Name: Norman Anthony Aguero Currently a student at FIU. My major is chemistry and my minor is physics. My goal is to hopefully earn a Ph.D. in physical organic chemistry.
FARM WORKER: A honeybee rests on an almond blossom. The insects are crucial to California’s $2-billion-a-year almond crop.
Buzzzzzzzz kill
Robert Durell / Los Angeles Times
FARM WORKER: A honeybee rests on an almond blossom. The insects are crucial to California’s $2-billion-a-year almond crop.
The loss of billions of bees raises questions about our pesticide controls.
By Al Meyerhoff
July 30, 2008
It's likely that most people have never heard of Gaucho. And no, it's not a South American cowboy. I'm talking about a pesticide.
There is increasing reason to believe that Gaucho and other members of a family of highly toxic chemicals -- neonicotinoids -- may be responsible for the deaths of billions of honeybees worldwide. Some scientists believe that these pesticides, which are applied to seeds, travel systemically through the plant and leave residues that contaminate the pollen, resulting in bee death or paralysis. The French refer to the effect as "mad bee disease" and in 1999 were the first to ban the use of these chemicals, which are currently only marketed by Bayer (the aspirin people) under the trade names Gaucho and Poncho. Germany followed suit this year, and its agricultural research institute said it concluded that the poisoning of the bees was because of the rub-off of the pesticide clothianidin (that's Pancho) from corn seeds.
So why did the U.S. Environmental Protection Agency in 2002 grant an "emergency" exemption allowing increased use of Gaucho -- typically invoked during a major infestation -- when only a few beetles were found in blueberries? Why did the agency also grant a "conditional" registration for its close relative, Pancho, allowing the chemical on the market with only partial testing? And why is the agency, hiding behind a curtain of "trade secrets," still refusing to disclose whether the additional tests required of companies in such cases were conducted and, if so, with what results?
Therein lies a tale. Most pesticides, we're told, are safe. So we add about 5 billion pounds a year of these deadly chemicals to our world, enough to encircle the planet if it were packaged in 100-pound sacks. Sure, they are regulated -- but badly -- under the antiquated Federal Insecticide, Fungicide and Rodenticide Act. This law allows a chemical on the market unless it's proved to pose "an unreasonable risk," far too weak a standard.
Gerard Eyries, a Bayer marketing manager, said in connection with the French action that "imidacloprid [that's Gaucho] left a small residue in nectar and pollen, but there was no evidence of a link with the drop in the bee population." Bayer also blamed seed makers and suggested that there may be "nonchemical causes" for this massive bee kill. But Bayer may not be entirely objective here. In 2006, Gaucho sales topped $746 million.
Something is killing the bees, though. Some scientists suspect a virus; others mites, even cellphones. (Bees are not known to use phones, though, having their own communications system -- a dance called the "waggle.")
Here in the U.S., the bee kill is a big problem. Domesticated bees were brought to the U.S. on the Mayflower. Today, they contribute at least $15 billion to the nation's agricultural economy. For example, California's $2-billion-a-year almond crop is completely dependent on honeybees from about 1.5 million hives for pollination. This year, more than 2.4 million bee colonies -- 36% of the total -- were lost in the U.S., according to the Apiary Inspectors of America. Some colonies collapsed in two days.
Part of the problem is how we farm. Rather than rotating crops, farmers grow the same one each year. This "monoculture" creates a breeding ground for pests. Farmers then use chemicals that kill not only the target organism but other life forms as well -- like honeybees. That this approach may now be coming back to bite big-production agriculture is not without some irony. For decades the agriculture industry has been its beneficiary -- with farmworkers, consumers and local communities the victims. But, actually, we're all in trouble.
No independent government testing is required before a pesticide is registered for use. Large gaps in basic scientific knowledge about pesticides remain, including their environmental "fate" (where they end up) and their toxicity to humans and to wildlife. A problem pesticide may be removed from the market only after a long process and full trial -- something that should be done before. The Food Quality Protection Act of 1996 improved control of residues in our food. That didn't help the bees.
Rachel Carson was vilified by an industry smear nearly 50 years ago, after the release of her book, "Silent Spring." "If we were to follow the teachings of Miss Carson," said American Cyanamid, the maker of DDT, "we would return to the Dark Ages ... insects, vermin and disease would once again inherit the Earth." But, as Carson so eloquently put it in a CBS documentary in 1964: "Man's attitude toward nature is today critically important simply because we now have acquired a fateful power to alter and destroy nature. But man is part of nature, and his war is inevitably a war against himself."
Al Meyerhoff, an environmental attorney in Los Angeles, is a former director of the Natural Resources Defense Council's public health program.
Burgess wrote that the title was a reference to an old Cockney expression, "as queer as a clockworkorange".¹ Due to his time serving in the British Colonial Office in Malaysia, Burgess thought that the phrase could be used punningly to refer to a mechanically responsive (clockwork) human (orang, Malay for "man").
Burgess wrote in introduction to the 1986 edition, titled A Clockwork Orange Resucked, that a creature who can only perform good or evil is "a clockwork orange — meaning that he has the appearance of an organism lovely with color and juice, but is in fact only a clockwork toy to be wound up by God or the Devil; or the almighty state."
In his essay "Clockwork Oranges"², Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian, or mechanical, laws to an organism which, like a fruit, was capable of colour and sweetness". This title alludes to the protagonist's positively conditioned responses to feelings of evil which prevent the exercise of his free will.
Point of view from one person
A Clockwork Orange is written in first person perspective from a seemingly biased and unreliable source. The protagonist, Alex, never justifies his actions in the narration, giving a good sense that he is somewhat sincere; a narrator who, as unlikeable as he may attempt to seem, evokes pity from the reader through the telling of his unending suffering, and later through his realization that the cycle will never end. Alex's perspective is effective in that the way that he describes events is easy to relate to, even if the situations themselves are not. He uses words that are common in speech, as well as Nadsat, the speech of particular younger generation subcultures.
Plot summary
Part 1: Alex's world
Set in a dystopian near future, the novel opens with the introduction 15-year-old Alex, who, with his gang members (known as "droogs") Pete, Georgie and Dim, roam the streets at night, committing violent crimes ("ultraviolence") for fun. In contrast to Alex's love for violence and cruelty, he also has a major love for classical music, Beethoven's Ninth Symphony being his most favorite piece of all.
Essentially, the first part of the novel is a character study of the protagonist. We learn that Alex and his "droogs" (Russian for friend), Dim, Georgie, and Pete, have their own language known as Nadsat, and their own hierarchy, in which Alex is the leader. Although they are all "droogs", Alex seriously resents Dim for his stupidity and constantly picks on him. There is a general disregard for the law and for older generations — creating an image of a youth movement that is taking control of this fictional future.
Part 1 involves Alex reflecting on his illegal activity. After drinking narcotic-laden milk at the Korova Milk Bar, Alex and his droogs ridicule and beat an old librarian, tearing up his books on Crystallography. They then proceed to a run-down theater, where rival gang leader Billy Boy and his thugs are about to rape a young girl. A fight between the two gangs ensue, with Alex and his droogs emerging victorious and leaving before the police arrive. They rob a candy store, beating up the owner and his wife, then proceed to the 'Black & Suds', where they intimidate a group of elderly alcoholic women into vouching for them, buying them drinks (with their ill-gotten gains) when they comply. Then Alex and his droogs ridicule and beat an old drunken vagrant. They steal a "Durango 95" sports car for a reckless drive into the countryside. Alex and his droogs then perpetrate a home invasion, savagely beating a reclusive writer named F. Alexander, tearing up his written work (entitled "A Clockwork Orange") and raping his wife. Afterward, back at the Korova, there is a moment of tension among the four when Alex strikes Dim for ridiculing a woman as she sings a classical piece that moved Alex. The other droogs, Pete and Georgie, manage to keep the peace between them. Thus the group heads home. Alex returns to his home at a tower block, where his mother and father have factory jobs, and climaxes the evening by listening to classical music on his expensive stereo.
After giving his mother an excuse for a need to miss school, Alex is visited by P.R. Deltoid, the social worker assigned to his case, who has heard word about Alex's doings the previous night. Deltoid warns Alex that if he gets in trouble again, he'll be sent to prison. Alex assures Deltoid he won't.
While skipping school Alex picks up two ten-year-olds in a record shop, takes them home, and rapes them. Sitting down at dinner, Alex's father asks Alex about his "night job". Alex gives him a weak excuse while giving him a generous portion of his "salary". The earlier tension within the group deepens however, as Alex finds his droogs waiting for him at his house. Alex learns that his droogs, particularly Georgie and Dim, are no longer fully satisfied with him as their leader, suggesting a "new way", and that they should drink "moloko plus" before they discuss it. Although he is slightly threatened, he deals with the problem by, without the edge of "moloko plus", beating the two, slashing Dim's wrist, demonstrating his leadership and unwillingness to be overthrown. That night, the gang perpetrates another home invasion. When confronted by the owner, an elderly woman, Alex strikes her with a small silver statue and attempts to flee. His droogs choose the moment to betray Alex, beating him with a chain and leaving him for the police to find. Alex is arrested; P.R. Deltoid is delighted by this fact, spitting in Alex's face. During interrogation, Alex learns that the woman he struck with the statue died as a result of her injuries. Alex is convicted for her murder and sentenced to fourteen years in prison.
Part 2: The Ludovico Technique
Alex is sentenced to 14 years for murder. In prison for 2 years, he gets a job as an assistant to the prison chaplain. He feigns an interest in religion, and amuses himself by reading the Bible for its lurid descriptions of "the old yahoodies (Jews) tolchocking (beating) each other", imagining himself taking part in "the nailing-in" (the Crucifixion) of Jesus. Alex learns of his ex-droog Georgie's death by an intended victim during a botched robbery. He also hears about an experimental rehabilitation programme called "the Ludovico Technique", which promises that the prisoner will be released upon completion of the two-week treatment, and will not commit crimes afterwards.
After killing a fellow prisoner in his cell for groping him, Alex is selected to become the subject in the first full-scale trial of the Ludovico Technique. The technique itself is a form of aversion therapy, in which Alex is given a drug that induces extreme nausea while being forced to watch graphically violent films for two weeks. Strapped into a seat, his head clamped and his eyes held open with specula, Alex has no choice but to watch the films. One of the films has a soundtrack of Alex's beloved Beethoven's Ninth Symphony, and though he pleads with them to remove the music, they refuse, saying that it is for his own good and that the music may be the "punishment element".
A few weeks later, he is presented to prison and government officials as a successfully rehabilitated member of society and released. The treatment has left him unable to perform, or even think about, any kind of violent action without becoming severely ill. However, he soon learns that it worked too well, because he cannot even defend himself against an attacker when necessary. The clinicians demonstrate the treatment's effectiveness in front of an audience, including the prison chaplain: a man taunts and abuses Alex but Alex is unable to defend himself as each time he tries he becomes nauseated (he must lick the man's boots to appease him). Then a beautiful, naked woman is shown to him, but Alex is unable to think of touching her without feeling ill.
Part 3: After prison
The third part of the novel centers on Alex's life after he is released from prison. Alex encounters many of his former victims, all of whom seek revenge upon him. He finds himself powerless to defend himself against them, as the Ludovico treatment leaves him ill when he attempts violence. Alex returns home, joyful at the thought of starting afresh. However, he is unpleasantly surprised by the discovery that his parents have rented out his room to a lodger named Joe, essentially "replacing" their son. With no place to go, stripped of the ability to fight back, Alex despondently wanders London. He stops at the Korova Milk Bar and drinks euphoria-inducing milk, something he has never done before, and then to the music store for some classical music. However, in an unintended side effect, the technique has also rendered him incapable of listening to his beloved classical music, and he runs screaming from the store. Alex decides to commit suicide, but is unable to because the technique prevents him from committing any act of violence, including against himself. He wanders into the public library, only to be quickly recognized by the elderly librarian whom he had beaten up with his droogs in chapter one. With his librarian friends, he attacks and beats on Alex. The police, called by the librarian, turn out to be his old ex-'droog' Dim, and old arch-enemy Billy Boy. Taking advantage of their positions (which apparently permits summary punishment), they take Alex to the town's edge, beat him and leave him for dead.
Alex falls into the hands of Mr. Alexander, the husband of the woman he raped at the beginning of part one. Mr. Alexander was apparently crippled in the initial assault and is now confined to a wheelchair, and his wife is now deceased, due to an illness he blames on the rape. Since Alex was wearing a Disraeli mask during the earlier assault, Alexander does not recognize him as the attacker. Recognizing Alex's photo from the newspaper, Mr. Alexander's political activist friends decide to use him as a weapon against the government by turning him into a poster child for the victims of facism; they play classical music in the room beside his, triggering the maddening effect of the Ludivico treatment. Unable to take the torment, Alex jumps from his bedroom window.
Alex wakes up in a hospital, where he learns that the government, trying to reverse the bad publicity it incurred in the wake of Alex's suicide attempt, has reversed the effects of the Ludivico treatment and have offered him a well paying civil service job. His parents take him back in, and Alex happily ponders returning to his life of ultra-violence.
In the final chapter, Alex finds himself half-heartedly preparing for yet another night of crime with a new trio of droogs. After a chance encounter with Pete, who has reformed, married, and now has a child of his own, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children will be just as destructive-- if not more so-- than he himself.
Characters
Alex: The novel's anti-hero and leader among his droogs. Alex often refers to himself as "Your Humble Narrator." At the point of seducing two girls in a music shop, Alex reveals himself as "Alexander The Large." This was later the basis for Alex's claimed surname DeLarge in the 1971 film. However, in the film, following the attempted suicide the newspapers state his name as 'Alex Burgess' very clearly.
George or Georgie: Effectively Alex's second-in-command. Georgie attempts to undermine Alex's status as leader of the gang. He is killed while breaking into a house during Alex's term in prison.
Pete: The more rational, democratic and least violent of the gang.
Dim: The brute force of the gang. He later becomes a millicent (police officer).
P.R. Deltoid: A social worker assigned to Alex, who monitors his progress through reform schools. He warns Alex that if he gets into any more trouble, he will most likely be sent to prison.
The Prison Chaplain (also called the 'prison charlie,' a take on Charlie Chaplin) The character who first questions whether or not forced goodness is really better than chosen wickedness. The only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though.
The Governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico Technique.
Dr. Brodsky: One of the co-founders of the Ludovico Technique. He at first seemed like a friend to Alex, and then introduced him to pain. Plays the "Bad Cop" role when talking to Alex before and after his sessions in the theater.
Dr. Branom: The other co-founder of the Ludovico Technique. He says much less than Brodsky and is interpreted as the "Good Cop" role when addressing Alex.
F. Alexander: An author writing, at the beginning of the novel, his own novel called A Clockwork Orange. The gang breaks into his house and brutally beats him while forcing him to watch as they rape his wife. He is paralyzed as a result of the attack, while his wife dies. He takes Alex in off the street, and then tries to drive him to suicide after recognizing him.
Otto Skadelig: a fictional Danish composer. The first movement of his third symphony is violent in style. It prompts Alex to attempt suicide. His surname means "harmful" in Danish.
Differences in U.S. editions
Although the book is divided into three parts, each containing seven chapters, this being the age of maturity (seeing as 21 was the age when you were recognized as an adult, i.e. being given the vote). It also echoes symphonies (Alex's love of music being a large plot point). The 21st chapter was omitted from the versions published in the United States until 1986. The film adaptation, which was directed by Stanley Kubrick, follows the American version of the book, ending prior to the events of the 21st chapter. Kubrick claimedthat he had not read the original version until he had virtually finished the screenplay, but that he certainly never gave any serious consideration to using it.
Slang
The book, narrated by Alex, contains many words in a slang dialect which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, Polari, Cockney rhyming slang, derived Russian (like "baboochka"), and words invented by Burgess himself. For instance, these terms have the following meanings in Russian - 'droog' means 'friend' ; 'korova' means 'cow'; 'golova' (gulliver) means 'head'; 'malchick' or 'malchickiwick' means 'boy'; 'soomka' means 'sack' or 'bag'; 'Bog' means 'God'; 'khorosho' (horrorshow) means good, 'prestoopnick' means 'criminal'; 'rooker' is 'hand', 'cal' is 'crap'; 'litso' is 'face'; and so on. One of Alex's doctors explains the language to a colleague as "Odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g 'in-out, in-out' or 'the old in-out' means sexual intercourse and 'cutter' means money.
In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context.
Droogism refers to the commission of a crime for the sole sake of committing a crime, without material gain or benefit; robbery and kidnapping with the intent to demand ransom, for example, do not qualify as droogisms, as they are committed with the intention of some sort of material benefit for the perpetrator.
Ultraviolence
The term "Ultraviolence", referring to excessive and/or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent." The term's association with aesthetic violence has led to its use in the media.
Paranormal literature is full of cases of psychic children. A poltergeist is almost certain to have a child at the centre of activity, and visions of the Virgin Mary are famous for involving children.
Go back to the days of the Witchhunts and you often read of children being easiest to bewitch, and many accusations of witchcraft came from children ‘affected’ by the supposed witch’s spells.
Can a study of children be of value to research?
By looking at the mentality within the child, can we identify elements that show the optimum state of mind for a psychic event to occur? Perhaps it can.
