Fulleranes and Allotropes

"Composition VI", 1913, Wassily Kandinsky

The term "Composition" can imply a metaphor with music. Kandinsky was fascinated by music's emotional power. Because music expresses itself through sound and time, it allows the listener a freedom of imagination, interpretation, and emotional response that is not based on the literal or the descriptive, but rather on the abstract quality that painting, still dependent on representing the visible world, could not provide.On Wassily Kandinsky and Music

How is it one is to picture the emotive content that surrounds us , and in a comparative view assign it to the emotive quality of Earth's Environ. It's storms and raining waters that cleanse, bring tears to the eyes, and in a moments release, all that is pent up rains from the cloud of distress.

So chaotic then one is to perceive the reality they live in. Such uncertainty at levels that create a haze of any time valued determination becomes the clouded colour of reason, that is baseless and motivated by the fires in the heart of anger and revealed in the pain of a lesson.

Held to the Earth's Environ according to our placement of the materials in the expressive nature of some inspirational phase change that holds seeds of the entropic balanced of order.To make Earth more human. It's peaceful places of waterfalls and it's deserts, devoid of the greenery. How dry and taxing this distress hidden in the winds.

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Novel Fulleranes

The basic expanded network structure of the icosahedral water cluster is mechanically strong, having close to tetrahedrally-positioned bonds, and could be found in the, as yet undiscovered, alkane C280H120; made up of twenty C14 tetrahedral sub-structures. Using the AMBER force-field, the average C-C and C-H bond lengths and bond angles were 1.533 Å (SD 0.014 Å), 1.091 Å (SD 0.0001 Å) and 109.46° (SD 1.47°) respectively.

See: Water Structure and Science

Icosahedral super cluster

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A super cluster of thirteen water icosahedra, showing the tessellation ability. Thirteen complete but overlapping icosahedral clusters form this super-icosahedral structure (an icosahedron of interpenetrating icosahedra; that is, a tricontahedron) containing 1820 water molecules (an outer shell of an additional 360 water molecules is also shown). This structure is for illustrative purposes only of the type of superclustering possible. It is not likely to be a preferred minimum-energy structure due to the increased strain on full tessellation [295]; However the icosahedral structures can form part of fully tessellated clathrate I-type structures.

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See Also:

Allotropes and the Ray of Creation

Mendeleev's Table in a New Light

Trademarks of the Geometer II

Bringing the Heavens Down to Earth

"We all are of the citizens of the Sky" Camille Flammarion

The Flammarion woodcut. Flammarion's caption translates to "A medieval missionary tells that he has found the point where heaven and Earth meet..."

The widely circulated woodcut of a man poking his head through the firmament of a flat Earth to view the mechanics of the spheres, executed in the style of the 16th century cannot be traced to an earlier source than Camille Flammarion's L'Atmosphère: Météorologie Populaire (Paris, 1888, p. 163) [38]. The woodcut illustrates the statement in the text that a medieval missionary claimed that "he reached the horizon where the Earth and the heavens met", an anecdote that may be traced back to Voltaire, but not to any known medieval source. In its original form, the woodcut included a decorative border that places it in the 19th century; in later publications, some claiming that the woodcut did, in fact, date to the 16th century, the border was removed. Flammarion, according to anecdotal evidence, had commissioned the woodcut himself. In any case, no source of the image earlier than Flammarion's book is known.

I thought I would borrow the title of this blog posting, "Bringing the Heavens Down to Earth," as it exemplifies some of the understanding I have of what is happening we point our fingers to the sky and beyond. What we shall see taking place in the earth's Environ then as we recognize Earth's Earthbound?

The ole woodcut above I think explains this nicely. It's like "breaking a barrier" that has been imposed on our thinking. Too reveal, that the experimental procedures had been progressive and laid out the understanding of where new physics shall reside. It comes after the cross over-point, and in this respect it is important that we recognize where this focus is allocated to help orientate in a most generalizable level where such experimental procedure has taken us.

Peter Steinberg, when at Quantum diaries, lead us through this.

The creepy part of these kind of discussions is that one doesn't say that RHIC collisions "create" black holes, but that nucleus-nucleus collisions, and even proton-proton collisions, are in some sense black holes, albeit black holes in some sort of "dual" space which makes the theory easier.

Cosmic rays have been long been recognized as a background to the search for rare new physics processes in collider experiments. This was the case for the LEP detectors and it will certainly be the case for ATLAS and CMS. A thorough understanding of the development of cosmic rays in the overburden of ATLAS will be a useful tool in understanding the cosmic ray background and consequently how to minimize this background.

