Archive for November, 2017

Gravity begins at home

Posted in Music, Poetry with tags , , on November 30, 2017 by telescoper

 

The Paradox of Olbers

Posted in History, The Universe and Stuff with tags , , , on November 29, 2017 by telescoper

I stumbled across a little video on Youtube (via Twitter, which is where I get most of my leads these days) with the title Why is it Dark at Night? Here it is:

As a popular science exposition I think this is not bad at all, apart from one or two baffling statements, e.g. “..the Universe had a beginning, so there aren’t stars in every direction”.  A while  ago I posted a short piece about the history of cosmology which got some interesting comments, so I thought I’d try again with a little article I wrote a while ago on the subject of Olbers’ Paradox. This is discussed in almost every astronomy or cosmology textbook, but the resolution isn’t always made as clear as it might be.  Here is my discussion.

One of the most basic astronomical observations one can make, without even requiring a telescope, is that the night sky is dark. This fact is so familiar to us that we don’t imagine that it is difficult to explain, or that anything important can be deduced from it. But quite the reverse is true. The observed darkness of the sky at night was regarded for centuries by many outstanding intellects as a paradox that defied explanation: the so-called Olbers’ Paradox.

The starting point from which this paradox is developed is the assumption that the Universe is static, infinite, homogeneous, and Euclidean. Prior to twentieth century developments in observation (e.g. Hubble’s Law) and theory  (Cosmological Models based on General Relativity), all these assumptions would have appeared quite reasonable to most scientists. In such a Universe, the intensity of light received by an observer from a source falls off as the inverse square of the distance between the two. Consequently, more distant stars or galaxies appear fainter than nearby ones. A star infinitely far away would appear infinitely faint, which suggests that Olbers’ Paradox is avoided by the fact that distant stars (or galaxies) are simply too faint to be seen. But one has to be more careful than this.

Imagine, for simplicity, that all stars shine with the same brightness. Now divide the Universe into a series of narrow concentric spherical shells, in the manner of an onion. The light from each source within a shell of radius r  falls off as r^{-2}, but the number of sources increases as r^{+2}. Multiplying these together we find that every shell produces the same amount of light at the observer, regardless of the value of r.  Adding up the total light received from all the shells, therefore, produces an infinite answer.

In mathematical form, this is

I = \int_{0}^{\infty} I(r) n dV = \int_{0}^{\infty} \frac{L}{4\pi r^2} 4\pi r^{2} n dr \rightarrow \infty

where L is the luminosity of a source, n is the number density of sources and I(r) is the intensity of radiation received from a source at distance r.

In fact the answer is not going to be infinite in practice because nearby stars will block out some of the light from stars behind them. But in any case the sky should be as bright as the surface of a star like the Sun, as each line of sight will eventually end on a star. This is emphatically not what is observed.

It might help to think of this in another way, by imagining yourself in a very large forest. You may be able to see some way through the gaps in the nearby trees, but if the forest is infinite every possible line of sight will end with a tree.

As is the case with many other famous names, this puzzle was not actually first discussed by Olbers. His discussion was published relatively recently, in 1826. In fact, Thomas Digges struggled with this problem as early as 1576. At that time, however, the mathematical technique of adding up the light from an infinite set of narrow shells, which relies on the differential calculus, was not known. Digges therefore simply concluded that distant sources must just be too faint to be seen and did not worry about the problem of the number of sources. Johannes Kepler was also interested in this problem, and in 1610 he suggested that the Universe must be finite in spatial extent. Edmund Halley (of cometary fame) also addressed the  issue about a century later, in 1720, but did not make significant progress. The first discussion which would nowadays be regarded as a  correct formulation of the problem was published in 1744, by Loys de Chéseaux. Unfortunately, his resolution was not correct either: he imagined that intervening space somehow absorbed the energy carried by light on its path from source to observer. Olbers himself came to a similar conclusion in the piece that forever associated his name with this cosmological conundrum.

Later students of this puzzle included Lord Kelvin, who speculated that the extra light may be absorbed by dust. This is no solution to the problem either because, while dust may initially simply absorb optical light, it would soon heat up and re-radiate the energy at infra-red wavelengths. There would still be a problem with the total amount of electromagnetic radiation reaching an observer. To be fair to Kelvin, however, at the time of his writing it was not known that heat and light were both forms of the same kind of energy and it was not obvious that they could be transformed into each other in this way.