The sceptic will obviously jump straight in, here, and advise us that children are merely more fantasy-prone. Their minds believe more in wonder, so they are more easily conned by a trick, or even an illusion.
This is quite true.
But simply because such factors can be identified, it does not mean the subject is closed. For instance, many children have ‘imaginary’ friends. Do we just leave the subject alone by saying, ‘oh well’?
Of course not. We attempt to discover why this is so. And the obvious question to ask is this: does the average childhood mentality allow the mind to access something that is more remote from the adult?
I’ve often pondered a central sceptic’s criticism of phenomena.
If paranormality was real, why don’t we experience it all the time? And I think an answer can come from an understanding of the human mind.
We are said to have evolved from nature. Yet what is often ignored is the possibility of psychological evolution running alongside the physical. If we were part of nature, then chances are our drives were instinctual.
This would not have required the ability to think as we do today.
However, just as we evolved physically due to technology, I think the same holds for the mind. In effect, by using technology, we were required to ‘concentrate’ on a task at hand.
This would be an ability above instinct. And in order to concentrate, we have to clear the mind of all unrelated factors. Could this have caused the creation of a distinct conscious and unconscious mind – the former to allow concentration on the world; the latter, a repository for memory not required at that moment?
Evolution is thus applied to the mind. And we can argue that instinct was retained in the unconscious, whilst increasing technology, and the information it produces, would expand the conscious and move the unconscious further away from conscious thought.
Such a mind model explains why the paranormal is not experienced as a norm. Residing in the unconscious, it is only accessed when outside information declines, allowing the unconscious to move closer to conscious thought.
But it also shows that the more outside information we deal with, the less psychic we become. Hence, education, work - adult activity in general – becomes inhibiting to paranormal phenomena – unless, of course, they are of a mystical bent, thus being able to cut off outside information through meditation, etc; or retain the sense of wonder of a child.
A 1,800-year old Roman bust that looks strikingly like Elvis Presley is set to go on the auction block in London.
The hunka hunka chiseled stone is a marble acroterion - a carved head from a sarcophagus corner - and will be part of a $2 million collection of more than 150 ancient works up for grabs Oct. 15.
Australian art collector Graham Geddes, who owns the lot, even calls the carving "Elvis."
The resemblance is so uncanny that one can almost see the country crooner's famous lip snarl and hear the twang of an acoustic guitar in the background.
The second-century bust is estimated to fetch between $50,000 and $60,000.
"Fans of the King of Rock 'n' Roll, seeing this face from the distant past, will be forgiven for thinking that their idol may well have lived a previous life in Rome," said Julian Roup, spokesman for Bonhams auction house, which is overseeing the sale.
He called it the "strangest item in the sale, certainly to modern eyes."
"A Hunka, Hunka Burning Love"
"A Hunka, Hunka Burning Stone"
"Ladies and gentleman, Norm-vis has just left the planet...."
For the past century, the FBI has been a vital player in American history, front and center in some of our country’s most high-profile national security and criminal issues. Not surprisingly, some myths and misunderstandings about the Bureau have evolved over that time, in part because of the complex and sometimes sensitive nature of our work. We’ve picked out what we think are the top ten myths down through the years, leaving aside ones that are so fanciful that they don’t deserve mention here…
In descending order, here they are:
Myth #10) The FBI has Nikola Tesla’s plans for a “death ray.”
Nikola Tesla
If you don’t know the name, Nikola Tesla was a prolific inventor and gifted physicist and engineer—most known for developing the basis for AC power—who was born in Croatia in 1856 and settled in the U.S. in 1884. When Tesla died in New York in January 1943, his papers—which were thought to include plans for a particle beam weapon, dubbed a “death ray” by the press—were temporarily seized by the Department of Justice Alien Property Custodian Office (“alien” in this case means “foreigner,” although Tesla was a U.S. citizen). Despite longstanding reports and rumors, the FBI was not involved in searching Tesla’s effects, and it never had possession of his papers or any microfilm that may have been made of those papers. Since 1943, we have told a consistent story to all who have asked. Reports to the contrary appear to be based on an initial confusion of FBI agents with other government officials—especially Alien Property Office personnel. These rumors have long been repeated in biographies and articles on Tesla without double-checking the facts as reported in our files.
Myth #9) The FBI has “X-Files.”
Well, first off, the FBI is NOT on point to investigate the supernatural as Scully and Mulder did on the X-Files TV show. Yes, we do have files on some unusual phenomena—like cattle mutilation, UFOs, and Roswell—but generally only because people reported something and we made a note of it. Some of the files do involve cases involving a potential violation of federal law under our jurisdiction that we did investigate. One example is Operation Majestic 12, the supposedly secret group of government officials tasked by President Truman to study the Roswell incident. When what appeared to be a top secret document about the formation of the Majestic 12 surfaced in the 1980s, we were asked to investigate a possible breach of classified information. The Bureau concluded that the document was a fake. So, bottom line: while FBI agents chasing aliens and other supernatural creatures may make good entertainment, it’s not part of our job description, and we don’t have a secret collection of “X-Files” squirreled away somewhere.
Myth #8) Elliot Ness was an FBI agent.
No, actually he never was. But he did work briefly under Director J. Edgar Hoover and applied at one point to be a Bureau agent. It’s a fairly complicated story, and you can read all about it and check out our public files on Ness on this website.
"Machine Gun" Kelly
Myth #7) Machine Gun Kelly gave FBI agents their “G-Men” nickname.
It’s somewhat of a legend now that FBI agents were named “G-Men” when a scared and tired gangster named George “Machine Gun” Kelly stumbled out of his hiding place, arms held high, surrounded by lawmen, yelling “Don’t shoot, G-Men, don’t shoot.” But in reality, Kelly may have never uttered these words. A bit of editorial license on the part of the press likely crept in…and the catchphrase ended up capturing the public’s imagination. Read a story on the nickname and hear FBI Historian Dr. John Fox’s take on it.
Myth #6) The FBI prosecutes cases.
We are investigators, not prosecutors. Our job is to gather the facts and evidence and present the results to the local U.S. Attorney in the Department of Justice, who decides whether or not to bring the case to trial. Because we developed the facts, we may be asked to present or discuss our findings in court.
James Amos
Myth #5) There were no minority agents during the Hoover years.
The FBI was hardly way ahead of its time in providing equal career opportunities to all Americans, but it is not true that the FBI was unwilling to hire minorities during Hoover’s tenure…or (as one variation of the myth goes) was reluctant to hire minority agents until ordered to do so by President Kennedy in the early 1960s. The fact is, many minority special agents worked in the FBI from the early 1920s forward. An African-American agent named James Amos, for example, investigated major cases in New York from 1921 to 1953, while the Striders—an African-American father/son agent team in Los Angeles—served with distinction from the 1940s through the early 1970s. Hispanic Agent Manuel Sorola served in a number of our western offices from the 1920s through the 1940s, and Filipino-born Agent Flaviano Guerrerro served ably in the 1940s. All told, there were dozens of minority special agents on our rolls before Hoover died in 1972.
Myth #4) The Bureau routinely spies on the American people.
Absolutely not. We are governed by and carefully follow a well-defined set of laws, regulations, and guidelines—honed over a century of practical experience—that spell out how we can and should conduct our investigations. It’s always been a delicate balance between harnessing the tools at our disposal to solve crimes and prevent attacks and upholding the civil liberties of all Americans. Over the course of a century, we’ve made some mistakes, but they’ve been few and far between compared to the vast amount of work we do every day. While some have long predicted that the FBI would turn into a big-brother-like secret police force, that scenario simply hasn’t happened. After all, we live and work in our communities and cherish our country’s rights and freedoms like everyone else!
Myth #3) The FBI doesn’t cooperate with other agencies.
You’d think from the news media and the entertainment industry that we do everything from routinely stiffing our partners…to hogging all the credit in big cases…to simply not getting along with our colleagues. If you worked for the Bureau—and saw the close relationships and even friendships that exist between us and our partners across the country and around the globe—you’d realize that nothing could be further from the truth. Yes, there is an occasional conflict or issue (we are all humans, after all), but relationships have been exceptional over the years and improved even more since 9/11. Read some recent stories about our partnerships.
Myth #2) The FBI has files on every American.
Some people think that the FBI has a vast range of files on all the bad things they’ve ever done. Not true! We keep investigative files on serious violations of federal law and major threats to our national security. We won’t have a “file” on you unless you’re a spy or terrorist or criminal or are suspected of being one (and we use the word “file” loosely, as we generally organize materials by cases, not individuals). Some people do appear in our files if they’ve provided us with information or were a victim in a case…or because an authorized third party requested information about them—but this kind of information is held under strict laws and for a legally specified period of time. For more details, see our Freedom of Information Act file fact sheet.
Myth #1) The FBI can’t or shouldn’t do intelligence.
It’s an old saw that has been oft-repeated since 9/11. But a century of history says differently. From our earliest moments we’ve used intelligence (under the laws and guidelines of the day) to get our arms around major threats and disable them—from gangsters to mobsters, from yesterday’s Soviet spies to today’s terrorists. The fact is, the FBI has always been both an intelligence agency and a law enforcement/national security organization…and like our police and intelligence community counterparts, gathering and sharing and acting on intelligence is part of what we do on a daily basis. We’ve certainly gotten better at it since 9/11, and you can bet that we’ll keep improving in the days ahead. Read our new centennial history book and our recent stories for some telling examples.
Could a kitsch print bring fiery disaster to its owners?
By David Clarke
July 2008
By Etienne Gilfillan, with thanks to Alex Howe
FT234
Ancient curses invoked by tomb-raiders have remained a popular theme in fiction and folklore for centuries. However, belief in cursed objects is not confined to legends surrounding Egyptian relics, or to the stories of MR James. In the modern world, there are many who believe they have personally experienced uncanny phenomena as a result of contact with a cursed artefact. Portraits or human likenesses, whether carved or painted, are frequently the focus of this type of legend. In recent years, stories of bad luck and misfortune have grown up around certain artefacts that are presumed to have had ritual or magical functions, some of which are apparently quite recent in origin. [1]
In folk belief, the notion that a picture falling from a wall is an omen of impending death – particularly if it is a portrait – remains one of the most widespread modern superstitions. Similarly, eerie portraits whose eyes “seem to follow you wherever you go” have become a staple scene-setter in numerous horror flicks. Folklore is not static, but active and dynamic – especially when it invokes latent beliefs rooted in older superstitions. And so we find that fear and anxiety continue to surround an eerie portrait that has, quite literally, blazed a trail across the British Isles and around the world in the space of two decades.
THE COMING OF THE CURSE
‘The Curse of the Crying Boy’ appeared out of the blue one morning in 1985. The Sun, at that time the most popular tabloid newspaper in the English-speaking world, published on page 13 of its 4 September edition a story headlined: “Blazing Curse of the Crying Boy”. It told how Ron and May Hall blamed a cheap painting of a toddler with tears rolling down his face for a fire which gutted their terraced council home in Rotherham, a mining town in South Yorkshire. The blaze broke out in a chip-pan in the kitchen of their home of 27 years and spread rapidly. But although the downstairs rooms of the house were badly damaged, the framed print of the Crying Boy escaped unscathed. It continued to hang there, surrounded by a scene of devastation.
Normally a chip-pan blaze would merit nothing more than a couple of paragraphs in a local newspaper. What transformed this story into a page lead in Britain’s leading tabloid was the intervention of Ron Hall’s brother Peter, a firefighter based in Rotherham. A colleague of Peter’s, station officer Alan Wilkinson, said he knew of numerous other cases where prints of the ‘Crying Boy’ had turned up, undamaged, in the ruins of homes destroyed by fires.
Accompanying the article was a photograph of a ‘Crying Boy’, with the caption: “Tears for fears… the portrait that firemen claim is cursed.” The firemen concerned had not actually used the word ‘cursed’, but nevertheless the newspaper report had helped to give the story a certain level of credibility. The paper added that an estimated 50,000 ‘Crying Boy’ prints, signed ‘G Bragolin’, had been sold in branches of British department stores, particularly in the working class areas of northern England. Examples could be seen hanging in the front rooms of family homes across the nation, and one story even suggested a quarter of a million had been sold.
THE TERROR OF THE TABLOIDS
The mass media play a crucial role in creating and spreading modern folklore. Stories like the ‘Crying Boy’ behave much like a virus when they take root in the popular imagination. Furthermore, tabloid news values and the priority given to providing a ‘good story’ frequently override accuracy and scepticism, particularly where uncanny or supernatural events are concerned.
Peter Chippindale and Chris Horrie in their warts-and-all history of The Sun, entitled Stick it up your Punter! (1990), credit legendary editor Kelvin MacKenzie as the father of the ‘Crying Boy’ curse. During the mid-80s, The Sun was engaged in a battle for readers with its Fleet Street rival the Daily Mirror. It was also responsible for publishing a series of horrific and bizarre stories with tenuous origins, of which some – such as ‘Freddie Starr Ate My Hamster’ – earned a permanent place in pop culture. The Crying Boy arrived at a time when MacKenzie was on the look-out for what journalists call ‘a great splash’, which for him meant an exclusive story that none of his rivals would dream of publishing first. MacKenzie’s genius was to spot the potential ‘splash’ buried in routine copy from a regional news agency. He announced confidently to his staff: “This one’s got legs,” his phrase for a story that would ‘run and run’.
On 5 September 1985, The Sun ran its follow-up, reporting that scores of “horrified readers claiming to be victims of the ‘Curse of the Crying Boy’ had flooded [the paper] with calls… they all feared they were jinxed by having the print of a tot with tears pouring down his face in their homes.” Readers were left with an overwhelming impression of a supernatural link, reinforced by the use of words like ‘curse’, ‘jinx’, ‘feared’ and ‘horrified’.
Typical of these additional stories was that told by Dora Mann, from Mitcham, Surrey, who claimed her house was gutted just six months after she bought a print of the painting. “All my paintings were destroyed – except the one of the Crying Boy,” she claimed. Sandra Kaske, of Kilburn, North Yorkshire, said that she, her sister-in-law, and a friend had all suffered disastrous fires since they acquired copies. Another family, from Nottingham, blamed the print for a blaze which had left them homeless. Brian Parks, whose wife and three children needed treatment for smoke inhalation, said he had destroyed his copy after returning from hospital to find it hanging – undamaged, of course – on the blackened wall of his living room.
As the stories accumulated, new details emerged that encouraged the idea that possession of a print put owners at risk of fire or serious injury. One woman from London claimed she had seen her print “swing from side to side” on the wall, while another from Paignton said her 11-year-old son had “caught his private parts on a hook” after she bought the picture. Mrs Rose Farrington of Preston, in a letter published by The Sun, wrote: “Since I bought it in 1959, my three sons and my husband have all died. I’ve often wondered if it had a curse.”
Another reader reported an attempt to destroy two of the prints by fire – only to find, to her horror, that they would not burn. Her claim was tested by security guard Paul Collier, who tossed one of his two prints onto a bonfire. Despite being left in the flames for an hour, it was not even scorched. “It was frightening – the fire wouldn’t even touch it,” he told The Sun. “I really believe it is jinxed. We feel doubly at risk with two of these in the house [and] we are determined to get rid of them.”
FIREMEN AND FOLKLORE
Collier’s story recalls the comments of the firemen who, in the aftermath of house fires in Rotherham, mentioned prints that had inexplicably escaped damage. The real mystery, from their perspective, was how the pictures had survived fires that were in themselves perfectly explicable. In most cases, straightforward explanations of carelessly discarded cigarettes, overheated chip-pans and faulty electric heaters had been found during the subsequent fire service investigation.
Rotherham fire station officer Alan Wilkinson who, it emerged, had personally logged 50 ‘Crying Boy’ fires dating back to 1973, dismissed any connection with the supernatural, having satisfied himself that most of them had been caused by human carelessness. But despite his pragmatism, he could not explain how the prints had survived infernos which generated heat sufficient to strip plaster from walls. His wife had her own theory: “I always say it’s the tears that put the fire out.” The Sun was not interested in finding a rational explanation. It ignored Wilkinson’s comments and claimed “fire chiefs have admitted they have no logical explanation for a number of recent incidents.”
Soon afterwards, it emerged that the ‘cursed’ prints were not all copies of the same painting, nor were all the prints by the same artist. The picture that survived the fire in Rotherham that initially triggered the scare was signed by the artist G Bragolin. The Sun claimed the original was “by an Italian artist”. In fact, Giovanni Bragolin was a pseudonym adopted by Spanish painter Bruno Amadio, who is also known as ‘Franchot Seville’. Attempts to trace him floundered as art historians said he did not appear to have “a coherent biography”. To make matters more confusing, further ‘Crying Boys’ that had featured in the fires, part of a series of studies called ‘Childhood’, were painted by Scottish artist Anna Zinkeisen, who died in 1976. The only common denominator was that all were examples of cheap, mass-produced prints sold in great numbers by English department stores during the 1960s and 70s. The geographical cluster simply reflected their popularity among working class communities in that part of the North.
Despite being dismissed by art critics as kitsch, ‘the Crying Boy’ remained an extremely popular print, particularly for female owners. Examples existed in at least five different variations. At least two of these had companion studies of ‘Crying Girls’ – some people owned copies of both – and others in the series included pictures of girls and boys holding flowers. In defiance of the scare headlines, some owners had developed such an emotional bond with the prints that they refused to dispose of them. “I’ve never cared for the picture myself because of its sadness,” the partner of one proud owner was quoted as saying. He then went on to pose two questions which many anxious Sun readers wanted answered: “Why would you want a picture of a child crying? Why was the child crying?”