This page is aimed at those of us who wish to use the tools developed by the group working on simulating the development of cosmic rays (mostly muons) in ATLAS with a view to studying cosmic ray backgrounds to future searches.

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See:

Man Looking into Outer Space

Cascading Showers from the Cosmos

Time as a Measure

Formation of Gravity

Wegener proposed that the continents floated somewhat like icebergs in water. Wegener also noted that the continents move up and down to maintain equilibrium in a process called isostasy.Alfred Wegener

Just thought I would add this for consideration. Grace satellite does a wonderful job of discerning this feature? Amalgamating differing perspectives allows one to encapsulate a larger view on the reality of Earth. More then the sphere. More then, what Joseph Campbell describes:

The Power of Myth With Bill Moyers, by Joseph Campbell , Introduction that Bill Moyers writes,

"Campbell was no pessimist. He believed there is a "point of wisdom beyond the conflicts of illusion and truth by which lives can be put back together again." Finding it is the "prime question of the time." In his final years he was striving for a new synthesis of science and spirit. "The shift from a geocentric to a heliocentric world view," he wrote after the astronauts touched the moon, "seemed to have removed man from the center-and the center seemed so important...

While one can indeed approximate according to the spherical cow, in terms of events in the cosmos, I was being more specific when it comes to demonstrating a geometrical feature of the sphere in terms of the geometry of the Centroid. This feature is embedded in the validation of the sphere in regard to gravity?

Image: NASA/JPL-

Planets are round because their gravitational field acts as though it originates from the center of the body and pulls everything toward it. With its large body and internal heating from radioactive elements, a planet behaves like a fluid, and over long periods of time succumbs to the gravitational pull from its center of gravity. The only way to get all the mass as close to planet's center of gravity as possible is to form a sphere. The technical name for this process is "isostatic adjustment."

With much smaller bodies, such as the 20-kilometer asteroids we have seen in recent spacecraft images, the gravitational pull is too weak to overcome the asteroid's mechanical strength. As a result, these bodies do not form spheres. Rather they maintain irregular, fragmentary shapes.

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It was important to see how such planets form and given their "Mass and densities" which I thought to show how such a valuation could be seen in relation to the variance of gravity so it is understood.

Isostasy (Greek isos = "equal", stásis = "standstill") is a term used in geology to refer to the state of gravitational equilibrium between the earth's lithosphere and asthenosphere such that the tectonic plates "float" at an elevation which depends on their thickness and density. This concept is invoked to explain how different topographic heights can exist at the Earth's surface. When a certain area of lithosphere reaches the state of isostasy, it is said to be in isostatic equilibrium. Isostasy is not a process that upsets equilibrium, but rather one which restores it (a negative feedback). It is generally accepted that the earth is a dynamic system that responds to loads in many different ways, however isostasy provides an important 'view' of the processes that are actually happening. Nevertheless, certain areas (such as the Himalayas) are not in isostatic equilibrium, which has forced researchers to identify other reasons to explain their topographic heights (in the case of the Himalayas, by proposing that their elevation is being "propped-up" by the force of the impacting Indian plate).

In the simplest example, isostasy is the principle of buoyancy observed by Archimedes in his bath, where he saw that when an object was immersed, an amount of water equal in volume to that of the object was displaced. On a geological scale, isostasy can be observed where the Earth's strong lithosphere exerts stress on the weaker asthenosphere which, over geological time flows laterally such that the load of the lithosphere is accommodated by height adjustments.

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Such strength variances can be attributed to the height with which this measure is taken(time clocks and such) and such a validation in terms of Inverse Square Law goes to help to identify this strength and weakness, according to the nature of the mass and density of the planet.

As one of the fields which obey the general inverse square law, the gravity field can be put in the form shown below, showing that the acceleration of gravity, g, is an expression of the intensity of the gravity field.

See: Hyperphysics-Inverse Square Law-Gravity

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It is important then such a measure of the energy needed in which to overcome the pull of the earth, then was assigned it's energy value so such calculations are then validated in the escape velocity. There are other ways in which to measure spots in space when holding a bulk view of the reality in regards to gravity concentrations and it locations.

See: Hyperphysics-Gravity-Escape Velocity

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See Also:

Isostatic Adjustment is Why Planets are Round?

Concepts of the Fifth Dimension

Dealing With a 5D World

Permanence of Fact in Literature

John Updike in 1955.