To show how widely Olbers’ paradox was known in the nineteenth Century, it is worth also mentioning that Friedrich Engels, owner of a factory in Manchester (in the Midlands) and co-author with Karl Marx of the Communist Manifesto also considered it in his book The Dialectics of Nature, though the discussion is not particularly illuminating from a scientific point of view.

In fact, probably the first inklings of a correct resolution of the Olbers’ Paradox were contained not in a dry scientific paper, but in a prose poem entitled Eureka published in 1848 by Edgar Allan Poe. Poe’s astonishingly prescient argument is based on the realization that light travels with a finite speed. This in itself was not a new idea, as it was certainly known to Newton almost two centuries earlier. But Poe did understand its relevance to Olbers’ Paradox.  Light just arriving from distant sources must have set out a very long time ago; in order to receive light from them now, therefore, they had to be burning in the distant past. If the Universe has only lasted for a finite time then one can’t add shells out to infinite distances, but only as far as the distance given by the speed of light multiplied by the age of the Universe. In the days before scientific cosmology, many believed that the Universe had to be very young: the biblical account of the creation made it only a few thousand years old, so the problem was definitely avoided.

Of course, we are now familiar with the ideas that the Universe is expanding (and that light is consequently redshifted), that it may not be infinite, and that space may not be Euclidean. All these factors have to be taken into account when one calculates the brightness of the sky in different cosmological models. But the fundamental reason why the paradox is not a paradox does boil down to the finite lifetime, not necessarily of the Universe, but of the individual structures that can produce light. According to the theory Special Relativity, mass and energy are equivalent. If the density of matter is finite, so therefore is the amount of energy it can produce by nuclear reactions. Any object that burns matter to produce light can therefore only burn for a finite time before it fizzles out.

Imagine that the Universe really is infinite. For all the light from all the sources to arrive at an observer at the same time (i.e now) they would have to have been switched on at different times – those furthest away sending their light towards us long before those nearby had switched on. To make this work we would have to be in the centre of a carefully orchestrated series of luminous shells switching on an off in sequence in such a way that their light all reached us at the same time. This would not only put us  in a very special place in the Universe but also require the whole complicated scheme to be contrived to make our past light cone behave in this peculiar way.

With the advent of the Big Bang theory, cosmologists got used to the idea that all of matter was created at a finite time in the past anyway, so  Olber’s Paradox receives a decisive knockout blow, but it was already on the ropes long before the Big Bang came on the scene.

As a final remark, it is worth mentioning that although Olbers’ Paradox no longer stands as a paradox, the ideas behind it still form the basis of important cosmological tests. The brightness of the night sky may no longer be feared infinite, but there is still expected to be a measurable glow of background light produced by distant sources too faint to be seen individually. In principle,  in a given cosmological model and for given assumptions about how structure formation proceeded, one can calculate the integrated flux of light from all the sources that can be observed at the present time, taking into account the effects of redshift, spatial geometry and the formation history of sources. Once this is done, one can compare predicted light levels with observational limits on the background glow in certain wavebands which are now quite strict .

The Pembrokeshire Dangler

Posted in Cardiff with tags , , on November 29, 2017 by telescoper

They say there’s a first time for everything, and it turned out yesterday was the first occasion on which I encountered a Pembrokeshire Dangler:

It’s still there today. The Northerly airflow that is responsible for this phenomenon is causing a very cold snap here in Cardiff, but hopefully the Pembrokeshire Dangler will not hang around much longer.

The Stare’s Nest

Posted in Poetry with tags , , , , on November 28, 2017 by telescoper

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening; honey-bees,
Come build in the empty house of the stare.

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned,
Yet no cleat fact to be discerned:
Come build in he empty house of the stare.

A barricade of stone or of wood;
Some fourteen days of civil war;
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.

We had fed the heart on fantasies,
The heart’s grown brutal from the fare;
More Substance in our enmities
Than in our love; O honey-bees,
Come build in the empty house of the stare.

by William Butler Yeats (1865-1939)

Painting with Two Balls

Posted in Art with tags , , on November 28, 2017 by telescoper

Jasper Johns, Painting with Two Balls, 1960 Encaustic and collage on canvas with objects, 65 x 54 in, on display at the Royal Academy until December 10th 2017.