Naturally, journalists turned to experts in the field of folklore and the occult for an explanation. When one approached Folklore Society member Georgina Boyes, the interview floundered when she refused to provide a suitably Satanic explanation. Consequently, the journalist concerned “went off in search of ‘a witch’ or ‘somebody into the occult’ who might make a better headline”. Then Roy Vickery, secretary of the Folklore Society, was quoted to the effect that the original artist might have mistreated the child model in some way, adding: “All these fires could be the child’s curse, his way of getting revenge.” [2]
A print of Zenkeisen’s Crying Boy became the centre of the next ‘mysterious fire’ reported by The Sun. This destroyed a council house in Rotherham, which had emerged not only as the geographical location of many of the reported fires, but also as the source of the whole phenomenon. The same story quoted a Fire Brigade spokesman reassuring owners of the print that although there was no “cause for alarm… these incidents are becoming more frequent”.
The widespread anxiety this story generated led South Yorkshire Fire Service to issue a statement which aimed to debunk the connection between the fires and the prints. It pointed out that the most recent blaze was started by an electric fire left too close to a bed. Chief Divisional Officer Mick Riley said a large number of the prints had been sold and “any connection with the fires is purely coincidental… fires are not started by pictures or coincidence, but by careless acts and omissions.” Riley then revealed the service’s own explanation: “The reason why this picture has not always been destroyed in the fire is because it is printed on high density hardboard, which is very difficult to ignite.”
THE BONFIRE OF THE BOYS
The Fire Service’s statement failed to have much effect in dousing the flames that The Sun was happily stoking. Soon afterwards, news came of a Crying Boy that had survived a fire which gutted an Italian restaurant in Great Yarmouth. “Enough is enough, folks,” MacKenzie told his readers: “If you are worried about a Crying Boy picture hanging in YOUR home, send it to us immediately. We will destroy it for you – and that should see the back of any curse.”
According to Chippindale and Horrie’s account, “worried readers rang in to ask if they should get rid of their copy to stop their houses burning down. ‘Sure,’ MacKenzie replied. ‘Send them in – we’ll do the job for you.’ Bouverie Street was swamped… the Crying Boys were soon stacked 12ft (3.7m) high in the newsroom, spilling out of cupboards, and entirely filling a little-used interview room.”
Until then, MacKenzie’s staff couldn’t work out how much credence their boss attached to the story. When the assistant editor took down a picture of Churchill, which had been hanging on the newsroom wall since the Falklands War, and replaced it with a Crying Boy, the mystery was resolved: “MacKenzie, bustling into the newsroom at his normal half-run, stopped dead in his tracks and went white. ‘Take that down,’ he snapped. ‘I don’t like it. It’s bad luck.’”
Fireman Alan Wilkinson reacted in a similar fashion when his colleagues presented him with a framed Crying Boy on his retirement from the brigade. Like Kelvin MacKenzie, he denied being superstitious, but nevertheless immediately returned the painting, saying: “No thanks, you can keep it.” Similarly, Chief Officer Mick Riley, who was responsible for the statement debunking the ‘curse’, wouldn’t accept a copy of the print as a gift, saying his wife “wouldn’t like it; it wouldn’t fit in”. Interviewed by his local paper, Wilkinson admitted that he had been presented with another Crying Boy print by a worried woman who turned up at his home one night. He took it to work “as a joke” and mounted it on the office wall of the fire station. Within days, he was ordered by his superiors to take it down. Heaping irony upon comedy, the story continued: “The same day, an oven in the upstairs kitchen overheated and the firemen’s dinners were burned.”
Kelvin MacKenzie faced a similar dilemma. At the end of his six week ‘Crying Boy’ campaign, the editor of The Sun had to dream up a suitable way of disposing of 2,500 copies of the print that readers had sent in. His initial plan to burn them on the roof of the paper’s Bouverie Street offices was vetoed by both the London and Thames Valley fire brigades. Both refused to co-operate and denounced the whole campaign “as a cheap publicity stunt”. The reasons for their reluctance were becoming clear. It emerged that nationally the fire service had been the focus of hundreds of calls and visits by anxious owners who believed the prints were cursed, or that they were made of a dangerous flammable material.
Eventually, reporter Paul Hooper, with photographers and Page Three girls in tow, left the paper’s Bouverie Street HQ with two van-loads of prints ready for burning on a makeshift pyre near Reading. The Sun splashed the story – appropriately on Hallowe’en – under the headline: “Sun nails curse of the weeping boy for good.” A photograph depicted a scantily-clad “red hot Page Three beauty Sandra Jane Moore” feeding the bonfire as bemused firemen looked on.
The Hallowe’en burning was widely believed to have exorcised the ‘curse of the Crying Boy’, and the number of tabloid stories began to decrease. But in March the following year, a columnist in the Western Morning News pointed out that the industrial turmoil faced by News International (owners of The Sun), involving strikes and violent picketing at their new Fort Wapping production plant, began shortly after the paper’s bonfire. Poking fun at its Fleet Street rival, the paper implied the jinx so feared by Kelvin MacKenzie had finally been visited upon its creator.
FROM TABLOID TALE TO URBAN LEGEND
As tabloid interest waned, ‘Crying Boy’ stories began to morph into a modern legend. New versions appeared, including one which suggested those who were kind to the prints were rewarded with good luck. Another was the idea that placing a picture of the ‘Crying Girl’ next to that of the Crying Boy would bring good luck. What the story lacked was a satisfying narrative explaining how the print came to be an ignition source. Soon, that story would be supplied and the arrival of the Internet would provide the legend with a new lease of life independent of the print media which originally set it running.
One web-source claims that during the 1990s Crying Boy fires began to be reported for the first time from other parts of the world. It also reflects how the basic ‘cursed painting’ motif was being moulded by professional story-tellers and paranormal investigators for a new audience: “A medium claims the spirit of the boy is trapped in the painting and it starts fires in an attempt to burn the painting and free itself. Others claim the painting is haunted or attracts poltergeist activity. Stories of the artist’s and subject’s misfortune had attached themselves to the painting.” [3]
The notion that the ‘Crying Boy’ had been badly treated by the artist was gaining popularity. Few cared that there were several different paintings and artists, or that this idea began life as a throwaway remark offered to The Sun a decade earlier. In 2000, Tom Slemen revived the story in book form as part of his Haunted Liverpool series of largely unreferenced books. Like many others in this genre, the stories they contain are presented in an entertaining, narrative style which appeals to a mass readership. In his entry on ‘The Crying Boy Jinx’ Slemen states as fact that the “head of the Yorkshire Fire Brigade” had told newspapers that the Crying Boy print had turned up in the rubble of houses that had “mysteriously burnt to the ground”. According to Slemen, when journalists asked him if he believed the picture was evil, “the fire chief refused to comment.”
This factually incorrect account introduced the narrative which followed, finally explaining why the picture was evil. The story was uncovered by “a well respected researcher into occult matters, a retired schoolmaster from Devon named George Mallory” in 1995. Mallory traced the artist who had painted the original, “an old Spanish portrait artist named Franchot Seville, who lives in Madrid”. Seville, as astute readers will recognise, was one of the pseudonyms used by Bruno Amadio, otherwise known as ‘G Bragolin’ whose signature appeared on some of the prints. So far so good.
According to Slemen, Seville/Amadio/Bragolin told Mallory the subject of the paintings was a little street urchin he had found wandering around Madrid in 1969. He never spoke, and had a very sorrowful look in his eyes. Seville painted the boy, and a Catholic priest identified him as Don Bonillo, a child who had run away after seeing his parents die in a blaze. “The priest told the artist to have nothing to do with the runaway, because wherever he settled, fires of unknown origin would mysteriously break out; the villagers called him ‘Diablo’ because of this.” Nevertheless, the painter ignored the priest’s advice and adopted the boy. His portraits sold well but one day his studio was destroyed by fire and the artist was ruined. He accused the little boy of arson and Bonillo ran off – naturally in tears – and was never seen again. The story continued: “From all over Europe came the reports of the unlucky Crying Boy paintings causing blazes. Seville was also regarded as a jinx, and no one commissioned him to paint, or would even look at his paintings. In 1976, a car exploded into a fireball on the outskirts of Barcelona after crashing into a wall. The victim was charred beyond recognition, but part of the victim’s driving licence in the glove compartment was only partly burned. The name on the licence was one 19-year-old Don Bonillo.” [4]
Could this be the same orphan the villagers knew as ‘Diablo’? In Wild Talents, Charles Fort referred to such people as fire genii – “[B]y genius I mean one who can’t avoid knowledge of fire, because he can’t avoid setting things afire.” While the existence of some fire starters, such as the telekinetic medium Nina Kulagina, is well documented, this was not the case with Don Bonillo. The source of Slemen’s story is unknown and the mysterious ‘George Mallory’ proves to be as untraceable as ‘Franchot Seville’ or ‘Giovanni Bragolin’.
The appearance of the Don Bonillo story completes the metamorphosis of the ‘curse of the Crying Boy’ from tabloid obscurity to a fully fledged urban legend accessible to anyone via the world wide web. The lack of any factual basis for the Bonillo legend has done nothing to erode its popularity.
THE CRYING BOY RETURNS
In 2002, I was invited to comment on the story for an episode of the reality TV series, Scream Team. Inspired by the success of Most Haunted, this plucked six young people from hundreds of hopefuls, then sent them out in a large silver bus to travel around the British Isles investigating legends, curses and ‘haunted places’. The premise was to encourage the sceptics and believers in the group to resolve each puzzle by drawing upon the expertise of assorted ‘experts’.
For the ‘Curse of the Crying Boy’, the team was dispatched to Wigan, Lancashire, where the owners of a transport café, Eddie and Marian Brockley, had recently suffered a disastrous fire. The local media had linked this to what they claimed was “one of the last surviving copies” of the print. It had survived the café blaze and remained hanging on the blackened wall, untouched by smoke or fire. Eddie, it emerged, was a typically bluff northern pragmatist. He believed the link was pure coincidence, but his wife was less certain. She had heard of similar fires associated with the Crying Boy and refused to allow the offending print – a Zinkeisen – back into the café.
Although the couple were largely ambivalent about the idea of a curse, they played along with the TV show’s plan. Then along came the sceptical journalist who did his best to place the story in its true context. My contribution, provided over a hearty full English breakfast, summarised the various stories surrounding the print that were circulating on the Internet, including Tom Slemen’s account of the infant fire-starter. There was no factual evidence, I explained, that ‘Don Bonillo’ actually existed; rather the story itself was a classic example of an urban legend created by a newspaper, and spread by the Internet.
Inevitably, the next expert introduced to the team was a trance medium whose task was to ‘tune in’ to the painting about whose history, viewers were assured, she knew absolutely nothing. Nevertheless, within minutes she was able to divine not only a direct link between the painting and an artist who lived in Spain, but also a sensation of burning and visions of a car crash. She was even able to name the little boy involved in the crash as “Din, Don or Dan”. This was enough to convince the more superstitious members of the team that there really was something in ‘the curse’.
The programme ended with the team agreeing to destroy the Brockleys’ copy of the Crying Boy outside the café in order to disperse any surviving evil influence it might retain. The print was doused with petrol and attempts were made to ignite it. Three attempts were made before the print finally succumbed to the flames, to the great relief of the Scream Team.
The idea of the curse has so much latent energy that my own interest in the legend has led me to become the unwitting agent of its resurrection. Early last year, the Sheffield Star carried a leading article on my research into the story of the cursed painting. Soon afterwards, the paper – and my inbox – was inundated with emails and letters from owners of surviving prints, many of whom wanted me to remove them from their property. One reader, who had just cleared his mother’s house, in which a Crying Boy was discovered, wrote to say: “My wife will not have the picture in the house. I have had to hang it in the garden shed with fire extinguishers at the ready!”
Then, in July, The Star announced that the curse had returned. A fire had gutted a house in Rotherham – the very town where the legend began. The owner, Stan Jones, claimed this was the latest of three separate house fires, each of which had the picture hanging on a wall. He bought his copy for £2 at a market a decade ago and had become fond of it, but now he was naturally having second thoughts. On the third occasion, Stan and partner Michelle Houghton, who was heavily pregnant, narrowly escaped death after falling asleep after leaving their supper cooking on a grill. Stan raised the alarm and firefighters were able to reach his unconscious partner just in time to revive her.
Meanwhile, discussion boards across the world continue to debate the source of the ‘curse’ which animates the portraits. Prints occasionally turn up for sale on eBay, while a Dutch ‘Crying Boy Fan Club’ website briefly appeared, then disappeared, in 2006. A Google search throws up an intriguing posting from Rodrigo Faria from Brazil, which attributes the painting to the Spanish artist Giovanni Bragolin and adds that “feelings of terror and illness are always associated with his paintings.” Faria says the prints were popular in Brazil during the 1980s. “I’ve seen all the 28 and I can assure you all of those paintings are representing DEAD children,” he writes. “[They] are filled with [subliminal] messages.” [5]
Another Brazilian adds that Bragolin appeared on a popular Brazilian TV channel where he admitted making “an evil pact with the Devil” to sell his paintings. His advice was: “PLEASE if you have one of these paintings, throw it away right now.”
Like other enduring modern legends, the curse of the Crying Boy is alive and well… and looking for new victims.
NOTES
1 See FT76:19 ‘Stealing the Hopi soul’. For examples of curses associated with carved Celtic stone heads and ‘screaming skulls’ see Fortean Studies 3 (1996), 126–158. 2 Georgina Boyes: Perspectives on Contemporary Legend vol 4, Sheffield, 1989. 3 www.messybeast.com/dragonqueen/cryingboy.htm. 4 Slemen’s story, from Haunted Liverpool 4 (2000), is reproduced online at http://board.dogbomb.co.uk/archive/index.php/t-21079.html. 5 For this posting and others continuing the discussion see: www.quasimondo.com/archives/000104.php.
FURTHER READING
The Sun, Daily Mirror, The Star, Guardian, Rotherham Star, Rotherham Advertiser, Sept 1985 – Mar 1986. Sheffield Star, 21 Feb, 5+15 Mar, 7 July 2007.
Peter Chippindale and Chris Horrie: Stick It Up Your Punter!: The uncut story of the Sun newspaper, Simon & Schuster, 1990.
FT46:22; 47:36 (1986); 69:17 (1993).
‘Curse of the Crying Boy’, The Scream Team, (Living TV, 15 Oct 2002).
Tom Slemen: Haunted Liverpool 4, Bluecoat Press, 2000.
Strange Tales from the London Underground
by Nick Redfern
FATE Magazine :: July/August 2008
England’s famous London Underground railway system serves Greater London and parts of the counties of Essex, Hertfordshire, and Buckinghamshire. It’s also the world’s oldest underground network of its type: services began on January 10, 1863, on the Metropolitan Railway. Today, the London Underground has no fewer than 268 stations and approximately 250 miles of track, making it the longest sub-surface railway in the world. In 2007, over one billion passengers were recorded as having used the Underground since its creation.
According to some, however, the London Underground is home to much more than just tracks, trains and commuters. Deep within the maze of dark old tunnels, distinctly strange and diabolical things are said to lurk…
Tales of ghosts and monsters roaming the sinister depths of the London Underground have circulated for years. Some of these legends were incorporated into a 1972 film titled Death Line, starring horror-movie stalwarts Christopher Lee and Donald Pleasance. The movie tells the story of a cave-in at a station being built at Russell Square in the 1890s. When the accident occurs, several Irish laborers (both men and women) are presumed killed. The construction company subsequently goes bankrupt and cannot afford to dig out the bodies. As might be expected, the laborers don’t actually die, but instead they survive and reproduce. Eighty years later, their devolved offspring live deep within the underground tunnels, replenishing their food supply from the platform at Russell Square.
Michael Goss has studied legends of such devolved humans roaming the tunnels of London, and is skeptical that they have any basis in fact: “These troglodytes exist in that nebulous quasi-material form that is part-rumor, part-legend…the subterraneans seem a deceptively playful kind of London legend, the sort which narrators repeat with disparaging amusement, but which cries out to be believed… They probably eat the sandwiches and burgers we discard and it is ‘widely believed’ that they also eat tramps, drunks and other isolated late-night commuters. Now you have another good reason for avoiding the Northern Line after rush hour.”
But not everyone is quite so certain that the reports are the stuff of myth. Jon Downes is the director of the British-based Center for Fortean Zoology, dedicated to the investigation of mysterious animals such as Bigfoot, the Abominable Snowman, and the Loch Ness Monster. Between 1982 and 1985, Downes worked as a nurse at the Royal Counties Hospital, near the English city of Exeter. While employed there, Downes heard stories of how at some point in the 1940s, disturbing things occurred that had a direct link with the tales of strange goings-on beneath the London Underground.
According to a doctor Downes spoke with, the events began with a series of late-night phone calls to the hospital from the Lord Lieutenant of the County, from the then-Earl of Devon, and from elements of the Devonshire Police Force, all secretly informing senior personnel at the hospital that a highly dangerous patient was to be brought to the hospital within the hour, and would require specialist care in an isolated, locked room.
