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Dark Matter: Dearth Evaded

Posted in Astrohype, The Universe and Stuff with tags , , , , , , on May 23, 2012 by telescoper

While I’m catching up on developments over the last week or so I thought I’d post an update on a story I blogged about a few weeks ago. This concerns the the topic of dark matter in the Solar Neighbourhood and in particular a paper on the arXiv by Moni Bidin et al. with the following abstract:

We measured the surface mass density of the Galactic disk at the solar position, up to 4 kpc from the plane, by means of the kinematics of ~400 thick disk stars. The results match the expectations for the visible mass only, and no dark matter is detected in the volume under analysis. The current models of dark matter halo are excluded with a significance higher than 5sigma, unless a highly prolate halo is assumed, very atypical in cold dark matter simulations. The resulting lack of dark matter at the solar position challenges the current models.

In my earlier post I remarked that this  study   makes a number of questionable assumptions about the shape of the Milky Way halo – they take it to be smooth and spherical – and the distribution of velocities within it is taken to have a very simple form.

Well, only last week a rebuttal paper by Bovy & Tremaine appeared on the arXiv. Here is its abstract:

An analysis of the kinematics of 412 stars at 1-4 kpc from the Galactic mid-plane by Moni Bidin et al. (2012) has claimed to derive a local density of dark matter that is an order of magnitude below standard expectations. We show that this result is incorrect and that it arises from the invalid assumption that the mean azimuthal velocity of the stellar tracers is independent of Galactocentric radius at all heights; the correct assumption—that is, the one supported by data—is that the circular speed is independent of radius in the mid-plane. We demonstrate that the assumption of constant mean azimuthal velocity is physically implausible by showing that it requires the circular velocity to drop more steeply than allowed by any plausible mass model, with or without dark matter, at large heights above the mid-plane. Using the correct approximation that the circular velocity curve is flat in the mid-plane, we find that the data imply a local dark-matter density of 0.008 +/- 0.002 Msun/pc^3= 0.3 +/- 0.1 Gev/cm^3, fully consistent with standard estimates of this quantity. This is the most robust direct measurement of the local dark-matter density to date.

So it seems reports of the dearth were greatly exaggerated..

Having read the paper I think this is a pretty solid refutation, and if you don’t want to take my word for it I’ll also add that Scott Tremaine is one of the undisputed world experts in the field of Galactic Dynamics. It will be interesting to see how Moni Bidin et al. respond.

This little episode raises the question that, if there was a problem with the assumed velocity distribution in the original paper (as many of us suspected), why wasn’t this spotted by the referee?

Of course to a scientist there’s nothing unusual about scientific results being subjected to independent scrutiny and analysis. That’s how science advances. There is a danger in all this, however, with regard to the public perception of science. The original claim – which will probably turn out to be wrong – was accompanied by a fanfare of publicity. The later analysis arrives at a much less spectacular conclusion,  so will probably attract much less attention. In the long run, though, it probably isn’t important if this is regarded as a disappointingly boring outcome. I hope what really matters for scientific progress is people doing things properly. Even if it  don’t make the headlines, good science will win out in the end. Maybe.

Astronomy Look-alikes, No. 76

Posted in Astronomy Lookalikes with tags , , on May 23, 2012 by telescoper

On many occasions I’ve been struck by the striking resemblance between British astronomer Phil Charles and Australian comedian, satirist and character actor Barry Humphries.

Phil Charles

Barry Humphries

C Jam Blues

Posted in Jazz with tags , , on May 22, 2012 by telescoper

I finished a marathon session of examination marking yesterday evening, and gave the papers another check through this afternoon just as a precaution against any errors on my part. Now I’m satisfied with them I’m going to hand them over to the second examiner tomorrow morning for another check. We do take a lot of care over this things, you know…

Having got such such a big job out of the way I think there’s grounds for a minor celebration. On top of that I noticed this afternoon that the total number of visits to this blog has just passed the one million mark!  Thanks to everyone who has visited for taking the trouble to read my ramblings. I hope to be able to pass on news of an important development on the blog very soon…

In the meantime, here’s a video I’ve been waiting for a good day to post. It’s the great Oscar Peterson Trio vintage 1964 in excellent form playing a Duke Ellington standard called C Jam Blues which, as its name suggests, is a 12-bar blues in the key of C Major. I have many reasons for loving this performance: Oscar Peterson’s lengthy improvised introduction is worth a shout all on its own, but watch out for the little look he gives to bassist Ray Brown at about 2.34 to signal him in at the start of the next chorus. Look out too for the flawless performance of the legendary Ed Thigpen on drums; one of my Dad’s absolute favourite drummers, and mine too. The three musicians are definitely all on the same wavelength for this track, but the eyeball communication between Ed Thigpen and Ray Brown seems almost psychic.