Friends at War

Posted in History, Politics with tags , , , on November 27, 2017 by telescoper

I found this letter by accident yesterday while I was searching for something else. Apparently, it’s very famous but I had never seen it before, and it struck me as unbearably moving. It was written by Sir William Waller to his friend Sir Ralph Hopton on 16th June 1643, during the (First) English Civil War and it is the last known communication between the two men. The former was a General in the Parliamentarian army, the latter held the same rank in the Royalist army.

This one heartbreaking letter reveals the tragedy that was unfolding all over the country at the time, as friends and families were torn apart by  forces not of their making but that proved impossible to to resist. It seems that countries are doomed to do this from time to time.

To my noble friend Sir Ralph Hopton at Wells

Sir,

The experience I have of your worth and the happiness I have enjoyed in your friendship are wounding considerations when I look at this present distance between us. Certainly my affection to you is so unchangeable that hostility itself cannot violate my friendship, but I must be true wherein the cause I serve. That great God, which is the searcher of my heart, knows with what a sad sense I go about this service, and with what a perfect hatred I detest this war without an enemy; but I look upon it as an Opus Domini and that is enough to silence all passion in me. The God of peace in his good time will send us peace. In the meantime, we are upon the stage and must act those parts that are assigned to us in this tragedy. Let us do so in a way of honour and without personal animosities.

Whatever the outcome I will never willingly relinquish the title of Your most affectionated friend.

William Waller

Following the eventual defeat of the Royalist cause Sir Ralph Hopton fled to the Continent with the young Prince Charles. He died of fever in Bruges in 1651. Sir William Waller served as a Member of Parliament but became increasingly disillusioned with the new Commonwealth and subsequently worked for the Restoration of the Monarchy, which began in 1660 with Charles II. Waller died in 1668.

 

 

The Problem of the Water Tank

Posted in Cute Problems on November 26, 2017 by telescoper

Here’s a nice problem I remember hearing in the pub on Friday and figured out this afternoon.

A water tank or sink is open to the air at the top where it can be filled using a tap connected to an infinite reservoir. Water can be drained from the container through an opening at the bottom  by removing a stopper. The effects of viscosity on the outflow from the tank can be neglected.

The time taken for the tank to fill when the tap is fully open and the stopper in place is the  same as the time taken for it to empty from full  when the tap is closed and the stopper is removed.

If the tank is initially empty, the stopper removed and the tap turned full on, how full is the tank when a steady state is reached?

 


The Leningrad Symphony

Posted in History, Music with tags , , , , , , , on November 24, 2017 by telescoper

Last night I went with a group of friends and colleagues to St David’s Hall in Cardiff for concert that I had been looking forward to for some time, featuring the Orchestra of Welsh National Opera under the baton of WNO’s Music Director Tomáš Hanus in a programme of music by Mahler and Shostakovich. It turned out to be no disappointment!

Before the interval the Orchestra was joined by young mezzo-soprano Tara Erraught for the song-cycle Lieder eines fahrenden Gesellen by Gustav Mahler, featuring settings of four poems written by the composer (though clearly influenced by other sources). The four pieces are of contrasting mood, with the second being the most upbeat and the third the most despairing (as well as the most operatic in style) and they were written in response to an unrequited passion. I thought Tara Erraught sang very beautifully indeed, bring out the emotional depths of this piece. Unusually for Mahler, the orchestra for this work was not excessively large, and a good balance with the solo voice was achieved that allowed the subtleties of both vocal and orchestral parts to be enjoyed to full effect.

After the interval the stage was much fuller as the orchestral forces required for the second work were much larger. Symphony No. 7 by Dmitri Shostakovich (“Leningrad”) is a piece that evokes particular memories for me as I first heard it about thirty years ago on the radio while sitting in a car that was driving through a torrential downpour in the middle of the night from Kansas City to Lawrence. The repeating theme and snare drum figures in the 1st Movement that represent the remorseless advance of the invading army had even more powerful affect when accompanied by the incessant driving rain. I’ve heard this piece on recordings and live broadcasts on many occasions since then, but have never heard it performed live until last night.