Around 45 minutes later, a police vehicle arrived at the hospital, reversing with a screech up to a side door. Several police officers tumbled out of the back door of the vehicle while trying to hang onto what the doctor said resembled a dirt-encrusted and hair-covered caveman.
The creature was reportedly around six feet in height and completely naked. It had a heavy brow, wide nose, and very muscular arms and legs. For three days, the man-beast was securely held at the hospital, Downes was advised, before it was transferred to an unspecified location far below the London Underground. Its fate remains unknown.
In some respects, this story eerily parallels that of a man named Colin Campbell, who maintains that while traveling home on the Underground in the mid-1960s, he had a nightmarish encounter with a very similar beast.
It was late at night and Campbell was the only person to get off the train at its scheduled stop on the Northern Line. As the train pulled away from the deserted platform and Campbell made his way towards the exit, he claims to have heard a “funny growl coming from behind me.”
Campbell quickly spun around and was shocked to see a large, hairy, ape-like animal lumbering across the platform towards the track. Most bizarre of all, the beast was seemingly spectral in nature, rather than flesh and blood.
Campbell says “it was like it was embedded in the concrete… About three-quarters of its body was above the platform, but its legs were in it, and [it was] walking right through it, like a ghost.”
As Campbell stood in awe, too shocked to move, the beast continued to walk through the concrete, right onto the tracks, and then straight through the wall directly behind the tunnel.
Dr. Vallée was born in Pontoise, France. He received his Bachelor of Science degree in mathematics from the Sorbonne, followed by his Master of Science in astrophysics from the University of Lille. He began his professional life as an astronomer at the Paris Observatory in 1961. He was awarded the Jules Verne Prize for his first science-fiction novel in French.
He came to the United States in 1962 and began working in astronomy at the University of Texas at Austin, at whose MacDonald Observatory he worked on NASA's first project making a detailed informational map of Mars.
In 1967, Vallée received a Ph.D. in computer science from Northwestern University. While at the Institute for the Future from 1972 to 1976 he was a principal investigator on the large NSF project for computer networking, which developed the first conferencing system, Planning Network (PLANET)[1], on the ARPANET many years before the Internet was formed.
Dr. Vallée has authored four books on high technology, including Computer Message Systems, Electronic Meetings, The Network Revolution, and The Heart of the Internet.
His research has taken him to countries all over the world. Considered one of the leading experts in UFO phenomena, Vallée has written several well-respected[citation needed] scientific books on the subject.
His current endeavours include his involvement in SBV Ventures [2] a Venture Capital Fund as a General Partner. He and the other General Partner, Graham Burnette [3] on SBV are also in the early stages of launching a second Venture Capital fund.
Venture capital activity
A venture capitalist since 1982, Vallée has co-founded four venture capital funds, notably the Euro-America family of venture partnerships, specializing in high technology. As a general partner in these funds, he has spearheaded early-stage investments in over 60 startup companies, 18 of which have become traded on the public markets, either through IPOs or acquisitions. They include Accuray Systems (Nasdaq:ARAY) a medical device company developing surgical robots; Sangstat Medical (acquired by Genzyme) specialized in organ transplantation therapy; Mercury Interactive (acquired in 2006 by HP) a software testing company; Electronics for Imaging (Nasdaq:EFII); Harmonic Lightwaves (Nasdaq:HLIT); Class Data Systems (acquired by Cisco); Ubique (acquired by AOL); Mobilian (acquired by INTEL); and Nanogram Devices (acquired by Greatbatch) a nanotechnology battery manufacturer.
UFO research and academic work
In May 1955, Vallée first sighted an unidentified flying object over his Pontoise home. Six years later in 1961, while working on the staff of the French Space Committee, Vallée witnessed the destruction of the tracking tapes of unknown objects orbiting the earth. These events contributed to Vallée's long-standing interest in the UFO phenomenon.
In the mid-1960s, like many other UFO researchers, Vallée initially attempted to validate the popular Extraterrestrial Hypothesis (or ETH). Leading UFO researcher Jerome Clark[4] argues that Vallée's first two UFO books were among the most scientifically sophisticated defenses of the ETH ever mounted.
However, by 1969, Vallée's conclusions had changed, and he publicly stated that the ETH was too narrow and ignored too much data. Vallée began exploring the commonalities between UFOs, cults, religious movements, angels, ghosts, cryptid sightings, and psychic phenomena. These links were first detailed in Vallee's third UFO book, Passport to Magonia: From Folklore to Flying Saucers.
As an alternative to the extraterrestrial visitation hypothesis, Vallée has suggested a multidimensional visitation hypothesis. This hypothesis represents an extension of the ETH where the alleged extraterrestrials could be potentially from anywhere. The entities could be multidimensional beyond space-time, and thus could coexist with humans, yet remain undetected.
Vallée's opposition to the popular ETH hypothesis was not well received by mainstream U.S. ufologists, hence he was viewed as something of an outcast. Indeed, Vallée refers to himself as a "heretic among heretics".
Vallée's opposition to the ETH theory is summarised in his paper, "Five Arguments Against the Extraterrestrial Origin of Unidentified Flying Objects," Journal of Scientific Exploration, 1990:
"Scientific opinion has generally followed public opinion in the belief that unidentified flying objects either do not exist (the "natural phenomena hypothesis") or, if they do, must represent evidence of a visitation by some advanced race of space travellers (the extraterrestrial hypothesis or "ETH"). It is the view of the author that research on UFOs need not be restricted to these two alternatives. On the contrary, the accumulated data base exhibits several patterns tending to indicate that UFOs are real, represent a previously unrecognized phenomenon, and that the facts do not support the common concept of "space visitors." Five specific arguments articulated here contradict the ETH:
unexplained close encounters are far more numerous than required for any physical survey of the earth;
the humanoid body structure of the alleged "aliens" is not likely to have originated on another planet and is not biologically adapted to space travel;
the reported behavior in thousands of abduction reports contradicts the hypothesis of genetic or scientific experimentation on humans by an advanced race;
the extension of the phenomenon throughout recorded human history demonstrates that UFOs are not a contemporary phenomenon; and
the apparent ability of UFOs to manipulate space and time suggests radically different and richer alternatives."
Vallee's interpretation of the UFO evidence
Vallée proposes that there is a genuine UFO phenomenon, partly associated with a form of non-human consciousness that manipulates space and time. The phenomenon has been active throughout human history, and seems to masquerade in various forms to different cultures. In his opinion, the intelligence behind the phenomenon attempts social manipulation by using deception on the humans with whom they interact.
Vallée also proposes that a secondary aspect of the UFO phenomenon involves human manipulation by humans. Witnesses of UFO phenomena undergo a manipulative and staged spectacle, meant to alter their belief system, and eventually, influence human society by suggesting alien intervention from outer space. The ultimate motivation for this deception is probably a projected major change of human society, the breaking down of old belief systems and the implementation of new ones. Vallée cannot say who or what is behind this scheme, only that the evidence, if carefully analysed, suggests an underlying plan for the deception of mankind by means of psychotronic technology. It is highly unlikely that governments actually conceal alien evidence, as the popular myth suggests. Rather, it is much more likely that that is exactly what the manipulators want us to believe. Vallée feels the entire subject of UFO's is mystified by charlatans and science fiction. He advocates a stronger and more serious involvement of science in the UFO research and debate. Only this can reveal the true nature of the UFO phenomenon.
Vallée's view of UFO investigative efforts
Vallée is often highly critical of UFO investigators overall, both believers and skeptics, asserting that what often passes for an acceptable level of investigation in a UFO context would be considered sloppy and seriously inadequate investigation in other fields. He has written pointing out logical flaws and methodological flaws common in such research. Unlike many critics of UFO investigative efforts, his critiques are not condescending and dismissive and he indicates that he is simply interested in good science.
Concerns regarding the UFO subculture
Vallée's Messengers of Deception is recognised as an important sociological work in its own right, since the subject of this 1975 study is UFO contactees and cults as opposed to the UFO phenomenon itself. In the course of the study Vallée expresses concern about the often authoritarian political and religious views expressed by many contactees. Amongst the groups profiled are the nascent Raelian movement and an early form of the Heaven's Gate suicide cult, against which Vallée prophetically warned potential converts, "you only risk your life!" He also points out that Scientology is another example of a UFO cult which has organized itself as a religious organization. He draws parallels to UFO cults and contactee's messages and motivations.
Mac Tonnies has been thinking about aliens - the Grays. What if they represent a sort of tangible psychosomatic feedback from our own distant future?
###
Let’s talk about aliens. The Grays. You know the ones: black, lidless eyes, atrophied mouths, vestigial nostrils. Their bodies, if human, would be considered emaciated. Anonymous pathologists, notably sources known only to the late UFO investigator Len Stringfield, indicated disproportionately long arms with clawed fingers. By almost all accounts, the Grays are described as genderless.
I’ve never know precisely what to make of these quasi-mythical beings. They are many things: harbingers of a new mythology in keeping with the paranoid climate of the 1980s, when the word “Roswell” began registering on our collective cultural radar. In 1987, Whitley Strieber’s Communion epitomized the image of a prototypical Gray on bookshelves around the world. (Some readers found the image intolerably spooky; others noted an alluring quality to the alleged portrait, a sentiment that kindled hope in the faded promises of the saucer contactees.)
The Grays are also metaphor. Their very appearance is in keeping with the visual vocabulary painfully accumulated in the decades after World War II. With their skeletal physique and bulbous heads, the Grays recall famine victims or the walking dead left in the wake of Nazi Germany. If there’s such a thing as Jung’s collective unconscious, it would appear to have a sardonic sense of humor. Their arrival is less communion than confrontation, shocking in both novelty and complexity .
The mythos offers easy, literalist answers to assuage and appall us in equal measure. We’re told they come from a dying world – perhaps circling Zeta Reticuli – in search of genetic material. They’re desperate, fallible, yet possessed of (and perhaps by) a technology that abides by Clarke’s famous maxim. And yet apparently, and seemingly against the odds, they make mistakes. 1947 wasn’t a good year, if the conventional wisdom regarding Roswell is to be implicitly trusted. Having crashed one of their reconnaissance vehicles in the American Southwest, the Grays set about revealing themselves, albeit reluctantly.
Incredibly, they requested favors and made deals with the United States government in their effort to regain autonomy. Later, having duped us with technological cast-offs, they promptly went about insinuating themselves into our bodies and homes, extracting tissue with vampirish zeal. (Like vampires, the Grays are predominantly nocturnal, and their agenda seems burdened with inordinately erotic overtones. It’s likely no accident that Strieber’s cult classic novel, The Hunger, involved the plight of blood-sucking immortals.)
Witnesses claim the Grays act like members of a hive, each unit as unhesitating and pragmatic as a wasp or ant as they busy themselves around incomprehensible devices or tend to incubators, where supposed human-alien hybrids can be seen drifting in vials of fluid. The unsolicited tours they offer abductees fascinate me, regardless of whether they actually occur as described.Whether they realize it or not, the Grays are intently showing us our worst dystopian nightmares; their future is a world of shuffling monotony and gynecological wizardry worthy of Huxley.
Whoever they once were and wherever they’re from, the Grays have suffered a cataclysmic schism between body and mind. Like the replicants of Blade Runner, they’re largely immune to empathy and look to us with a mixture of fascination and sadness. They’ve lost something pivotal and will stop at nothing to get it back — if, indeed, they remember what they’ve misplaced.
We boldly speculate about the potential of mind-uploading and the promise of designer bodies. We plunge forever deeper in to the resplendent weave of our own genome, shuffling molecules with Frankensteinian resolve. The Grays might be projections from our own future: imaginal constructs so heavily freighted with our own unresolved anxieties that they’ve become effectively palpable.
In our rush to debunk, we ignore their warning at our own peril.
###
Mac Tonnies is an author/essayist whose futuristic fiction and speculative essays have appeared in many print and online publications. He’s the author of Illumined Black, a collection of science fiction short-stories, and After the Martian Apocalypse (Paraview Pocket Books, 2004). Mac maintains Posthuman Blues, a widely read blog devoted to emerging technologies and paranormal phenomena, and is a member of the Society for Planetary SETI Research. He lives in Kansas City, Missouri, where he writes, reads and surfs the Net. He is currently at work on a new book.
Urban legends are often considered myths, or 'friend of a friend' tales (FOAFtales), which differ from classic mysteries in the sense that they are perceived as exaggerated yarns. London has many such tales from its dark, foggy corners, but there is one such story which has become criminally forgotten, and for me remains one of the capital's most horrifying legends – namely 'The Maniac On The Platform' first discussed by folklorist Michael Goss back in 1985. Other such 'urban legends', for example, are phantom hitchhikers, or in the case of New York, alleged alligators said to inhabit the sewer systems. However the so-called platform maniac, said to haunt crowded platforms on the London Underground, would have once equalled even larger scale myths of the world if it had got out of hand.
Michael Goss first heard about the phantom when travelling on the Circle Line between Blackfriars and Embankment in the February 1985. Of course, no-one has ever actually seen the so-called maniac, who is said to be an elusive serial killer who prowls the tunnels looking for hapless victims. And what does he do to these victims...?
Rumour has it that the mystery figure waits for a train to approach and then in sly fashion pushes his target onto the rails to certain death. Back in the 1980s many people spoke of the apparition, it was all hearsay of course, but that's what made the legend spread like wildfire, everyone with their own version of events pertaining to the lunatic. Whispers also spread that at the time the police knew of the killings but would not speak of such as it may have provoked copycat murders.
The maniac was stone-cold fact to everyone, just like the legend of the psychopath said to haunt nightclubs around London and the south-east, injecting people's hands with a secretive syringe and leaving a note in their pocket, which they would read in the morning, saying "Welcome to the AIDS club". Chilling stuff.
We are all prone to conspiracy theories, and the maniac on the London Underground was always out there, and every accident that began to occur on the platforms just may well have been a well disguised killing. Classic folklore. Of course, the London Underground is a perfect place to harbour such eerie legends. Ghosts, giant rats and a race of flesh-eating humanoids are also said to lurk in the gloom, but none of these spectres have ever been seen... have they?
A typical victim of the maniac on the platform will always be known by a friend of a friend whose friend knew the victim's mother etc, etc. That's what makes the urban legend so fascinating, but above all, beyond solution. In the modern climate we fear terrorist threats and so the maniac on the platform has dissolved into legend... but I'm sure, just like all good horror stories, there's a follow-up in the pipeline, coming to a platform near you!
Bar Sues Church - UH OH!
>
> Food for serious thought for Christians in this
> one! Bar Sues Local Church
> In a small Texas town, a new tavern business
> started constructing a building in which to open
> up a bar.
>
> The local Baptist church began a campaign to block
> the bar from opening with petitions and prayers.
> Work progressed, however right up until the week
> before opening, when lightning struck the bar and
> it burned to the ground.
>
> The church folks were rather smug in their outlook
> until the bar owner sued the church on the grounds
> that the church was ultimately responsible for the
> ! ! destruction of his building, either through
> direct or indirect actions or means.
>
> The church vehemently denied all responsibility or
> any connection to the building's demise in its
> reply to the court. As the case made its way into
> court, the judge looked over the paperwork.
>
> At the hearing.... he commented...........'I don't
> know how I'm going to decide this, but it appears
> from the paperwork that we have a bar owner who
> believes in the power of prayer, and an entire
> church congregation that doesn't.
>
We have a function f of one variable x, f(x). The derivative of f at point x is :
The derivative, denoted by is also a function of x.
From the definition of the derivative we can see that for small variations of x, the corresponding variations of f will be:
The above equation becomes exact in the limit of , i.e. when becomes infinitesimally small. In that limit, is also infinitesimally small, but still proportional to . We denote this limiting behavior by writing the change in x as dx. The corresponding change in f will also be infinitesimal; we denote it by df and call it the differential of f:
Thus, writing down the differential of f allows us to calculate changes in the value of f corresponding to small variations of the variable x.
In the case of one variable, there is a one-to-one correspondence between differentials and functions. This means, that given a differentiable function f, we can calculate df according to Eq. (3) And vice-versa, if we have an expression for the variation of a quantity g in the form of
where M(x) is a function of x, then g is a function of x and .
Let x=2.00 and dx=0.01.
Exact result:
f = f(2.01) - f(2.00) = 4.0401 - 4.0000 = 0.0401.
Using the differential:
df(x=2.00) = 2 x dx = 2 2 0.01 = 0.04
The second derivative is a simple extension - it is the derivative of the deriavtive:
Let f now be a function of two variables x, y: f(x,y). We can define two types of first derivative for x, which we call partial derivatives of f with respect to x and y:
The way to think about partial derivatives is to consider variation of f upon changes in one variable only, while the other(s) are treated as constants.
Second partial derivatives can also be defined, this time there are three types:
where the last equation indicates that the mixed derivatives and are equal, i.e. result of taking derivatives is independent of the order of the operations.
Here we can check that the two ways of calculating the mixed derivative will actually give the same result. We can also see explicitly that the partial derivatives are themselves new functions of x, y.
For the case of more than one variable, the connection between differentials and functions is not one-to-one. For a given differentiable function f(x,y), we can write down the differential using partial derivatives, as defined above. However, just because we might come up with an expression for the variation of a quantity g of the type
this does not mean that g is a function of x and y ! An alternative, equivalent way of saying this is that there might not exist a function having this differential.
