draw on a diverse set of physicists who come to make proposals for quantum gravity phenomenology from a broad range of perspectives, including path-integral-inspired as well as canonical, and discrete as well as continuum-based approaches, providing a platform to exchange ideas with researchers working on theoretical and experimental aspects of different proposals.

This will be the third in a series of meetings, the first of which was held at PI (2007), the second at NORDITA (2010).

This meeting looks to the future and has two primary goals: 1) to assess the status of different proposals for QG phenomenology in the light of recent experimental results from Fermi, Auger, LHC etc. and 2) to discuss and stimulate new ideas and proposals, coming from a diverse set of viewpoints about quantum spacetime.

In order to allow for a fruitful exchange of ideas across different approaches, and between experimental and theoretical researchers, the workshop will lay a main focus on structured discussion sessions with short (15 min.) presentations. These are mainly intended for an exchange of ideas, and a discussion and development of new possibilities, thus participants are strongly encouraged to present new ideas and work in progress.

See Also:

• Probing Planck-scale physics with quantum optics

• An optical probe of quantum gravity?

• A Blast of Gamma Rays and Positrons

• Experimental Search for Quantum Gravity 2012

A Musical Score on Particles?

Schema created by Vicinanza with an example bubble chamber particle track, which has been converted into a melody and then orchestrated as music. Image courtesy Domenico Vicinanza.

Positrons – antiparticles of electrons, a trillionth of a meter in size – make no sound. But with a little help from the grid, music composer Domenico Vicinanza is giving positrons a voice to lift in song.

Vicinanza, a network engineer at DANTE (Delivery of Advanced Network Technology to Europe), is an old hand at using GILDA (Grid INFN virtual Laboratory for Dissemination Activities) e-infrastructure, which is part of the European Grid Infrastructure, to blend science with music. In the past, he has derived music from volcanic seismograms with the City Dance Ensemble, and re-created 2,000-year-old Greek music with his troupe, the the Lost Sounds Orchestra.The smallest music in the universe

Also See:

• Listening for the sound of science

Lagrangian Worlds

Diagram of the Lagrange Point gravitational forces associated with the Sun-Earth system.

In a certain sense a perfect fluid is a generalization of a point particle. This leads to the question as to what is the corresponding generalization for extended objects. Here the lagrangian formulation of a perfect fluid is much generalized by replacing the product of the co-moving vector which is a first fundamental form by higher dimensional first fundamental forms; this has as a particular example a fluid which is a classical generalization of a membrane; however there is as yet no indication of any relationship between their quantum theories.A Fluid Generalization of Membranes.

Perfect fluid

The energy-momentum tensor of a perfect fluid contains only the diagonal components.

In physics, a perfect fluid is a fluid that can be completely characterized by its rest frame energy density ρ and isotropic pressure p.
Real fluids are "sticky" and contain (and conduct) heat. Perfect fluids are idealized models in which these possibilities are neglected. Specifically, perfect fluids have no shear stresses, viscosity, or heat conduction.
In tensor notation, the energy-momentum tensor of a perfect fluid can be written in the form

where U is the velocity vector field of the fluid and where is the metric tensor of Minkowski spacetime.
Perfect fluids admit a Lagrangian formulation, which allows the techniques used in field theory to be applied to fluids. In particular, this enables us to quantize perfect fluid models. This Lagrangian formulation can be generalized, but unfortunately, heat conduction and anisotropic stresses cannot be treated in these generalized formulations.

Perfect fluids are often used in general relativity to model idealized distributions of matter, such as in the interior of a star.

 See also

• Equation of state
• Ideal gas
• Fluid solutions in general relativity

 References

• The Large Scale Structure of Space-Time, by S.W.Hawking and G.F.R.Ellis, Cambridge University Press, 1973. ISBN 0-521-20016-4, ISBN 0-521-09906-4 (pbk.)

 External links

• Mark D. Roberts, [A Fluid Generalization of Membranes http://www.arXiv.org/abs/hep-th/0406164 hep-th/0406164].

See Also:

In summary, experiments at RHIC have shown that a very dense QCD medium is formed in high-energy heavy-ion collisions. Other measurements, namely elliptic flow and baryon-to-meson ratios, indicate that this medium is characterized by partonic degrees offreedom and that its expansion and cooling is well described by hydrodynamical models with high viscosity. Thus, this medium is more similar to a liquid than to a gas of gluons and quarks.Review on Heavy-Ion Physics

• Quark Soup: Applied Superstring Theory- 

A Blue Flash in Ice

Little is known about the ultra high-energy cosmic rays that regularly penetrate the atmosphere. Recent IceCube research rules out the leading theory that they come from gamma ray bursts. (Credit: NSF/J. Yang)