Keeping Things Whole

Posted in Poetry with tags , , on May 22, 2012 by telescoper

In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.

When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.

We all have reasons
for moving.
I move
to keep things whole.

by Mark Strand (b. 1934).

 

You want a visa to do a PhD? Show me the money!

Posted in Education with tags , , on May 21, 2012 by telescoper

David McGloin gives an example of the idiocy of the UK’s policy of restricting access to our universities for fully-funded overseas research students.

SydneyPhysics's avatarShowing Ambition

Last year I had an enquiry from a prospective PhD canidate, from Libya. He seems like a decent enough bet: he had a MSc from Cardiff, and his references from there were fine – so there were no major concerns with his English or his general background knowledge. His MSc project was in an area relevant to my own work. So, it looked like his could make a go of a PhD. The basic paperwork was in place for him to come, he just needed to acquire a visa. Then the revolution started. Communications went down, and there was no way to know what was really happening. Thankfully, sometime after things had settled down I got an email to say my applicant was OK, and was the offer for the PhD still open? So we sorted the paperwork out again and an application was made for a visa. Note that…

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Tristan und Isolde

Posted in Opera with tags , , , , , on May 20, 2012 by telescoper

Regular readers of this blog will know that, although I’m a regular opera-goer, I’m by no means as much of a devout fan of Richard Wagner as many of that ilk, including some of my colleagues. Nevertheless, I have decided to persevere in much the same way as I have done with Brahms. Last night I had an opportunity to do just that by going to the first night of the new run of Tristan und Isolde by Welsh National Opera. I was particularly delighted to see this opera on the WNO schedule for this year, because it is an opera with which I am a little bit familiar, and thus provided me with an excuse to persevere a little bit more, for reasons I shall explain…

Years ago, when I lived in Nottingham, on a warm summer evening I decided to listen to some of the live broadcast on BBC Radio 3 of Tristan und Isolde from Glyndebourne. I made myself a cocktail and took the radio out into the garden with the intention of listening to a bit of it before going out for the evening. This was back in the days when I actually used to go out on the town on Saturday nights; now I’m too old for that sort of thing. Anyway, I was hooked right from the Prelude. Act I came and went and I decided to make some dinner in the interval, opened a bottle of wine, and returned to listen to the rest of it. The glorious music washed over me in the sultry twilight. Darkness fell, a second bottle of wine was opened, and still I listened – no doubt to the consternation of my neighbours. The final Liebestod was so beautiful I almost cried. Eventually I retreated to the house having experienced my first all-out Wagner trip.

My enjoyment of that occasion was of course helped by the fact I could get up and walk around occasionally, as well as by the liberal intake of fine wine. Nevertheless, I took enough out of it to want to see a full performance. Last night was my chance.

I think the first thing to say about Tristan und Isolde is that the music is completely wonderful. Not only ravishingly beautiful, but also haunting and complex. The opening bars establish a vividly chromatic orchestral palette which is used to brilliant effect to create the atmosphere of tragedy that pervades this work. The opening chord, the Tristan chord, is dissonant and its effect is strengthened by its resolution into another dissonant chord.

It’s often been said – probably with justification – that the freedom with which Wagner composed this opera opened up a whole new set of possibilities for Western classical music. It’s also wonderful to listen to.

So as a music drama it scores nearly 100% for the music. As a drama, though, it leaves a lot to be desired. The plot in Act I is absurd even by operatic standards. Isolde plans to poison Tristan and then take poison herself, but her servant Brangäne does a nifty switch of the vials and the two drink a love potion instead. This ignites a mutual desire that had previously been dormant and leads them into a tragic confrontation between love and responsibility. Isolde, you see, is betrothed to King Mark of Cornwall, and Tristan is his most loyal and virtuous knight. You know this isn’t going to end well, but the bit with the potions reminded me of that old Danny Kaye sketch about the “Vessel with the Pestle”.