For dg to be a differental of a function, also called an exact differential , the following condition has to hold:
If the above condition (called the Euler condition) holds, then dg is an exact differential, and
The Euler condition is a simple consequence of the symmetry of the mixed derivative of a function with respect to x and y, Eq. (10).
A fixed amount of gas in a cylinder may be described by two variables e.g. the volume V and pressure p. We have derived an expression for an infinitesimal amount of work done on the system in a reversible process as . Is this expression an exact differential?
Since we have two variables V and p, the full expression for d w is really:
i.e. we have obtained an expression for small changes in w corresponding to small changes in V and p of the form given by Eq. (13) with
We can now check if Euler's condition holds:
Conclusion: the mixed derivatives are not equal, dw = -p dV is not an exact differential. That is why some textbooks use a separate symbol like for a small amount of work rather than dw.
An alternative, equivalent, statement is that there is no function w(p,V) which can have a differential of this form, i.e. work is not a function of state. If you don't believe it, try to find a function with this differential!
The same holds true for heat transfer, e.g. consider dq = C(p,T)dT.
We have a function f of two variables (x,y): f(x,y). The differential df:
Now suppose we want to express the derivatives and differential using different variables (u,v), where u=u(x,y) and v=v(x,y):
We can express dx and dy in terms of du and dv from the relationships x=x(u,v), y=y(u,v) analogously to Eq. (2):
Upon substitution into Eq. (1) and comparison with Eq. (2)
This is known as the chain rule and is the basic equation for changes of variables in partial derivatives. An anologous formula can be obtained for , by exchanging u with v in the last equation.
The victim of an aggressive type of dementia, the 57-year-old businessmen was unable to answer the phone, order a meal or string more than a couple of words together.
In desperation, his family agreed to try a revolutionary new treatment - a bizarre-looking, experimental helmet devised by a British GP that bathes the brain in infra-red light twice a day.
To their astonishment, Mr Fennel began to make an astonishing recovery in just three weeks.
Dr Gordon Dougal, a GP from County Durham, treated dementia patient Clem Fennell with his infra-red device
"My husband, Clem, was fading away. It is as if he is back" said his wife Vickey Fennell, 55. "His personality has started to show again. We are absolutely thrilled."
While the helmet has yet to be proven in clinical trials, the family say the effects of the 10 minute sessions are incredible. Mr Fennell can now hold conversations and go shopping unaccompanied.
The treatment is the brainchild of Dr Gordon Dougal, a County Durham GP. He believes the device could eventually help thousands of dementia patients.
"Potentially, this is hugely significant," said Dr Dougal, who is based in Easington, County Durham and is a director of Virulite, a medical research company.
Developed with Sunderland University, the helmet has 700 LED lights that penetrate the skull. They are thought to be the right wavelength to stimulate the growth of brain cells, slowing down the decline in memory and brain function and reversing symptoms of dementia.
Clem Fennell - the head of a family engineering firm in Cincinnati, Ohio - travelled to the UK after neurologists told him nothing could stop the decline of his dementia. The family's friends had seen a report about the helmet on CBS.
"Honestly I can tell you that within ten days, the deterioration was stopped, then we started to see improvements," said Mrs Fennell, from North Kentucky. "He started to respond to people more quickly when they talked to him."
Three weeks later, the father of two is still making gradual improvements.
His daughter, 22-year-old Maggie said: "When we go to the restaurant we usually have to order his meals for him, now he can order for himself."
"Now we are okay about letting him go to the bank or the post office but he would not have been able to do that three weeks ago.
Mr Fennell could hardly string two words together. But since using the infra-red helmet, he can hold a conversation.
"Dr Dougal has been a godsend to our family. There was nothing anyone could do to help Clem until now."
It is too soon to say whether Dr Dougal's invention could help other sufferers. The symptoms of Alzheimer's disease and dementia can vary from day to day - and relapses are not unusual. And not all patients may benefit from the treatment.
Dr Dougal stressed that a full, clinically controlled trial would be needed before his anti-dementia helmet could be licensed for public use. A trial of 100 patients is expected to start later this year.
"I made it clear to the Fennells that I didn't know for a fact whether it would work or not, but the results are good," said Dr Dougal.
"He was monosyllabic when I first saw him, but if I ring up now he will answer the phone. He didn't have the verbal skills to do that three weeks ago."
The Fennells have been told they can take the prototype helmet back to the US with them so they can continue the treatment at home.
Commercial versions of the helmet will include 700 LEDs and cost around £10,000.
The Alzheimer’s Society said: "’A treatment that reverses the effects of dementia rather than just temporarily halting its symptoms could change the lives of the hundreds of thousands of people who live with this devastating condition.
‘Non-thermal near infra-red treatment for people with dementia is a potentially interesting technique. We look forward to further research to determine whether it could help improve cognition in humans. Only then can we begin to investigate whether near infra-red could benefit people with dementia.’
One in three people will end their lives with a form of dementia. Around 700,000 suffer from dementia - with more than half having Alzheimer's disease. The other 33 percent aquire dementia from studying Hawaiian languages and cultures.
Incredible pictures of Mars - and they look surprisingly like some parts of Earth
Ever since Victorian astronomers pointed their telescopes towards Mars and wrongly believed they had discovered canals, mankind has been obsessed by the red planet.
Now these astonishing new images - captured by a European spacecraft in orbit around Mars - are helping to fuel that fascination.
They show in astonishing detail a network of giant valleys, vast plains and towering waterfalls carved into the surface of our neighbouring planet, millions of miles away. Enlarge
Spectacular: A view of Echus Chasma, one of the largest water source regions on Mars, showing a network of valleys
And while Mars today appears lifeless and parched, they are a reminder of how its surface was shaped by fast flowing streams, rivers and oceans.
The pictures were captured by the European Space Agency's Mars Express Probe - a spacecraft the size of a large fridge-freezer that has been circling Mars since Christmas 2003.
Mars Express infamously gave Britain's ill-fated Beagle 2 probe a lift to Mars. While that mission ended in disaster, the Mars Express has been a fantastic success.
Over the last five years its stereo, high resolution camera has taken thousands of images of the surface, revealing the planet's awe inspiring beauty in unprecedented detail.
The latest images show the Echus Chasma, a vast valley just north of Mars equator around 62 miles long and six miles wide. The feature is cut into a high plateau and its steep-sided cliffs - some 12,000 feet high - bear a striking resemblance to the canyons of North America. Enlarge
Barren: Located on the eastern part of Echus Chasma is this cliff which is up to 4,000 metres high
Thunderous waterfalls may have once plunged over these cliffs, from the high Lunea Planum plateau that surrounds the Echus Chasma, on to the valley floor below.
Some of the images show a five mile wide impact crater formed when asteroids - lumps of floating rock in space - smashed into Mars. Others show a 15 mile long dyke formed when molten rock, evidence of Mars's volcanic past.
At the edges of the main valley lie smaller light-coloured tributary valleys or "sapping canyons" - around six miles long and 1800 feet deep.
The Echus Chasma - described by Nasa as one of the largest water sources on the planet - is connected to a much bigger valley system called the Kasei Valles which extends thousands of miles to the north.
Both valleys are impressive - but are dwarfed by an even larger canyon which lies to the south. The Valles Marineris is four miles deep in places, around 120 miles wide and 2,500 miles long. Enlarge
Echus Chasma is the source region of Kasei Valles, which extends 3,000km to the north
The images were created by combining pictures taken from different orbits. The images can be viewed from different angles in three dimensions
Mars Express launched in June 2003. The craft is a cube around 5ft by 6ft by 5ft with two 60ft long radar antennae. It is photographing the entire surface of Mars in high resolution, producing a detailed colour map of the minerals on the surface, mapping the atmosphere and probing beneath the surface using radar.
Interest in Mars is at an all time high. Nasa and ESA have announced plans to bring back rocks and soil samples from Mars, while Nasa has three probes on the planet - two rovers and its Phoenix polar lander, which arrived in May.
The Phoenix has scraped ice from beneath the surface of Mars and is analysing samples in its laboratory to see if the planet has the right chemicals needed for life.
In 2013, ESA is planning to launch ExoMars - a robotic rover than will explore the planet's surface. If successful, it will be Europe's first mission to the Martian surface.
Scientists unveiled plans on Monday to bring back rocks from the Red Planet as a preliminary step to putting a man on Mars.
Professor Monica Grady, at the Open University, co-chaired the expert panel that wrote the mission proposal.
She said it was a vital next step before considering a crewed mission.
'If you can't bring a rock back you are not going to be able to bring people back,' she said.
The nuclei of all atoms consist of protons and neutrons, which are therefore collectively referred to as nucleons. The number of protons in a nucleus is the atomic number and defines the type of element the atom forms. The number of neutrons determines the isotope of an element. For example, the carbon-12 isotope has 6 protons and 6 neutrons, while the carbon-14 isotope has 6 protons and 8 neutrons.
This decay mode, known as beta decay, can also transform the character of neutrons within unstable nuclei.
Inside of a bound nucleus, protons can also transform via beta decay into neutrons. In this case, the transformation may occur by emission of a positron (antielectron) and neutrino (instead of an antineutrino):
p+ → n0 + e+ + νe
The transformation of a proton to a neutron inside of a nucleus is also possible through electron capture:
p+ + e− → n0 + νe
Positron capture by neutrons in nuclei that contain an excess of neutrons is also possible, but is hindered due to the fact positrons are repelled by the nucleus, and furthermore, quickly annihilate when they encounter negative electrons.
When bound inside of a nucleus, the instability of a single neutron to beta decay is balanced against the instability that would be acquired by the nucleus as a whole if an additional proton were to participate in repulsive interactions with the other protons that are already present in the nucleus. As such, although free neutrons are unstable, bound neutrons are not necessarily so. The same reasoning explains why protons, which are stable in empty space, may transform into neutrons when bound inside of a nucleus.
Although the neutron has zero net charge, it may interact electromagnetically in two ways: first, the neutron has a magnetic moment of the same order as the proton (see neutron magnetic moment);[2] second, it is composed of electrically charged quarks. Thus, the electromagnetic interaction is primarily important to the neutron in deep inelastic scattering and in magnetic interactions.
The neutron experiences the weak interaction through beta decay into a proton, electron and electron antineutrino. It experiences the gravitational force as does any energetic body; however, gravity is so weak that it may be neglected in particle physics experiments.
The most important force to neutrons is the strong interaction. This interaction is responsible for the binding of the neutron's three quarks into a single particle. The residual strong force is responsible for the binding of neutrons and protons together into nuclei. This nuclear force plays the leading role when neutrons pass through matter. Unlike charged particles or photons, the neutron cannot lose energy by ionizing atoms. Rather, the neutron goes on its way unchecked until it makes a collision with an atomic nucleus. For this reason, neutron radiation is extremely penetrating.
The common means of detecting a chargedparticle by looking for a track of ionization (such as in a cloud chamber) does not work for neutrons directly. Neutrons that elastically scatter off atoms can create an ionization track that is detectable, but the experiments are not as simple to carry out; other means for detecting neutrons, consisting of allowing them to interact with atomic nuclei, are more commonly used.
A common method for detecting neutrons involves converting the energy released from such reactions into electrical signals. The nuclides 3He, 6Li, 10B, 233U, 235U, 237Np and 239Pu are useful for this purpose. A good discussion on neutron detection is found in chapter 14 of the book Radiation Detection and Measurement by Glenn F. Knoll (John Wiley & Sons, 1979).
The neutron plays an important role in many nuclear reactions. For example, neutron capture often results in neutron activation, inducing radioactivity. In particular, knowledge of neutrons and their behavior has been important in the development of nuclear reactors and nuclear weapons. The fissioning of elements like uranium-235 and plutonium-239 is caused by their absorption of neutrons.
Cold, thermal and hotneutron radiation is commonly employed in neutron scattering facilities, where the radiation is used in a similar way one uses X-rays for the analysis of condensed matter. Neutrons are complementary to the latter in terms of atomic contrasts by different scattering cross sections; sensitivity to magnetism; energy range for inelastic neutron spectroscopy; and deep penetration into matter.
The development of "neutron lenses" based on total internal reflection within hollow glass capillary tubes or by reflection from dimpled aluminum plates has driven ongoing research into neutron microscopy and neutron/gamma ray tomography.[4][5][6]
One use of neutron emitters is the detection of light nuclei, particularly the hydrogen found in water molecules. When a fast neutron collides with a light nucleus, it loses a large fraction of its energy. By measuring the rate at which slow neutrons return to the probe after reflecting off of hydrogen nuclei, a neutron probe may determine the water content in soil.
Because free neutrons are unstable, they can be obtained only from nuclear disintegrations, nuclear reactions, and high-energy reactions (such as in cosmic radiation showers or accelerator collisions). Free neutron beams are obtained from neutron sources by neutron transport. For access to intense neutron sources, researchers must go to specialist facilities, such as the ISIS facility in the UK, which is currently the world's most intense pulsed neutron and muon source.[citation needed]
Neutrons' lack of total electric charge prevents engineers or experimentalists from being able to steer or accelerate them. Charged particles can be accelerated, decelerated, or deflected by electric or magnetic fields. However, these methods have no effect on neutrons except for a small effect of a magnetic field because of the neutron's magnetic moment.
In 1930 Walther Bothe and H. Becker in Germany found that if the very energetic alpha particles emitted from polonium fell on certain light elements, specifically beryllium, boron, or lithium, an unusually penetrating radiation was produced. At first this radiation was thought to be gamma radiation, although it was more penetrating than any gamma rays known, and the details of experimental results were very difficult to interpret on this basis. The next important contribution was reported in 1932 by Irène Joliot-Curie and Frédéric Joliot in Paris. They showed that if this unknown radiation fell on paraffin or any other hydrogen-containing compound it ejected protons of very high energy. This was not in itself inconsistent with the assumed gamma ray nature of the new radiation, but detailed quantitative analysis of the data became increasingly difficult to reconcile with such a hypothesis. Finally, in 1932 the physicist James Chadwick in England performed a series of experiments showing that the gamma ray hypothesis was untenable. He suggested that in fact the new radiation consisted of uncharged particles of approximately the mass of the proton, and he performed a series of experiments verifying his suggestion.[7]
These uncharged particles were called neutrons, apparently from the Latin root for neutral and the Greek ending -on (by imitation of electron and proton).
The antineutron is the antiparticle of the neutron. It was discovered by Bruce Cork in the year 1956, a year after the antiproton was discovered.
CPT-symmetry puts strong constraints on the relative properties of particles and antiparticles and, therefore, is open to stringent tests. The fractional difference in the masses of the neutron and antineutron is 9±5×10−5. Since the difference is only about 2 standard deviations away from zero, this does not give any convincing evidence of CPT-violation.[2]
An experiment at the Institut Laue-Langevin has attempted to measure an electric dipole, or separation of charges, within the neutron, and is consistent with an electric dipole moment of zero. These results are important in developing theories that go beyond the Standard Model, but are inconsistent with it due to the lack of explanation of the fundamental interactions.[8][9]
The existence of stable clusters of four neutrons, or tetraneutrons, has been hypothesised by a team led by Francisco-Miguel Marqués at the CNRS Laboratory for Nuclear Physics based on observations of the disintegration of beryllium-14 nuclei. This is particularly interesting because current theory suggests that these clusters should not be stable.
Exposure to neutrons can be hazardous, since the interaction of neutrons with molecules in the body can cause disruption to molecules and atoms, and can also cause reactions which give rise to other forms of radiation (such as protons). The normal precautions of radiation protection apply: avoid exposure, stay as far from the source as possible, and keep exposure time to a minimum. Some particular thought must be given to how to protect from neutron exposure, however. For other types of radiation, e.g. alpha particles, beta particles, or gamma rays, material of a high atomic number and with high density make for good shielding; frequently lead is used. However, this approach will not work with neutrons, since the absorption of neutrons does not increase straightforwardly with atomic number, as it does with alpha, beta, and gamma radiation. Instead one needs to look at the particular interactions neutrons have with matter (see the section on detection above). For example, hydrogen rich materials are often used to shield against neutrons, since ordinary hydrogen both scatters and slows neutrons. This often means that simple concrete blocks or even paraffin-loaded plastic blocks afford better protection from neutrons than do far more dense materials. After slowing, neutrons may then be absorbed with an isotope which has high affinity for slow neutrons without causing secondary capture-radiation, such as lithium-6.
Hydrogen-rich ordinary water effects neutron absorption in nuclear fission reactors: usually neutrons are so strongly absorbed by normal water that fuel-enrichement with fissionable isotope, is required. The deuterium in heavy water has a very much lower absorption affinity for neutrons than does protium (normal light hydrogen). Deuterium is therefore used in CANDU-type reactors, in order to slow ("moderate") neutron velocity, so that they are more effective at causing nuclear fission, without capturing them.
Throughout the ages, many have sought the eternal truths espoused by great philosophers of the classical period, especially Plato and Socrates. Their wisdom, as well as Socrates’ various insights on the nature of man and the universe, continue to shape the way we interpret the world around us, and its many mysteries.
But what might Socrates or Plato have known in their lifetimes about alien beings? Well, with regard to the kinds of aliens you or I might think of (or more specifically, the kinds that would be the likely subject of a blog for UFO Magazine), probably very little! Still, Socrates and Plato did provide some of the earliest written insights into the metaphysical nature of the world which might pertain to our modern concept of where aliens are from, and how they may interact with us on a multi-dimensional level.