Future directions 

The lack of observation of neutrinos in coincidence with GRBs implies, at face value, that the theoretical models need to be revisited. “Calculations embracing the concept that cosmic ray protons are the decay products of neutrons that escaped the magnetic confinement of the GRB fireball are supported by the research community and have been convincingly excluded by the present data,” says Francis Halzen, IceCube principle investigator and a professor of physics at the University of Wisconsin-Madison. "IceCube will continue to collect more data with a final, better calibrated and better understood detector in the coming years." Since April 2011, IceCube has collected neutrino data using the full detector array. With the larger detector, researchers can see more neutrinos, providing a “higher resolution” picture of the neutrino sky. See: Cosmic Rays: 100 years of mystery

See Also: IceCube Neutrino Observatory Explores Origin of Cosmic Rays

IceCube’s 5,160 digital optical modules are suspended from 86 strings reaching a mile and a half below the surface at the South Pole. Each sphere contains a photomultiplier tube and electronics to capture the faint flashes of muons speeding through the ice, their direction and energy – and thus that of the neutrinos that created them – tracked by multiple detections. At lower left is the processed signal of an energetic muon moving upward through the array, created by a neutrino that traveled all the way through the Earth.

“This result represents a coming-of-age of neutrino astronomy,” says Nathan Whitehorn from the University of Wisconsin-Madison, who led the recent GRB research with Peter Redl of the University of Maryland. “IceCube, while still under construction, was able to rule out 15 years of predictions and has begun to challenge one of only two major possibilities for the origin of the highest-energy cosmic rays, namely gamma-ray bursts and active galactic nuclei.”


Redl says, “While not finding a neutrino signal originating from GRBs was disappointing, this is the first neutrino astronomy result that is able to strongly constrain extra-galactic astrophysics models, and therefore marks the beginning of an exciting new era of neutrino astronomy.” The IceCube Collaboration’s report on the search appears in the April 19, 2012, issue of the journal Nature. See: Where Do the Highest-Energy Cosmic Rays Come From? Probably Not from Gamma-Ray Bursts

A Message from the Past?

The ATLAS Experiment offers the exciting possibility to study them in the lab (if they exist). The simulated collision event shown is viewed along the beampipe. The event is one in which a microscopic-black-hole was produced in the collision of two protons (not shown). The microscopic-black-hole decayed immediately into many particles. The colors of the tracks show different types of particles emerging from the collision (at the center).
Photo #: black-hole-event-wide

I was looking for something in the cosmos that would reveal what is also being revealed in the LHC. We are looking at "interaction points" that are a determinate for the collision point while information which has come from what existed "before" and is being expressed today?

 If such "a point on a line" recognizes that the lines extends "before" the universes birth then where did this information come from? Is it really a void?

Brookhaven National Laboratory

HOT A computer rendition of 4-trillion-degree Celsius quark-gluon plasma created in a demonstration of what scientists suspect shaped cosmic history.

If super fluids can exist in nature then in what circumstances can such information be transferred through that interaction point? Cosmologically this looks real while such comparative natures would say how could such microscopic conditions allow for cosmic particle decays? Chernenko in the ice transmitted through to these detectors as information containing the subject of the particle which collided and came from the cosmos and helped with the new creation of particle determinants?

 See Also:

• Are There Extra Dimensions of Space?
• Atlas Experiment Simulated Black Hole Photos

Model Building in Life

"...underwriting the form languages of ever more domains of mathematics is a set of deep patterns which not only offer access to a kind of ideality that Plato claimed to see the universe as created with in the Timaeus; more than this, the realm of Platonic forms is itself subsumed in this new set of design elements-- and their most general instances are not the regular solids, but crystallographic reflection groups. You know, those things the non-professionals call . . . kaleidoscopes! * (In the next exciting episode, we'll see how Derrida claims mathematics is the key to freeing us from 'logocentrism'-- then ask him why, then, he jettisoned the deepest structures of mathematical patterning just to make his name...)

* H. S. M. Coxeter, Regular Polytopes (New York: Dover, 1973) is the great classic text by a great creative force in this beautiful area of geometry (A polytope is an n-dimensional analog of a polygon or polyhedron. Chapter V of this book is entitled 'The Kaleidoscope'....)"

I just wanted to show you what has been physically reproduced in cultures. This in order to highlight some of the things that were part of our own make up,  so you get that what has transpired in our societies has been part of something hidden within our own selves.

As I have said before it has become something of an effort for me to cataloged knowledge on some of  the things I learn.  The ways in which to keep the information together. I am not saying everyone will do this in there own way but it seems to me that as if some judgement about our selves is hidden in the way we had gathered information about our own lives then it may have been put together like some kaleidoscope.