John Hoyer Updike (18 March 1932 – 27 January 2009) was an American novelist, poet, short story writer, art critic, and literary critic. Updike's most famous work is his Rabbit series (Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit At Rest; and Rabbit Remembered). Both Rabbit is Rich and Rabbit at Rest received the Pulitzer Prize. Describing his subject as "the American small town, Protestant middle class," Updike was widely recognized for his careful craftsmanship, his highly stylistic writing, and his prolific output, having published more than twenty-five novels and more than a dozen short story collections, as well as poetry, art criticism, literary criticism and children's books. Hundreds of his stories, reviews, and poems appeared in The New Yorker, starting in 1954. He also wrote regularly for The New York Review of Books. His work attracted a significant amount of critical attention and he was considered one of the most prominent contemporary American novelists.[2] Updike died of lung cancer on January 27, 2009.

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Current knowledge and scientific discovery help to align our thinking. They help us to recognize what had been "set in stone" in literature, as a passing thought in that day of poetry creation. So every progression in terms of knowledge has it's predecessors, and from that, the old and the new contrast each other. We know a little more.

Cosmic Gall by John Updike-Telephone Poles and Other Poems, Knopf, 1960 
 

Neutrinos they are very small.
They have no charge and have no mass
and do not interact at all.
The earth is just a silly ball
To them, through which they simply pass,
Like dustmaids down a drafty hall
Or photons through a sheet of glass.
They snub the most exquisite gas,
Ignore the most substantial wall,
Cold-shoulder steel and sounding brass,
Insult the stallion in his stall,
And, scorning barriers of class,
Infiltrate you and me! Like tall
And painless guillotines, they fall
Down through our heads into the grass.
At night, they enter at Nepal
And pierce the lover and his lass
From underneath the bed – you call
It wonderful; I call it crass.

(italicized added for emphasis)

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STATEMENT: EVIDENCE FOR MASSIVE NEUTRINOS FOUND by Dave Casper

Cerenkov Radiation

By classifying the neutrino interactions according to the type of neutrino involved (electron-neutrino or muon-neutrino) and counting their relative numbers as a function of the distance from their creation point, we conclude that the muon-neutrinos are "oscillating." Oscillation is the changing back and forth of a neutrino’s type as it travels through space or matter. This can occur only if the neutrino possesses mass. The Super-Kamiokande result indicates that muon-neutrinos are disappearing into undetected tau-neutrinos or perhaps some other type of neutrino (e.g., sterile-neutrino). The experiment does not determine directly the masses of the neutrinos leading to this effect, but the rate of disappearance suggests that the difference in masses between the oscillating types is very small. The primary result that we are reporting has a statistical significance of more than 5 standard deviations. An independent measurement based on upward-going muons in the detector confirms the result at the level of more than 3 standard deviations.

Voxels

A generalization of a voxel is the doxel, or dynamic voxel. This is used in the case of a 4D dataset, for example, an image sequence that represents 3D space together with another dimension such as time. In this way, an image could contain 100×100×100×100 doxels, which could be seen as a series of 100 frames of a 100×100×100 volume image. Although storage and manipulation of such data uses a lot of computer memory, this allows the study of spacetime systems.

There is a discussion over at Backreaction called, Conservative solutions to the black hole information problem It deals with a paper her and Lee Smolin wrote together.

Conservative solutions to the black hole information problem
By Sabine Hossenfelder and Lee Smolin
arXiv: 0901.3156,

Submitted on 20 Jan 2009) Abstract: We review the different options for resolution of the black hole loss of information problem. We classify them first into radical options, which require a quantum theory of gravity which has large deviations from semi-classical physics on macroscopic scales, such as non-locality or endowing horizons with special properties not seen in the semi-classical approximation, and conservative options, which do not need such help. Among the conservative options, we argue that restoring unitary evolution relies on elimination of singularities. We argue that this should hold also in the AdS/CFT correspondence.

It is important that one is set up in terms of progressing to the determination and explanation of the voxel in the context that Holography. Susskind uses it in the way one can interpret "the bit" of information.

A picture, a photograph, or a painting is not the real world that it depicts. It's flat, not full with three dimensional depth like the real thing. Look at it from the side-almost edge on. It doesn't look anything like the real scene view from a angle. In short it's two dimensional while the world is three dimensional. The artist, using perceptual sleight of hand, has conned you into producing a three dimensional image in your brain, but in fact the information just isn't there to form a three dimensional model of the scene. There is no way to tell if that figure is a distant giant or a close midget There is no way to tell if the figure is made of plaster or if it's filled with blood or guts. The brain is providing information that is not really present in the painted strokes on the canvas or the darken grains of silver on the photographic surface. The Cosmic Landscape by Leonard Susskind, page 337 and 338