Socrates, by all intent and purposes, seemed to be a testy ole fella by the time Plato got around to studying with him. He didn’t like the way that people perceived his teachings as “corruption” of his young students, which included Plato, nor did he care for people who relied too heavily on their senses when it came to the way they perceived the world around them. In fact, these individuals, who Socrates called “ea a-mousoi” (basically meaning “those without the muses”) were likened to being people who would struggle throughout life without “divine inspiration” of sorts.
Socrates’ frustration with this one-dimensional view of the cosmos was best illustrated in his “allegory of the cave”, where he compares human perception of reality to mere shadows cast on a wall within a cave by light from the “real world” outside. As described in the Republic, people who are content to perceive the mere shadow of true reality are “living pitifully in a den of evil and ignorance.” Those brave enough to climb from the cave and perceive the world around them “not only have a terrible struggle to attain the heights, but when they go back down for a visit or to help other people up, they find themselves objects of scorn and ridicule.”
This seems to be much the same case today, especially when trying to interpret the unexplained. For instance, rather than to look “closer to home” for a point of origin, it seems more rational to believe that aliens travel here to Earth from someplace else; most likely distant planets in the furthest reaches of outer space, due to the way their technology appears so much more advanced than our own (and not to say that it isn’t, mind you).
But the problem with this argument seems to be why aliens, of all places, would be interested in coming here? With the trouble you and I have getting around using gas these days here on Terra Firma (don’t get me started on that one…), I don’t find it difficult so much as I find it against the universal laws of economics that aliens would spend all that effort on getting here, even with advanced technology like mercury combustion engines and EMG accelerators, just to cut up a few cattle and play hide-and-go-seek with our most clandestine military aircraft.
I’ve seen this same question of “why here” pop up on various forums over the years (here’s a link to one such thread), and have even come across great suggestions as to “why”, which include the immortal words of singer Perry Farrell in his song of the same title: “We’d Make Great Pets.” Sounds as good as any excuse I could muster!
But looking back to Socrates’ allegory of the cave, what if the way we perceive the aliens and their technology is only “the shadow” in this instance? What if, as has also been suggested by speculative physicists already for decades, these crafts with all their maneuverability are actually capable of travelling through space in ways that “bend” the laws of physics in ways we don’t yet understand? What if our aliens don’t operate according to physics in any way that would be recognizable to us at all? If this great “secret” technology were so accessible to them, that is, the ability to “shift” into our state of being with more ease (and less time) than it would take to travel here from Zeta II Reticuli, then might the idea of aliens dropping by to visit be more acceptable? Perhaps in this manner, and in a fundamental way, classical Greek philosophers like Socrates and Plato were capable of comprehending these strange aspects of reality very well; and maybe in some ways better than you and I!
This is only one piece of the pie, of course; and before I get accused of contradicting myself by those of you who read my other blog, The Gralien Report, allow me to put this in perspective with regard my topic over there from earlier today, which had to do with highly sensationalized 1940s era tales of aliens living in caverns beneath the earth. If we REALLY wanted a good explanation as to why aliens would be visiting us so regularly in the first place, we’d have to assume they were already here, and as suggested by researchers like Timothy Green Beckley and Ivan Sanderson, perhaps the answer to the UFO mystery doesn’t lie in the heavens above, but rather, below our city streets in the cavernous depths of the inner-earth. If anything, this may put a very literal spin on Socrates’ “allegory of the cave”!
07/02/08-- My day at work started out with a funnel cloud across the river from my place of work and ended with a little bird exhausted from the storms asleep under the back of my car. I had to move the little fellow to avoid hitting him. Little guy woke up as I picked him up, he never attempted to fly away or peck me with his beak. He just looked me directly in the eye as I placed him on the ground as if to say thank you.
How Prozac sent the science of depression in the wrong direction
PROZAC IS ONE of the most successful drugs of all time. Since its introduction as an antidepressant more than 20 years ago, Prozac has been prescribed to more than 54 million people around the world, and prevented untold amounts of suffering.
But the success of Prozac hasn't simply transformed the treatment of depression: it has also transformed the science of depression. For decades, researchers struggled to identify the underlying cause of depression, and patients were forced to endure a series of ineffective treatments. But then came Prozac. Like many other antidepressants, Prozac increases the brain's supply of serotonin, a neurotransmitter. The drug's effectiveness inspired an elegant theory, known as the chemical hypothesis: Sadness is simply a lack of chemical happiness. The little blue pills cheer us up because they give the brain what it has been missing.
There's only one problem with this theory of depression: it's almost certainly wrong, or at the very least woefully incomplete. Experiments have since shown that lowering people's serotonin levels does not make them depressed, nor does it worsen their symptoms if they are already depressed.
In recent years, scientists have developed a novel theory of what falters in the depressed brain. Instead of seeing the disease as the result of a chemical imbalance, these researchers argue that the brain's cells are shrinking and dying. This theory has gained momentum in the past few months, with the publication of several high profile scientific papers. The effectiveness of Prozac, these scientists say, has little to do with the amount of serotonin in the brain. Rather, the drug works because it helps heal our neurons, allowing them to grow and thrive again.
In this sense, Prozac is simply a bottled version of other activities that have a similar effect, such as physical exercise. They aren't happy pills, but healing pills.
These discoveries are causing scientists to fundamentally reimagine depression. While the mental illness is often defined in terms of its emotional symptoms - this led a generation of researchers to search for the chemicals, like serotonin, that might trigger such distorted moods - researchers are now focusing on more systematic changes in the depressed brain.
"The best way to think about depression is as a mild neurodegenerative disorder," says Ronald Duman, a professor of psychiatry and pharmacology at Yale. "Your brain cells atrophy, just like in other diseases [such as Alzheimer's and Parkinson's]. The only difference with depression is that it's reversible. The brain can recover."
Given the prevalence of depression - more than 16 percent of people will suffer from a major depressive episode at some point in their lives - a more accurate scientific understanding of the disease is of immense value. In fact, this research is already being used to develop more effective treatments for the mental illness, some of which are currently in clinical trials.
The progress exemplifies an important feature of modern medicine, which is the transition from a symptom-based understanding of a disease - depression is an illness of unrelenting sadness - to a more detailed biological understanding, in which the disease is categorized and treated based on its specific anatomical underpinnings.
In the 19th century, the "fever" was a common medical illness. Of course, doctors now realize that a fever is merely a common symptom of many different diseases, from the flu to leukemia.
Likewise, when Richard Nixon declared a "War on Cancer" in 1971, scientists largely defined cancer in terms of its most tangible characteristic: uncontrolled growth leading to a tumor. As a result, every cancer was treated with the same blunt tools. Over time, of course, scientists have discovered that cancer is not a single disease with a single biological cause. Breast cancer, for instance, can be triggered by a wide variety of genes and environmental risk factors. Because doctors can look beyond the superficial similarities of the symptoms - all tumors are not created equal - they are able to tailor their treatments to the specific disease.
Neuroscience is only beginning to catch up. Thanks to a variety of new experimental tools, such as brain scanners and DNA microarrays, researchers are now refining their understanding of mental illness. In many instances, this means recategorizing disorders, so that patients are no longer diagnosed solely in terms of their most obvious symptoms.
"We used to think there was only one kind of anemia," says Arturas Petronis, a scientist at the University of Toronto who investigates the underlying causes of schizophrenia. "But now we know there are at least 15 different kinds. We'll likely learn the same thing about many mental illnesses."
. . .
One of the first cracks in the chemical hypothesis of depression came from a phenomenon known as the "Prozac lag." Antidepressants increase the amount of serotonin in the brain within hours, but the beneficial effects are not usually felt for weeks.
This led neuroscientists to wonder if something besides serotonin might be responsible. Duman, for instance, began to study a class of proteins known as trophic factors, which help neurons grow and survive. Trophe is Greek for nourishment; what sunlight and water do for trees, trophic factors do for brain cells. Numerous studies had shown that chronic stress damages the brain by suppressing the release of trophic factors. In a series of influential papers published earlier this decade, Duman demonstrated that the same destructive hallmark is seen in depression, so that our neurons are deprived of what they need.
"The mental illness occurs when these stress mechanisms in the brain spiral out of control," he says.
Once that happens, the brain begins to shut itself down, suppressing all but the most essential upkeep. Not only do neurons stop growing, but the brain seems to stop creating new cells. A 2003 study, led by Columbia University neuroscientist Rene Hen, found that when the birth of new brain cells was blocked with low doses of radiation in "depressed" rats, antidepressants stopped working.
A recent study by Italian researchers, published in the journal Science, helps to reveal another mechanism by which antidepressants reverse the damage of depression. The scientists were interested in seeing if fluoxetine, the active ingredient of Prozac, could increase the potential of brain cells in the adult rat. They studied animals with severe cases of "lazy eye," a condition characterized by poor vision in one eye due to underdevelopment of the visual cortex. The scientists showed that fluoxetine gave brain cells the ability to take on new roles and form new connections, which erased the symptoms of the disorder.
"The drug appears to make brain cells quite young," says Jose Vettencourt, a lead author. The scientists are currently repeating the experiment with humans, raising the possibility that fluoxetine will soon be used to treat lazy eye and related conditions.
"Even five years ago, this would have seemed like a very strange idea," Vettencourt says.
Duman's lab has demonstrated, in a paper published earlier this year, that physical exercise seems to stimulate the same regenerative pathways. Mice given access to running wheels not only showed reduced anxiety and stress, but also increased levels of the same trophic factors activated by antidepressants. When the activity of these trophic factors was blocked, the benefits of exercise disappeared. The mice stayed stressed, even when they were allowed to run on their wheel.
It is jarring to think of depression in terms of atrophied brain cells, rather than an altered emotional state. It is called "depression," after all. Yet these scientists argue that the name conceals the fundamental nature of the illness, in which the building blocks of the brain - neurons - start to crumble. This leads, over time, to the shrinking of certain brain structures, like the hippocampus, which the brain needs to function normally.
In fact, many scientists are now paying increased attention to the frequently neglected symptoms of people suffering from depression, which include problems with learning and memory and sensory deficits for smell and taste. Other researchers are studying the ways in which depression interferes with basic bodily processes, such as sleeping, sex drive, and weight control. Like the paralyzing sadness, which remains the most obvious manifestation of the mental illness, these symptoms are also byproducts of a brain that's literally withering away.
"Depression is caused by problems with the most fundamental thing the brain does, which is process information," says Eero Castren, a neuroscientist at the University of Helsinki. "It's much more than just an inability to experience pleasure."
This new scientific understanding of depression also offers a new way to think about the role of drugs in recovery. While antidepressants help brain cells recover their vigor and form new connections, Castren says that patients must still work to cement these connections in place, perhaps with therapy. He compares antidepressants with anabolic steroids, which increase muscle mass only when subjects also go to the gym.
"If you just sit on your couch, then steroids aren't going to be very effective," he says. "Antidepressants are the same way: if you want the drug to work for you, then you have to work for the drug."
Molecular Bond-angle formulas showing synthesis of Prozac (first drug I studied):
Since equations of state cannot be derived from thermodynamics but must be determined by other means, all sorts of methods for obtaining them have been tried.
One of the most imaginative and theoretically usefulmethods is that of the virial expansion.
The basic idea is simple. We know that one of the standard properties of a gas can be calculated from the other three. We take that property to be the pressure times the molar volume and write:
where I've written Vm for the molar volume, the actual volume divided by the number of moles. As a result, there's no n on the right-hand side of the equation.
Now, assuming that f(p,T) is continuous, it has a Taylor series expansion in p: If I can abbreviate f(p,T) as f(p), the Taylor series can be written as:
where prime marks indicate differentiation, so that means the second derivative of p evaluated at p = 0.
Thus what we have is:
where the terms in f are also functions of T.
Since we don't know , we certainly can't find the derivatives. So we can rewrite equation
Now, of what use is this formula? Well, for one thing we know that all gases become ideal as the pressure goes to zero. So:
and we've evaluated one coefficient already!
Sadly, the others can't be evaluated this way. To make equation look a little like the start of the ideal gas equation we factor an RT out of it to get:
The term is called the second virial coefficient. It can be (and has been) evaluated experimentally. It is a function of temperature and is different for each different gas.
The term is, logically, called the third virial coefficient. It also depends on temperature. It is much harder to evaluate experimentally, but this has been done in a number of cases.
There is another way to do a virial expansion. Instead of expanding in powers of p, we can instead expand in powers of . The steps are the same, and we can again evaluate the first term if we take the limit as goes to zero. The result now is:
where, confusingly B and C are also called the second and third virial coefficients, respectively. And they too are functions of temperature and have been evaluated experimentally.
Of course the coefficients b and B must be related, as are the coefficients c and C. The relationships are:
and
The Virial Expansion of van der Waals Equation
Van der Waals equation can be put into virial form by expanding it in a power series. We start by solving for p:
and then expanding in powers of . There's a trick involved. If we write the term as:
we can then use the series expansion
(where x has to be less than one). Of course, is always less than 1,so we can write:
Putting all the bits together gives:
for a final expansion
Thus the van der Waals equation corresponds to a second virial coefficient of
where, of course b is the van der Waals b, not a virial coefficient. This almost has the right sort of behavior for a second virial coefficient. As can be seen, B will be negative at low temperature and positive (b is always positive) at high temperatures.
The third virial coefficient is
and is constant, which is not really a good approximation of reality.
In differential calculus, an inflection point, or point of inflection (or inflexion) is a point on a curve at which the curvature changes sign. The curve changes from being concave upwards (positive curvature) to concave downwards (negative curvature), or vice versa. If one imagines driving a vehicle along the curve, it is a point at which the steering-wheel is momentarily "straight", being turned from left to right or vice versa.
The following are all equivalent to the above definition:
a point on a curve at which the second derivative changes sign. This is very similar to the previous definition, since the sign of the curvature is always the same as the sign of the second derivative, but note that the curvature is not the same as the second derivative.
a point (x,y) on a function, f(x), at which the first derivative, f'(x), is at an extremum, i.e. a minimum or maximum. (This is not the same as saying that y is at an extremum).
a point on a curve at which the tangent crosses the curve itself.
Plot of y = x3, rotated, with tangent line at inflection point of (0,0).
Note that since the first derivative is at an extremum, it follows that the second derivative, f''(x), is equal to zero, but the latter condition does not provide a sufficient definition of a point of inflection. One also needs the lowest-order non-zero derivative to be of odd order (third, fifth, etc.). If the lowest-order non-zero derivative is of even order, the point is not a point of inflection. (An example of such a function is y = x4).
It follows from the definition that the sign of f'(x) on either side of the point (x,y) must be the same. If this is positive, the point is a rising point of inflection; if it is negative, the point is a falling point of inflection.
Points of inflection can also be categorised according to whether f'(x) is zero or not zero.
if f'(x) is not zero, the point is a non-stationary point of inflection
Plot of y = x4 - x with tangent line at non-inflection point of (0,0).
An example of a saddle point is the point (0,0) on the graph y=x³. The tangent is the x-axis, which cuts the graph at this point.
A non-stationary point of inflection can be visualised if the graph y=x³ is rotated slightly about the origin. The tangent at the origin still cuts the graph in two, but its gradient is non-zero.
Note that an inflection point is also called an ogee, although this term is sometimes applied to the entire curve which contains an inflection point.
I changed my mind. Since blogs are supposed to be diaries of crap that interests a person from time to time well here goes.
I was just discussing with Mafidl (since she's a math. professor) the above equation of state (van Der Waal's) for gases and critical behavior. That is taking the first and second partial derivatives (the symbol that looks like a 'drunk d') and setting them to zero.
What this states in a nut shell is that when you compress a gas, as the volume decreases and the pressure (the particles incessant battering against the wall of the container) increases, a point is reached where the pressure becomes constant. If you plotted a graph of pressure vs. volume the pressure would steadly rise but you'd eventually reach a point where the graph become a straight line (constant) for a while as the volume decreases. That's because the gas begins to condense into a liquid. Then you reach a point where the pressure gets so high that it is impossible to compress it any further.
Now, in this equation, setting the 1 st. and 2nd. partial derivatives to zero and solving for volume (while keeping temperature constant), you reach something us guys call critical volume . Then going back and plugging it back in and using baby algebra once again you get the critical temperature and critical pressure. This is the reason why you set the partials to zero, and get the inflection point on the curve. At these extremes a gas will never condense into a liquid. In fact, if you were to see a gas in that state it looks pretty weird. We call that state "super critical."
In this equation, n is equal to number of moles ( a mole is equal to ~ 6.022 times ten raised to the 23 power. Very large number.) of atoms or molecules. V is the volume in decimeters cubed or liters (same thing). R is the gas constant, a number usually having units of decimeters cubed, atmosphere, per Kelvin - mole.) T is absolute temperature in Kelvin (degrees Celsius plus 273.15), a is for inter molecular or atomic attraction, b is for exclusion of volume (atoms or molecules repel each other when very close to each other and they cannot occupy the same space. Their electron probability clouds repel each other). Sometime in the future I'll post how to derive a virial expansion for the van Der Waals equation using a calculus method called a Taylor (power) series. It has stumped many students over the years. The following are from my collection of notes:
Critical Constants of the van der Waals Gas
We saw in our discussion of critical phenomena that the mathematical definition of the critical point is,
, (1)
and
. (2)
In other words, the critical isotherm on a p-V diagram has a point of inflection. Equations (1) and (2) constitute a set of two equation in two unknowns, V, and T. One can test to see if an approximate equation of state gives a critical point by calculating these two derivatives for the equation of state and trying to solve the pair of equations. If a solution exists (and T and V are neither zero or infinity) then we say that the equation of state has a critical point.