Online Etymology Dictionary-1817, lit. "observer of beautiful forms," coined by its inventor, Sir David Brewster (1781-1868), from Gk. kalos "beautiful" + eidos "shape" (see -oid) + -scope, on model of telescope, etc. Figurative meaning "constantly changing pattern" is first attested 1819 in Lord Byron, whose publisher had sent him one.

So to say then past accomplishments were part of the designs, what had we gained about our own lives then?  What page in the book of Mandalas can you have said that any one belonged to you? It was that way for me in that I saw the choices. These I thought I had built on my own, as some inclination of a method and way to deliver meaning into my own life. Then through exploration it seem to contain the energy of all that I had been before as to say that in this life now, that energy could unfold?

Scan of painting 19^th century Tibetan Buddhist thangka painting

Maṇḍala (मण्डल) is a Sanskrit word meaning "circle." In the Buddhist and Hindu religious traditions their sacred art often takes a mandala form. The basic form of most Hindu and Buddhist mandalas is a square with four gates containing a circle with a center point. Each gate is in the shape of a T.^[1][2] Mandalas often exhibit radial balance.^[3]


These mandalas, concentric diagrams, have spiritual and ritual significance in both Buddhism and Hinduism.^[4][5] The term is of Hindu origin and appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Buddhism. In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of anuttarayoga tantra meditation practices.


In various spiritual traditions, mandalas may be employed for focusing attention of aspirants and adepts, as a spiritual teaching tool, for establishing a sacred space, and as an aid to meditation and trance induction. According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."^[6] The psychoanalyst Carl Jung saw the mandala as "a representation of the unconscious self,"^{[citation needed]} and believed his paintings of mandalas enabled him to identify emotional disorders and work towards wholeness in personality.^[7]


In common use, mandala has become a generic term for any plan, chart or geometric pattern that represents the cosmos metaphysically or symbolically, a microcosm of the Universe from the human perspective.^{[citation needed]}

So what does this mean then that you see indeed some subjects that are allocated toward design of to say that it may be an art of a larger universal understanding that hidden in our natures the will to provide for something schematically inherent? Our nature,  as to the way in which we see the world. The way in which we see science. What cosmic plan then to say the universe would unfold this way, or  to seek the inner structure and explanations as to the way the universe began. The way we emerged into consciousness of who you are?

 The kaleidoscope was perfected by Sir David Brewster, a Scottish scientist, in 1816. This technological invention, whose function is literally the production of beauty, or rather its observation, was etymologically a typical aesthetic form of the nineteenth century - one bound up with disinterested contemplation. (The etymology of the word is formed from kalos (beautiful), eidos (form) and scopos (watcher) - "watcher of beautiful shapes".) The invention is enjoying a second life today - as the model for many contemporary abstract works. In Olafur Eliasson's Kaleidoscope (2001), the viewer takes the place of the pieces of glass, producing a myriad of images. In an inversion of the situation involved in the classic kaleidoscope, the watcher becomes the watched. In Jim Drain's Kaleidoscope (2003), the viewer is also plunged physically inside the myriad of abstract forms, and his image becomes a part of the environment. Spin My Wheel (2003), by Lori Hersberger, also forms a painting that is developed in space, spilling beyond the frame of the picture, its projected image constantly changing, dissolving the surrounding world with an infinite play of reflections in fragments of broken mirror. The viewer becomes one of the subjects of the piece. (Not the subject, as in Eliasson's work, but one of its subjects.)
See: The End of Perspective-Vincent Pécoil.

Would there be then some algorithmic style to the code written in your life as to have all the things you are as some pattern as to the way in which you will live your life? I ask then what would seem so strange that you might not paint a picture of it? Not encode your life in some mathematical principle as to say that life emerge for you in this way?

Although Aristotle in general had a more empirical and experimental attitude than Plato, modern science did not come into its own until Plato's Pythagorean confidence in the mathematical nature of the world returned with Kepler, Galileo, and Newton. For instance, Aristotle, relying on a theory of opposites that is now only of historical interest, rejected Plato's attempt to match the Platonic Solids with the elements -- while Plato's expectations are realized in mineralogy and crystallography, where the Platonic Solids occur naturally.Plato and Aristotle, Up and Down-Kelley L. Ross, Ph.D.

See Also:

• The Nobel Prize in Physics 1914 Max von Laue
• Quasicrystal: Prof. Dan Shechtman
•  Quasicrystal and Information

BroadBand Portals of the OECD

Tim Berners-Lee, Director of the World Wide Web Consortium and inventor of the World Wide Web, talks about the challenges ahead and why an open Internet is key to its continuing success

***

The OECD broadband portal provides access to a range of broadband-related statistics gathered by the OECD. Policy makers must examine a range of indicators which reflect the status of individual broadband markets in the OECD. The OECD has indentified five main categories which are important for assessing broadband markets.OECD Broadband Portal

See Also:Ask the Wrong Questions and . . . : the CRTC’s Review of Wireless Competition

THE FLASH-LAG EFFECT: AN OVERVIEW

Are we Living in the Past?

