It should be no surprise that aging scientists from all fields gravitate (ha!) to astronomy as we get more interested in the grand fates of things. Fortunately there are many sites and channels to scratch that itch, giving us a perhaps too comfortable view of complex material. The life and death of stars is an example where the high level explanations of gravity versus fusion do work but where the many omitted details cause midnight befuddlement. Where does the energy come from? Where does it go? Wait… how fast – Relativistic speeds?
Anonymous Youtuber “But Why?” breaks the barrier with this beautiful video on the collapse of very big stars – the kind that leave neutron stars or black holes in their wake. It isn’t all symmetric implosions and classical rebounds and the thought of a giant object collapsing 5000-km in a tenth of a second boggles the mind. The depth of detail is breathtaking, the amount of research inspiring, and taught me much new physics that I incorrectly thought I already knew.
Playing the piano is damnably hard. I have accepted that I will never practice consistently or wisely enough to reach my original wildly unrealistic goals of competence and am contenting myself with slow progress and occasional discoveries. Coaxing a good sound requires talent, coordination, flexibility, and freedom of movement. There’s nothing that can be done about the first item but occasionally something in the joints unsticks enabling a small improvement in the rest. I feel kinship with weekend athletes who get that occasional moment of grace amid hours of futility.
One of the many frustrations is pressing a key in the same place with the same pressure five times in a row and hearing no sound two of those times. The hammer misses the strings by a fraction of a millimeter and flops back with a click and a dull thud. This makes any kind of phrasing next to impossible for the duffer. He either settles for good enough or goes nuts trying to adapt as the instrument itself changes with the time of day and the weather. It never bothers the professionals who figure it out on the fly.
The piano action itself is a bizarre marvel of wood, felt, physics, and prayer. It is surprising that it works at all and there are eighty eight of the bloody things that have to work consistently. It is a lot to ask, perhaps too much. Robert Grijalva of the University of Michigan explains it in painstaking detail using a model of his own invention. For those with less time, a Dutch animator posting as Hoe Ishetmoegelijk (hoe is het moegelijk = how is it possible) has a concise summary.
The online astronomy office hours from the UofA continue apace. Every week Prof. Chris Impey answers ex tempore a mix of questions from planetary science to the fate of the universe from a thirsty audience across the globe. A large Indian contingent stays up until the wee small hours of their morning to join in. Part of the fun is pausing the video and trying to figure out the answer from basic considerations before resuming. It is fun to be right but more instructive to be wrong. I’ve been moved to send in three questions over the past couple of sessions and all have been answered.
When in relation to the Big Bang did dark matter originate?
The third video from Corning’s Museum of Glass shows that the path to science is not always smooth and that learning from mistakes is the norm. The original 200 inch pyrex disk for the Palomar primary did not go according to plan and had to be recast. The second attempt succeeded and even so, it took ten years of painstaking grinding and polishing at Caltech before it was ready for use.
But the early universe was very hot, very dense, and gravitationally very different from the comfortable-to-us 1 g we experience today on the surface of the earth. Einstein has convincingly shown that spacetime is accordingly divorced from that human experience. Clocks, for example, are affected by gravity and satnav constellations have to take this into account. Did the first three minutes flow the same way three minutes flow in the here and now? I sent that question to Chris Impey’s online office hour and he kindly answered. It is a tantalizing response and one that will require substantial further study to fully appreciate – perhaps finally diving into the guts of GR. It makes me wonder even more intensely why we anthropomorphize those intervals the way we do.
The CDC and WHO are giving us good advice on what do in this Plague Year. The Research Collaboratory for Structural Bioinformatics (RCSB) is showing us the molecule causing the havoc. Check out the structures of the various flavors of Coronavirus at The Protein Database (PDB). Click on the images, most of which will go to detailed pages including 3D models that can be spun in the browser. Knowledge will be power in dealing with this beast and let’s offer thanks to the research groups who took the lead in characterizing it which must have come at considerable risk to themselves. When it mutates, and it will, they and others will undoubtedly don their capes and do the measurements again.
It is damnably, horrifyingly beautiful in David Goodsell’s artistic rendering of it infecting a lung:
The web’s archive of older industrial films is a recurring delight. Jam Handy, Coronet, and other firms crafted these with an attention to detail, calm explanation, and rigorous science that is harder(*) to find today when most equivalents are about sales rather than fundamentals. Jeff Quitney has uploaded a wonderful 1954 cleaned-up film to his Vimeo page on color theory and practice by the Interchemical Corporation. It begins with the importance of color to society – especially in packaging goods and people – and then gives a marvelous account of the optics involved. I’ve worked in the field for years but I learned to see things (pun intended) differently thanks to it.
The second film from 2016 looks at color in packaging through its emotional impact and its influence on design and designers. ‘Color In Sight’ resembles like Hustwit’s ‘Helvetica.’ A number of prominent designers talk about how they use and think about color in order to evoke a response, surface a memory, or reveal a part of the spectrum to the color-blind. I have no idea what I’d say to a nail-polish maker but Suzi Weiss-Fischmann (8m18s in) comes off as a fun seatmate on a long plane trip. I had a similar feeling about Helvetica’s Paula Scher. Interestingly, it is produced by TeaLeaves, a Canadian company specializing in very high-end teas for hotels. Judging by their Youtube page, they must spend a fortune on short films – many of which have little outward bearing on their products. I’ve never understood the appeal of tea but the videos are well worth a look.