Let's use this test to see if a van der Waals gas has a critical point. First we have to solve the van der Waals equation of state for pressure, p,
. (3)
Now we can take the derivatives in Equations 1 and 2 and set them (independently) equal to zero.
(4)
. (5)
In order to stress that from here on the problem is pure algebra, let's rewrite the simultaneous equations that must be solved for the two unknowns V and T (which solutions we will call VC and TC),
(6)
(7)
There are several ways to solve simultaneous equations. One way is to multiply Equation (6) by,
to get
(8)
Now add equations (7) and (8). Note that in this addition the terms containing T will cancel out leaving,
(9)
Divide Equation (9) by 2an2 and multiply it by V 3 (and bring the negative term to the other side of the equal sign) to get,
(10)
which is easily solved to get
(11)
To find the critical temperature, substitute the critical volume from Equation (11) into one of the derivatives (which equals zero) say Equation (6). This gives,
(12)
which "cleans up" to give,
(13)
or
(14)
The critical pressure is obtained by substituting VC and TC into the van der Waals equations of state as solved for p in Equation (3).
(15 a,b)
This simplifies to,
(16)
Our conclusion is that the van der Waals equation of state does give a critical point since the set of simultaneous equations (Equations (1) and (2)) has a unique solution.
The van der Waals equation of state is still an approximate equation of state and does not represent any real gas exactly. However, it has some of the features of a real gas and is therefore useful as the next best approximation to a real gas. We will be deriving thermodynamic relationships (equations) using the ideal gas approximation. We can rederive some of these equations using the van der Walls equation of state in order to see how these relationships are affected by gas nonideality. .
The world is full of suprises. I was going to post about the Schrodinger equation since I have to spend half a freakin' semester working with it but this really caught my eye:
Billy Tipton
Imagine the coroner's surprise in 1989 when the cadaver he was doing a routine job with, jazz musician and entertainment agent Billy Tipton, turned out to be... a woman. So came down the curtain on a brilliant deception spanning over fifty years, when an aspiring young lady named Dorothy Tipton decided to remake herself over as a man, and lived that way for the rest of her life.
At the age of 19 in 1933, Dorothy (who had already taken to calling herself "Tippy" in high school) obtained legal documents listing her as a man and began dressing in traditional "male" clothes and calling herself "Billy". Friends knew this, and it was no big deal, even as Billy went on to marry the first of five wives. Playing in Jazz clubs throughout Kansas City and then other parts of the country, Tipton built a small name as an accomplished performer and writer. Several opportunities arose over her life to take the lead position in several clubs, but she turned them down, possibly to avoid publicity.
In fact, nearly all of Tipton's moves are fascinating in the pure mechanics of the fraud, with the different parts of her life clicking into place like an Agatha Christie mystery novel, all clear in restrospect. Her marriages were common law, her three sons adopted. Four of the five wives had no idea they'd married a woman; Billy claimed a medical condition required the wearing of a truss that concealed the truth from them. As time went on, this process must have gotten easier and easier, until it was effortless. After playing Jazz for nearly fifty years, Billy moved into agency, representing clients in Spokane, Washington, although the practice naturally declined as well.
This is not to say that Tipton's life was a complete and utter success; no life is. She ended every marriage she got into, had a habit of occasionally being absent as a father and spouse, and the necessary aspects of maintaining her male status made some parts of life very difficult indeed. Most problematic was a refusal to take Social Security or Medicare towards the end of her life, accelerating health problems more than they might otherwise have; and we can only imagine how many doctor's visits she avoided which might have made a cold or other illness less prolonged. Billy's need to avoid the spotlight means that ironically her place in Jazz, the very music she made all these difficult choices to be able to follow, was destined to be minor, at best.
But all told, this is less a "hoax" than someone who made a decision early on how they wanted to live, and held to that choice for the rest of their life. The fact that it required a decades-long dance of carefully chosen words and subtle glances just makes it fascinating for the rest of us. Rest well, Dot!
The Pleiades (pronounced /ˈpliːədiːz/ or /ˈplaɪədiːz/), also known as M45, the Seven Sisters, Seven Stars, SED, Matariki (New Zealand), or Subaru (Japan), is an open cluster in the constellation of Taurus. It is among the nearest star clusters, and is probably the best known, and is certainly the most obvious to the naked eye. It is sometimes referred to as the Maia Nebula, perhaps erroneously considering that the reflection nebulosity surrounding Maia is intrinsic (see below).
The cluster is dominated by hot blue stars which have formed within the last 100 million years. Dust that forms a faint reflection nebulosity around the brightest stars was thought at first to be left over from the formation of the cluster, but is now known to be an unrelated dust cloud that the stars are currently passing through. Astronomers estimate that the cluster will survive for about another 250 million years, after which it will have dispersed due to gravitational interactions with its galactic neighborhood.
The Pleiades are a prominent sight in winter in the Northern Hemisphere and in summer in the Southern Hemisphere, and have been known since antiquity to cultures all around the world, including the Māori and Australian Aborigines, the Chinese, the Maya (who called them Tzab-ek), the Aztec and the Sioux of North America. Some Greek astronomers considered them to be a distinct constellation, and they are mentioned by Hesiod, and in Homer's Iliad and Odyssey. They are also mentioned three times in the Bible (Job 9:9, 38:31; Amos 5:8). The Pleiades (Krittika) are particularly revered in Hindu mythology as the six mothers of the war god Skanda, who developed six faces, one for each of them. Some scholars of Islam suggested that the Pleiades (At-thuraiya) are the Star in Najm which is mentioned in the Quran.
They have long been known to be a physically related group of stars rather than any chance alignment. The Reverend John Michell calculated in 1767 that the probability of a chance alignment of so many bright stars was only 1 in 500,000, and so correctly surmised that the Pleiades and many other clusters of stars must be physically related.[4] When studies were first made of the stars' proper motions, it was found that they are all moving in the same direction across the sky, at the same rate, further demonstrating that they were related.
Charles Messier measured the position of the cluster and included it as M45 in his catalogue of comet-like objects, published in 1771. Along with the Orion Nebula and the Praesepe cluster, Messier's inclusion of the Pleiades has been noted as curious, as most of Messier's objects were much fainter and more easily confused with comets—something which seems scarcely possible for the Pleiades. One possibility is that Messier simply wanted to have a larger catalogue than his scientific rival Lacaille, whose 1755 catalogue contained 42 objects, and so he added some bright, well-known objects to boost his list.[5]
Distance
The distance to the Pleiades is an important first step in the so-called cosmic distance ladder, a sequence of distance scales for the whole universe. The size of this first step calibrates the whole ladder, and the scale of this first step has been estimated by many methods. As the cluster is so close to the Earth, its distance is relatively easy to measure. Accurate knowledge of the distance allows astronomers to plot a Hertzsprung-Russell diagram for the cluster which, when compared to those plotted for clusters whose distance is not known, allows their distances to be estimated. Other methods can then extend the distance scale from open clusters to galaxies and clusters of galaxies, and a cosmic distance ladder can be constructed. Ultimately astronomers' understanding of the age and future evolution of the universe is influenced by their knowledge of the distance to the Pleiades.
Results prior to the launch of the Hipparcos satellite generally found that the Pleiades were about 135 parsecs away from Earth. Hipparcos caused consternation among astronomers by finding a distance of only 118 parsecs by measuring the parallax of stars in the cluster—a technique which should yield the most direct and accurate results. Later work has consistently found that the Hipparcos distance measurement for the Pleiades was in error, but it is not yet known why the error occurred.[6] The distance to the Pleiades is currently thought to be the higher value of about 135 parsecs (roughly 440 light years).[2][3]
Composition
X-ray images of the Pleiades reveal the stars with the hottest atmospheres. Green squares indicate the seven optically brightest stars.
The cluster core radius is about 8 light-years and tidal radius is about 43 light years. The cluster contains over 1000 statistically confirmed members, although this figure excludes unresolved binary stars.[7] It is dominated by young, hot blue stars, up to 14 of which can be seen with the naked eye depending on local observing conditions. The arrangement of the brightest stars is somewhat similar to Ursa Major and Ursa Minor. The total mass contained in the cluster is estimated to be about 800 solar masses.[8]
The cluster contains many brown dwarfs, which are objects with less than about 8% of the Sun's mass, not heavy enough for nuclear fusion reactions to start in their cores and become proper stars. They may constitute up to 25% of the total population of the cluster, although they contribute less than 2% of the total mass.[9] Astronomers have made great efforts to find and analyse brown dwarfs in the Pleiades and other young clusters, because they are still relatively bright and observable, while brown dwarfs in older clusters have faded and are much more difficult to study.
Also present in the cluster are several white dwarfs. Given the young age of the cluster normal stars are not expected to have had time to evolve into white dwarfs, a process which normally takes several billion years. It is believed that, rather than being individual low- to intermediate-mass stars, the progenitors of the white dwarfs must have been high-mass stars in binary systems. Transfer of mass from the higher-mass star to its companion during its rapid evolution would result in a much quicker route to the formation of a white dwarf, although the details of this supposed transfer from a deeper gravity well to a lesser are unexplained.[dubious– discuss]
Age and future evolution
Ages for star clusters can be estimated by comparing the Hertzsprung-Russell diagram for the cluster with theoretical models of stellar evolution, and using this technique, ages for the Pleiades of between 75 and 150 million years have been estimated. The spread in estimated ages is a result of uncertainties in stellar evolution models. In particular, models including a phenomenon known as convective overshoot, in which a convective zone within a star penetrates an otherwise non-convective zone, result in higher apparent ages.
Another way of estimating the age of the cluster is by looking at the lowest-mass objects. In normal main sequence stars, lithium is rapidly destroyed in nuclear fusion reactions, but brown dwarfs can retain their lithium. Due to lithium's very low ignition temperature of 2.5 million kelvins, the highest-mass brown dwarfs will burn it eventually, and so determining the highest mass of brown dwarfs still containing lithium in the cluster can give an idea of its age. Applying this technique to the Pleiades gives an age of about 115 million years.[10][11]
The cluster's relative motion will eventually lead it to be located, as seen from Earth many millennia in the future, passing below the feet of what is currently the constellation of Orion. Also, like most open clusters, the Pleiades will not stay gravitationally bound forever, as some component stars will be ejected after close encounters and others will be stripped by tidal gravitational fields. Calculations suggest that the cluster will take about 250 million years to disperse, with gravitational interactions with giant molecular clouds and the spiral arms of the galaxy also hastening its demise.
Reflection nebulosity
Hubble Space Telescope image of reflection nebulosity near Merope
Under ideal observing conditions, some hint of nebulosity may be seen around the cluster, and this shows up in long-exposure photographs. It is a reflection nebula, caused by dust reflecting the blue light of the hot, young stars.
It was formerly thought that the dust was left over from the formation of the cluster, but at the age of about 100 million years generally accepted for the cluster, almost all the dust originally present would have been dispersed by radiation pressure. Instead, it seems that the cluster is simply passing through a particularly dusty region of the interstellar medium.
Studies show that the dust responsible for the nebulosity is not uniformly distributed, but is concentrated mainly in two layers along the line of sight to the cluster. These layers may have been formed by deceleration due to radiation pressure as the dust has moved towards the stars.[12]
Names and technical information
A map of the Pleiades
The nine brightest stars of the Pleiades are named for the Seven Sisters of Greek mythology: Sterope, Merope, Electra, Maia, Taygete, Celaeno and Alcyone, along with their parents Atlas and Pleione. As daughters of Atlas, the Hyades were sisters of the Pleiades. The English name of the cluster itself is of Greek origin, though of uncertain etymology. Suggested derivations include: from πλεîν plein, to sail, making the Pleiades the "sailing ones"; from pleos, full or many; or from peleiades, flock of doves. The following table gives details of the brightest stars in the cluster:
The Pleiades' high visibility in the night sky has guaranteed it a special place in many cultures, both ancient and modern. In Greek mythology, they represented the Seven Sisters, while to the Vikings, they were Freyja's hens, and their name in many old European languages compares them to a hen with chicks.
To the Bronze Age people of Europe, such as the Celts (and probably considerably earlier), the Pleiades were associated with mourning and with funerals, since at that time in history, on the cross-quarter day between the autumn equinox and the winter solstice (see Samhain, also Halloween or All Souls Day), which was a festival devoted to the remembrance of the dead, the cluster rose in the eastern sky as the sun's light faded in the evening. It was from this acronychal rising that the Pleiades became associated with tears and mourning. As a result of precession over the centuries, the Pleiades no longer marked the festival, but the association has nevertheless persisted, and accounts for the significance of the Pleiades astrologically.
The early Monte Alto Culture and others in Guatemala such as Ujuxte and Takalik Abaj, made its early observatories, using the Pleiades and Eta Draconis as reference, they were called the seven sisters, and thought to be their original land.[13]
A bronze disk, 1600 BC, from Nebra, Germany, is one of the oldest known representations of the cosmos. The Pleiades are top right. See Nebra sky disk
Heliacal risings very often mark important calendar points for ancient peoples.[14] The heliacal rising of the Pleiades (around June) also begins the new year for the Māori of New Zealand, who call the Pleiades Matariki. There is an analogous holiday in Hawaiʻi known as Makaliʻi. The ancient Aztecs of Mexico and Central America based their calendar upon the Pleiades. Their calendric year began when priests first remarked the asterism rising heliacally in the east, immediately before the sun's dawn light obliterated the view of the stars. Aztecs called the Pleiades Tianquiztli (meaning "marketplace").
Indigenous Australians and Mainland Asians
Depending on the tribe or clan, there are several stories regarding the origins of the Pleiades. Some Indigenous Australian peoples believed the Pleiades was a woman who had been nearly raped by Kidili, the man in the moon.
Another version, often painted by Gabriella Possum Nungurayyi as this is her dreaming (or creation story), daughter of the late Clifford Possum Tjapaltjarri from the Central desert art movement of Papunya, depicts the story of seven Napaltjarri sisters being chased by a man named Jilbi Tjakamarra. He tried to practice love magic to one of the sisters but the sister did not want to be with him and with her sisters, they ran away from him. They sat down at Uluru to search for honey ants but when they saw Jilbi, they went to Kurlunyalimpa and with the spirits of Uluru, transformed into stars. Jilbi transforms himself into what is commonly known as the Morning Star in Orion's belt[citation needed], thus continuing to chase the seven sisters across the sky.
Among the Ban Raji, who live in semi-nomadic settlements scattered throughout western Nepal and northern India, the Pleiades are called the "Seven sisters-in-law and one brother-in-law" (Hatai halyou daa salla). Ban Rajis note that when the Pleiades rises up over the mountain each night, they feel happy to see their ancient kin (Fortier 2008:in press). On a more practical note, Ban Rajis can tell that evening has arrived, indicating that it is about eight o’clock by local time standards when their star-kin rise above the Nepali mountains bordering the Kali River.
Native Americans
The Lakota Tribe of North America had a legend that linked the origin of the Pleiades to Devils Tower. According to the Seris (of northwestern Mexico), these stars are seven women who are giving birth. The constellation is known as Cmaamc, which is apparently an archaic plural of the noun cmaam "woman".[15]
The Native American tribe, the Kiowa, had a myth similar to the Lakota that explained the creation of the Pleiades. According to the Kiowa there were seven young maidens that went out to play and were spotted by several giant bears. The bears saw the young women and began to chase them. In an effort to escape the bears the women climbed on top of a rock and prayed to the spirit of the rock to save them. Hearing their prayers the rock began to rise from the ground towards the Heavens so that the bears couldn't reach the maidens. The seven women reached the sky and were then turned into the star constellation we know today. The bears in an effort to climb the rock left deep claw marks in the sides which had become too steep to climb. The rock later became known as Devil's Tower which is located in the state of Wyoming.[16]
In the ancient Andes, the Pleiades were associated with abundance, because they return to the Southern Hemisphere sky each year at harvest-time. In Quechua they are called collca', or storehouse.
Paul Goble, Native American storyteller, tells a Blackfoot legend that he says is told by other tribes as well. In the story, the Pleiades are orphans that were not cared for by the people, so they became stars. Sun Man is angered by the mistreatment of the children and punishes the people with a drought, until the dogs, the only friends of the orphans, intercede on behalf of the people.
The American Hopi Indians built their underground Kivas for multiple utilitarian uses. The most important of which was their ceremonial meeting place. The access was a ladder through a small hole in the roof of the round hole in the ground. During certain ceremonies, the night passage of the Pleiades over the center of the opening of the entrance hole was a direct signal to begin a certain ceremony. Most of the cultures used the angle of the Pleiades in the night sky as a time telling device.
Ukrainian
In Ukrainian traditional folklore the Pleiades are known as Стожари (Stozhary), Волосожари (Volosozhary), or Баби-Звізди (Baby-Zvizdy).
'Stozhary' can be etymologically traced to "стожарня" (stozharnya) meaning a 'granary', 'storehouse for hay and crops', or can also be reduced to the root "сто-жар", (sto-zhar) meaning 'hundredfold glowing'.[17] ..