(Please note: this page is not currently maintained, and has not been updated since 2002)
 
The flash-lag effect is a visual illusion wherein a flash and a moving object that appear in the same location are perceived to be displaced from one another (MacKay, 1958; Nijhawan, 1994).  In recent years, two explanations have been forwarded, motion extrapolation and latency difference. THE FLASH-LAG EFFECT: AN OVERVIEW

*** 

The question is can the make up of our neurological brains be considered in context of the cosmos happenings and that we find a correlation that is the simplicity as the rule about birth and death of a universe, can be found in our own makeup? Just having a look back with regard to the title and did a little research.

You need to define the Equilibrium in context of the Past/Future? David Albert Interview is most helpful in relation to Sean Carroll. Plato:Time 53:48 David mentions the point about a memory forming out of a equilibrium which not only encompasses the future, but can also include the past.

At the time I was looking to explain how cosmologists are "boxed in" as to the age of the universe. The question is, how ever could this universe have come into being. How could one have existed ever before? There were theoretical explanations for this.

In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined with a grand set of concerns, one famously encapsulated in an 1897 painting by Paul Gauguin: D'ou venons-nous? Que sommes-nous? Ou allons-nous? "Where do we come from? What are we? Where are we going?" Cycle of Birth, Life, and Death-Origin, Indentity, and Destiny by Gabriele Veneziano

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).

Exploring Subtle Levels of Consciouness

 In 2004 I struggled to define the mapping...while speaking in terms of Kaluza/Klein and fifth dimension. Today I am fully aware of the mathematically representation in terms of the use of dimensions.  At the time this was related to spirit.  I was searching for how to describe where ideas came from?

This also forms the basis of my thoughts about geometry.

Betrayal of Images" by Rene Magritte. 1929 painting on which is written "This is not a Pipe"

 
 Betrayal of Images" by Rene Magritte

While a theoretical train of thinking is demonstrated below....subjectively dream information study and my own exploration help to form my thoughts.

Metacognition is defined as "cognition about cognition", or "knowing about knowing."[1] It can take many forms; it includes knowledge about when and how to use particular strategies for learning or for problem solving.[1]

Thus, primary consciousness refers to being mentally aware of things in the world in the present without any sense of past and future; it is composed of mental images bound to a time around the measurable present.[1]

By contrast, secondary consciousness depends on and includes such features as self-reflective awareness, abstract thinking, volition and metacognition.[1][2]

The AIM Model introduces a new hypothesis that primary consciousness is an important building block on which secondary consciousness is constructed.[1]

*** 

Partial map of the Internet based on the January 15, 2005 data found on opte.org. Each line is drawn between two nodes, representing two IP addresses. The length of the lines are indicative of the delay between those two nodes. This graph represents less than 30% of the Class C networks reachable by the data collection program in early 2005. Lines are color-coded according to their corresponding RFC 1918 allocation as follows

Part of the exploration was to understand that we can build models for apprehension and this was my intent since lacking a teacher. I had to think about how knowledge could be held to being truthful within self. So I looked at my tendency with which to class information in an architectural way so as to house that information. As well to understand the meaning of mandalas and how these are housed in our makeup so as to reveal our previous attempts at soul full unification.

Was this tendency within my own self evident in others? Well ultimately recognizing indeed we each are different how is it you have concluded such a sate of mind as to the reason for believing what you do? So this is a conclusive statement for you and a connection to the way in which you will engage the world? Never mind that you will inherently try and describe what is intuitive to you so as to list the attempt at philosophically showing such "a location" as to being inductive/deductive so as to form what is self evident to you? The synapse?

Consider then you are an individual in your own court of justice? Judge and jury about the way in which you conduct yourself? Teacher and student as to the way in which you will acquire knowledge in life? Who will you look for so as to find these truths, but not to recognize as a soul that you will acquire these truths as a progress of your desire to be truthful? To evolve? How will you weight these things?

Historically then, I built a pyramid. The geometric proportions were to show how we can internalize and house information about ourselves. Early lessons were to understand that ancient minds were locked toward thinking about "lines of light and shadows" so as to direct this line to point toward other things?


Philosophically to me, "line of shadow and light" were in itself demonstrative of this idea of a geometrical explanation to how we might explain our first attempts at "components of that reality?" The sun had to be a source of inspiration?

Is the sun a centralize thing in our own being so as to say that our expressive lives are now the objects of reality? Is this en tropically pleasing to you? So how do you touch that source? How do you align yourself internally?

In that exploration, this was the ultimate realization. Some may describe it as an epilepsy while sensing/feeling this electricity that runs through you? How powerful a motivator so as to describe that in each of us such an alignment can take place?