Act 2 finds Tristan and Isolde in a dark wood, having embarked on an illicit love affair. It’s basically just the two of them on stage expressing their love to each other in wonderful music. Dramatically, however, nothing at all happens for the best part of an hour until right at the end when the King and his men find the couple in flagrant deliciousness. Now I understood why this opera works so well on the radio..

Tristan is stabbed by one of the King’s cronies at the end of Act 2, but the start of Act 3 finds him back in his ancestral home in Brittany, mortally wounded, lying under a very large plank of wood. In despair he hopes that Isolde will find him and mend his wounds with one of her potions (hopefully the right one this time). She arrives, but he snuffs it before she can help. Then another ship arrives, carrying King Mark and his boys, who have obviously been in hot pursuit across the English Channel. Isolde sings of being reunited in love with the dead Tristan and as she sings the stage and other actors fade from view. She dies.

Full marks to Isolde, Ann Petersen, a wonderful dramatic soprano with an electrifying voice; she’s from Denmark, incidentally. Canadian-born Ben Heppner as Tristan, was also in good voice, although he sometimes struggled to project and his rotund appearance called for a bit of audience imagination for him to be seen as a dashing knight. Mezzo  Susan Bickley was a splendid Brangäne too.

The Orchestra of Welsh National Opera under the direction of Lothar Koenigs were excellent too, after a rather nervous opening during which they seemed almost to be in awe of the music they were playing. And a special word for the staging, which was rather stark but also very clever, especially during Act I when a translucent screen divided the front and back of the stage and allowed some intriguing lighting effects.

I’d prepared myself psychologically for the 5 hours plus of this performance – not too bad actually, when you realise that includes two intervals, of 25 minutes and 50 minutes respectively – so I coped well enough. The piece definitely has its   longueurs, but you can always shut your eyes and imagine you’re in the garden at home..

R.I.P Dietrich Fischer-Dieskau

Posted in Music with tags , , , on May 19, 2012 by telescoper

I was very sad to hear, first thing this morning, of the death at the age of 86 of legendary singer Dietrich Fischer-Dieskau. I can’t add anything to the host of tributes that have already appeared, except to say that his voice will always be very special to me because his recording of Schubert’s Winterreise (with Gerald Moore on piano) was the first I ever heard of any Schubert Lieder.

Instead of trying to write an appreciation which couldn’t possibly to justice to the man and his musical legacy, I’ll just post this video and let it speak for itself. This is Winterreise in its entirety, performed in 1979 by Fischer-Dieskau with Alfred Brendel on piano.

Rest in peace, Dietrich Fischer-Dieskau (1925-2012).

Olympic Scale Disruption

Posted in Bute Park with tags , , , on May 18, 2012 by telescoper

Apparently the Torch is passing through Cardiff on 25th May 2012 ahead of the 2012 London Olympics. Some sort of celebration is going to happen in Bute Park that evening, and the preparations started earlier this week. Yet more heavy vehicle movements. Yet more temporary buildings. Yet more damage Cooper’s Fields (which will probably never be repaired). Yet more denial of public access to a public Park.

Any why on Earth does such a huge area have to be sealed off for two whole weeks just to make way for an event that will only last a few hours? What a waste of time! And I dread to think how much it’s going to cost…

The Moving Finger

Posted in Poetry with tags , , on May 18, 2012 by telescoper

The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.

from The Rubaiyat of Omar Khayyam (trans. E.M. Fitzgerald)

My private IDAHO

Posted in Uncategorized with tags , , , on May 17, 2012 by telescoper

Today, 17th May, is International day Against Homophobia and Transphobia (IDAHO). There are events going on all round the world, including the UK (for which you can find a list here).

As an oldie, I find it quite amazing how much attitudes have changed in the general population, and even within the police force, but sadly that doesn’t mean that homophobic hate crimes no longer happen. In fact, they are still depressingly commonplace. The path that leads to violence (and even murder) starts with verbal abuse, and this will only stop when all fair-minded people (straight, gay, bisexual, transexual and undecided) are prepared to confront the bigots. Maybe one day IDAHO will not be needed, but that day remains a long way off.

Here is the official IDAHO video

And here is a special message from these parts made by Stonewall Cymru and the Welsh Assembly