Shostakovich in a fireman’s uniform in Leningrad, 1941

What can I say about this work? Well, not much that hasn’t been said before. It was dedicated to the city of Leningrad where the composer lived, until he was evacuated during the siege,  and where he wrote most of the 7th Symphony. He served as a volunteer fireman in Leningrad during the early part of the Second World War (see above), having been turned down for military service owing to his poor eyesight. Leningrad was besieged by German forces for almost 900 days, from September 1941 until January 1944, and it’s impossible not to see the work in this historical context.

 

Though the four movements have themes – `War’, `Memories’, `My Native Field’ and `Victory’ – this is not really a programmatic piece. It does, however, succeed in invoking the terror and brutality of armed conflict in a manner that is so compelling that it’s almost overpowering. Many symphonies have as a theme some kind of struggle between light and dark, or between good and evil, but it always seemed to me that this work is not so much like that as it is a representation of a struggle simply for survival against annihilation. Even the end of the intense fourth movement, when the music finally resolves into the key of C Major, suggesting a kind of `victory’, echoes of the previous conflict persist, suggesting (to me) that this particular battle does not intend in any kind of triumph but in a sense of grim endurance that is more resignation than resolution.

Musicologists tend not to like this Symphony and its reputation dwindled in the West in the post-War period. Maybe it is true that it has defects when thought of as an exercise in composition, but fortunately I am not a professional critic so I am quite content to say that for me, personally, this work has an emotional impact like few others and it is one of my favourites in the whole symphonic repertoire. Last night the Orchestra of Welsh National Opera delivered an impassioned performance that confirmed everything I felt about this work but with the added dimensions that you can only get from a live performance.

From the immaculately controlled crescendo representing the advancing invaders that erupts into a nightmarish depiction of the ensuing battle right through to the last movement with its ending in resolution tempered in bitterness and regret, this performance had me gripped. The Orchestra of Welsh National Opera played as if their lives depended on it, and the climactic moments were authentically terrifying and, it goes without saying, wonderfully loud. Many congratulations to Tomáš Hanus for inspiring his musicians to such heights. He looked absolutely drained at the end, as he acknowledged the applause of a very appreciative audience in St David’s Hall.

It’s a shame that there were so many empty seats. That often seems to be the case when the music is relatively `modern’. The Cardiff audience does seem to have rather conservative tastes in that way. On the way out of the Hall after the performance all the comments I heard – and those afterwards on Twitter – were overwhelmingly enthusiastic. I feel privileged to have been among those present at this thrilling event.

UPDATE: I didn’t realise it was being broadcast live on BBC Radio 3 and is now available on iPlayer here for you to share the experience!

Simplified Presentation 

Posted in History, The Universe and Stuff, Uncategorized on November 24, 2017 by telescoper

This morning I was looking through my collection of old books about general relativity and related things, and found this page as part of a `simplified presentation’:

I wonder if you can guess the name of author of the little book in which I found this page, and what it is a `simplified presentation’ of?

The answer is on the front cover:

How much cross-subsidy? Research funding and the British university*

Posted in Education on November 23, 2017 by telescoper

This post makes some very important points about how research is so underfunded in UK universities that it can only be sustained by cross-subsidy from teaching income mainly generated by other subjects, especially from overseas students who are charged extremely high fees. This is particularly true for experimental science subjects, for which the cost of research activity far exceeds the funds available from government agencies. I don’t think it will be long until this leads to a crisis. In fact, I think it’s happening already.

[ex-] HEAD OF DEPARTMENT’S BLOG

A recent HEPI report exposes the confidence trick that sustains British higher education. Research excellence leads to high international status; this in turn leads to high numbers of international students; and these students underwrite the research. Simple, but maybe not sustainable, especially in the current climate. Indeed an examination of this creaky merry-go-round exposes the risks that face UK universities.

How much is too much?

The report, How much is too much? Cross-subsidies from teaching to research in British universities, by University of Oxford MPhil student Vicky Olive, grabbed headlines for its calculation that international students contribute, on average, £8,000 per year to research funding. The author used Transparent Approach to Costing (TRAC) data (imperfect, yes, but the best information we have) to track income and expenditure, working largely at institutional level. Unsurprisingly, she found that teaching subsidises research. However, it’s almost entirely the surplus value from international students…

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