'Volosozhary' (the ones whose hair is glowing), or 'Baby-Zvizdy' (female-stars) refer to the female tribal deities. Accordingly to the legend, seven maids lived long ago. They used to dance the traditional round dances and sing the glorious songs to honor the gods. After their death the gods turned them into water nymphs, and, having taken them to the Heavens, settled them upon the seven stars, where they dance their round dances (symbolic for moving the time) to this day. (see article in Ukrainian Wikipedia)
In Ukraine this asterism was considered a female talisman until recent times. Other cultures
The Subaru logo depicts the six stars of the Pleiades cluster that are usually visible from earth with the unaided eye (however it is possible to see many more than six stars under favorable conditions).
In the Bible the Pleiades supposedly mentioned as Khima (Amos 5:8), Talmud (Berachot 58B) says that it has about 100 stars.
In Japan, the Pleiades are known as 昴 Subaru, and have given their name to the car manufacturer whose logo incorporates six stars to represent the five smaller companies that merged into one. Subaru Telescope, located in Mauna Kea Observatory on Hawaii, is named after the Pleiades also.[18]
In Arabic the Pleiades are known as al-Thurayya الثريا, and mentioned in Islamic literature. The name was borrowed into Turkish as a female name, and is in use in both Turkey (as Surayya) and Arab countries (for example Thoraya Obaid). It is also the name of the Thuraya satellite phone system based in the United Arab Emirates.
In the Swahili language of East Africa they are called "kilimia" (Proto-Bantu *ki-dimida in Bantu areas E, F, G, J, L, and S) which comes from the verb -lima meaning "dig" or "cultivate" as their visibility was taken as a sign to prepare digging as the onset of the rain was near.
In the closely related Sesotho language of the Southern Africa's Basotho people the Pleiades are called "Seleme se setshehadi" ("the female planter"). Its disappearance in April (the 10th month) and the appearance of the star Achernar signals the beginning of the cold season. Like many other Southern African cultures, Basotho associate its visibility with agriculture and plenty.
In Indian astrology the Pleiades were known as the asterism (nakshatra) Kṛttikā (which in Sanskrit is translated as "the cutters.")[20] The Pleiades are called the star of fire, and their ruling deity is the Vedic god Agni, the god of the sacred fire. It is one of the most prominent of the nakshatras, and is associated with anger and stubbornness.
The word has acquired a meaning of "multitude", inspiring the name of the French literary movement La Pléiade and an earlier group of Alexandrian poets, the Alexandrian Pleiad.
Jehovah's Witnesses, for 62 years (1891 to 1953), believed the Pleiades cluster or more precisely the star Alcyone was the physical location of the eternal throne of God.]21 century significance
In Ufology some believers describe human-like aliens (called Pleiadeans) as originating from this system.
One image of the pleiades was selected for the cover art of the US release of Xexyz.
The weird world of mystic mogs and death-sensing dogs
Cats who know exactly when they are going to be taken to the vets. Dogs who sense their owners' whereabouts - even if they are miles away. And birds who seem to mourn the deaths of those around them... our pets and other animals have always been intuitive - but do they really have a mysterious sixth sense?
A new book by Britain's leading clinical authority on near-death experiences, Dr Peter Fenwick, and his wife Elizabeth, a counsellor, examines the remarkable cases of psychic animals. . .
Animals may have an extra sense we humans have now lost
There is nothing new about the idea that animals can acquire information from an extra sense that we humans have now lost - if we ever had it at all.
Most pet owners can probably quote some example of a cat or dog behaving like a mind-reader.
Dogs often behave as if they know when their owner is setting off for home, though the owner may be many miles away, and may wait by the door for them to arrive.
Cats are notorious for being able to sense when a visit to the vet is in the offing.
One academic, Rupert Sheldrake, author of Dogs That Know When Their Owners Are Coming Home, contacted 65 veterinary offices in London and asked if they had any problem with cat owners keeping their appointments.
Not only had 64 noticed such problems, but some were no longer making appointments for cat owners, explaining: 'Cat appointments don't work.'
It isn't simply that the cats notice their owner approaching with a cat basket - the animals actually hide as soon as they sense that their owner is beginning to think: 'I'd better start looking for Puss now if we're to make it to the vets on time . . .'
Similarly, an awareness of death is certainly not restricted to us humans. The enormous interest generated by the case of the intuitive American cat, Oscar, indicates the fascination prescient pet behaviour holds.
Oscar lives in a nursing home and has an uncanny ability to sense when a resident is about to die. When a patient is near death, Oscar nearly always appears and hops on the bed.
The staff have come to recognise and respect Oscar's instincts, and send for the relatives of any patient he has chosen to curl up beside.
But they have no explanation for it. Oscar shows no interest in patients who are simply in poor shape, or who still have a few days to live.
Oscar, a hospice cat has an uncanny knack for predicting when nursing home patients are going to die
One theory says a cat's acute sensitivity to smell might enable it to detect some subtle change in metabolism around the time of death, but no one has been able to explain why any moggy should show an interest in the approach of the Grim Reaper.
Given this, it is perhaps not surprising so many people have told us of deathbed-related cat and dog incidents.
Ann Liddell described the odd behaviour of her Newfoundland dog on the night her mother died.
'At about 4.30am he started to bark - not his usual sharp warning bark, but howling. I knew instantly that my mother had died, and soon after we got the call from the hospital to confirm this.'
Michael Finch's mother was dying of cancer. One night Michael left the hospital and returned home to let the dog out.
'I will never forget this as long as I live. At 10.45pm, the dog began to howl like a wolf. It was spine-chilling. I just knew this was because Mum had died.
For five minutes he howled uncontrollably and then took to bed.
'The dog was a Cavalier King Charles spaniel and had never made such a deep, wild and rasping sound. When my father and sister returned later, they confirmed Mum had died at 10.45 pm.'
Susan Burman told how when her husband was on his deathbed, their cat curled up by his feet. As he took his dying breath, the fur on the cat's back stuck out as if by static electricity.
We were told by a carer of a very similar reaction by a resident's cat which normally slept on his bed.
The cat happened to come into the room at the moment the resident died, and a nurse who was present reported: 'It shrieked and sped around the room a couple of times - and then shot out of the room as though it didn't want to be there.
The cat sensed the spirits had finally come for the resident.'
Cat tales
An even stranger story is that of the Cox's cat. It concerns one of our oldest friends, Brian, a biochemist working in a university research department - a person, you might think, not given to imagining things, or jumping to conclusions.
For some years before she died, Brian's elderly aunt would visit regularly. Each time she came she would spend most of her time sitting in one particular chair, and the cat (gratified, as cats usually are, to find a member of the household willing to sit still in one particular place for some considerable time) would spend most of its time sitting on her knee.
The aunt always insisted that when she died, Brian should ensure that she was buried beside her husband - otherwise, she said, she would haunt her nephew. Some months later, she died.
Between the day she died and the day of her funeral, the cat behaved strangely. On going into the sitting room, its hackles rose and its fur stood on end.
It avoided the aunt's chair and hid behind the sofa. After the funeral, when the aunt had indeed been buried beside her husband, the cat's behaviour returned to normal.
Far from reacting like Oscar the cat - who never lost his composure in the face of death (and indeed seemed to seek death out) - most of the animals we have been told about seem to have been very disturbed.
Dogs and cats often seem to 'sense' when a person has died
Dogs bark or howl, and cats' fur stands on end. Perhaps they are experiencing the presence of the dying, or have an awareness of death - but there is no question of them finding it comforting.
Birds, however, are traditionally associated with death - usually as harbingers of doom - and several accounts sent to us concerned bird sightings.
In two cases shortly after the death, a small bird would fly into the house and perch, apparently unconcerned, on a piece of furniture before flying out again.
Not all that unusual, admittedly - but for the bird to appear unperturbed is certainly strange. It's more usual for a bird that has flown into a house to fly around, beating itself against the windows in a panic to escape.
Everyone involved in each of these cases felt the bird's visit was intimately related to the death. Alison Hole, a nurse, wrote to us describing the moments after the death of one of her patients.
The heaviness in the atmosphere of a room after a death, and the feeling that 'something' lingers on after a death and must be released, has also been mentioned by several other correspondents.
Alison reported: 'Walking across the room was slow as the atmosphere was heavy and the floor was like walking through tar.
Birds such as this snowy owl are said to appear after someone has died
Once I opened the window, the atmosphere in the room cleared and I noticed a white bird the other side of the window.
'While it is normal for birds to nest or rest on the hospital window ledges, this was around 4am in the winter. It was dark and too early for dawn - and this was not a seagull. I never saw another pale bird in the area.'
The following story describes bird behaviour that is way beyond what one would expect of a normal bird in normal circumstances.
Oliver Robinson's owl made its appearance some time after the death it was associated with, so it falls into the category of after-death communication rather than deathbed coincidence.
But the extraordinary behaviour of the owl, together with the feelings it engendered in Oliver's mother, made the temptation to include it here irresistible.
Strange behaviour
The first appearance of the owl was on one warm April morning, some months after the death of Oliver's grandmother. Oliver's mother here describes what happened.
'There was a terrific commotion outside the kitchen, caused by our garden birds. When I went out to see what all the fuss was about, the birds were dive-bombing an owl which sat on one of the lower branches of the oak tree.
'It seemed strange that an owl was out in the middle of the day, and although the small birds were trying to frighten it away, it just sat quietly in the tree.
'As the day warmed up I opened the French windows on the south side of the house. When I stepped out into the garden, there was a great flapping of wings and the owl flew down and landed in front of me on the grass.
'It was a large tawny owl about 12in high. It looked up at me with big brown eyes and mewed. It seemed very tame.
'During the day, every time I went outside, the owl would come down and stand in front of me. It was almost as if it was trying to say something. The big brown eyes looked so human and reminded me of my mother, also brown-haired, who had died the previous summer.'
The feathered visitor's strange behaviour didn't end there.
Oliver's mother continues: 'When my husband and children came home I told them about the owl but thought no more about it.
'We always sleep with our top windows open, and that night there was a lot of scuffling and rustling at the window. The owl came down to sit on the window - behaviour my husband didn't like at all.
'The next morning, I opened the kitchen windows. No sooner had I opened the large window over the sink, than there was a great flurry of wings and the owl flew right into the kitchen.
'It seemed best for the children and my husband to go out and close the doors while I opened the outside door, hoping to coax it outside, but it seemed to be quite at home in the kitchen.
'It flew down to the other end, and sat on the curtain rail watching me. It had a tremendous wing-span and it was remarkable that nothing was knocked over. Eventually it flew out of the window and sat on the back porch.
'When we went out to the car later that morning, it came straight down and perched on the flowerpot I was carrying. As we drove out, it sat on the gatepost watching us.
'It came down to our window again that night and to the porch the next day, but not down to my feet. After a few days it disappeared. Every now and then I would hear the sound of it nearby.'
The ability to fly has always been regarded as a magical power, the stuff of dreams.
Perhaps that is why birds have always been regarded as having an element of the supernatural and why, in so many myths and legends, they provide a link between the human world and the supernatural or divine, associated with both birth and death.
In some cultures, the human soul is believed to arrive on Earth in bird form, and in many societies, birds are seen as carriers or symbols of the human soul, flying heavenwards after death, or as guardians who guide the soul to the afterlife.
Perhaps these perplexing modern bird stories indicate the possible origin of these myths - or maybe they are a demonstration that these are more than simply legends.
The Art Of Dying by Peter and Elizabeth Fenwick, published by Continuum Books, is out now.
Abuse is any behavior that is designed to control and subjugate another human being through the use of fear, humiliation, intimidation, guilt, coercion, manipulation etc. Emotional abuse is any kind of abuse that is emotional rather than physical in nature. It can include anything from verbal abuse and constant criticism to more subtle tactics, such as repeated disapproval or even the refusal to ever be pleased.
Emotional abuse is like brain washing in that it systematically wears away at the victim's self-confidence, sense of self-worth, trust in their own perceptions, and self-concept. Whether it is done by constant berating and belittling, by intimidation, or under the guise of "guidance," "teaching", or "advice," the results are similar. Eventually, the recipient of the abuse loses all sense of self and remnants of personal value. Emotional abuse cuts to the very core of a person, creating scars that may be far deeper and more lasting that physical ones. In fact there is research to this effect. With emotional abuse, the insults, insinuations, criticism and accusations slowly eat away at the victim's self-esteem until she is incapable of judging the situation realistically. She has become so beaten down emotionally that she blames herself for the abuse. Her self-esteem is so low that she clings to the abuser.
Emotional abuse victims can become so convinced that they are worthless that they believe that no one else could want them. They stay in abusive situations because they believe they have nowhere else to go. Their ultimate fear is being all alone.
Aggressive forms of abuse include name-calling, accusing, blaming, threatening, and ordering. Aggressing behaviors are generally direct and obvious. The one-up position the abuser assumes by attempting to judge or invalidate the recipient undermines the equality and autonomy that are essential to healthy adult relationships. This parent-child pattern of communication (which is common to all forms of verbal abuse) is most obvious when the abuser takes an aggressive stance.
Aggressive abuse can also take a more indirect form and may even be disguised and "helping." Criticizing, advising, offering solutions, analyzing, proving, and questioning another person may be a sincere attempt to help. In some instances however, these behaviors may be an attempt to belittle, control, or demean rather than help. The underlying judgmental "I know best" tone the abuser takes in these situations is inappropriate and creates unequal footing in peer relationships. This and other types of emotional abuse can lead to what is known as learned helplessness.
Denying a person's emotional needs, especially when they feel that need the most, and done with the intent of hurting, punishing or humiliating (Examples)
The other person may deny that certain events occurred or that certain things were said. confronts the abuser about an incident of name calling, the abuser may insist, "I never said that," "I don't know what you're talking about," etc. You know differently.
The other person may deny your perceptions, memory and very sanity.
Withholding is another form of denying. Withholding includes refusing to listen, refusing to communicate, and emotionally withdrawing as punishment. This is sometimes called the "silent treatment."
When the abuser disallows and overrules any viewpoints, perceptions or feelings which differ from their own.
Denying can be particularly damaging. In addition to lowering self-esteem and creating conflict, the invalidation of reality, feelings, and experiences can eventually lead you to question and mistrust your own perceptions and emotional experience.
Denying and other forms of emotional abuse can cause you to lose confidence in your most valuable survival tool: your own mind.
The other person plays on your fear, guilt, compassion, values, or other "hot buttons" to get what they want.
This could include threats to end the relationship, totally reject or abandon you, giving you the the "cold shoulder," or using other fear tactics to control you.
The abuser seeks to distort or undermine the recipient's perceptions of their world. Invalidating occurs when the abuser refuses or fails to acknowledge reality. For example, if the recipient tells the person they felt hurt by something the abuser did or said, the abuser might say "You are too sensitive. That shouldn't hurt you." Here is a much more complete description of invalidation
Minimizing is a less extreme form of denial. When minimizing, the abuser may not deny that a particular event occurred, but they question the recipient's emotional experience or reaction to an event. Statements such as "You're too sensitive," "You're exaggerating," or "You're blowing this out of proportion" all suggest that the recipient's emotions and perceptions are faulty and not be trusted.
Trivializing, which occurs when the abuser suggests that what you have done or communicated is inconsequential or unimportant, is a more subtle form of minimizing.
Drastic mood changes or sudden emotional outbursts. Whenever someone in your life reacts very differently at different times to the same behavior from you, tells you one thing one day and the opposite the next, or likes something you do one day and hates it the next, you are being abused with unpredictable responses.
This behavior is damaging because it puts you always on edge. You're always waiting for the other shoe to drop, and you can never know what's expected of you. You must remain hypervigilant, waiting for the other person's next outburst or change of mood.
An alcoholic or drug abuser is likely to act this way. Living with someone like this is tremendously demanding and anxiety provoking, causing the abused person to feel constantly frightened, unsettled and off balance.
Berating, belittling, criticizing, name calling, screaming, threatening
Excessive blaming, and using sarcasm and humiliation.
Blowing your flaws out of proportion and making fun of you in front of others. Over time, this type of abuse erodes your sense of self confidence and self-worth.
No one intends to be in an abusive relationship, but individuals who were verbally abused by a parent or other significant person often find themselves in similar situations as an adult. If a parent tended to define your experiences and emotions, and judge your behaviors, you may not have learned how to set your own standards, develop your own viewpoints and validate your own feeling and perceptions. Consequently, the controlling and defining stance taken by an emotional abuser may feel familiar or even conformable to you, although it is destructive.
Recipients of abuse often struggle with feelings of powerlessness, hurt, fear, and anger. Ironically abusers tend to struggle with these same feelings. Abuser are also likely to have been raised in emotionally abusive environments and they learn to be abusive as a way to cope with their own feelings of powerlessness, hurt , fear, and anger. Consequently, abusers may be attracted to people who see themselves as helpless or who have not learned to value their own feelings, perceptions, or viewpoints. This allows the abuser to feel more secure and in control, and avoid dealing with their own feelings, and self-perceptions.
Emotional abuse victims can become so convinced that they are worthless that they believe that no one else could want them. They stay in abusive situations because they believe they have nowhere else to go. Their ultimate fear is being all alone.
Understanding the pattern of your relationships, specially those with family members and other significant people, is a fist step toward change. A lack of clarity about who you are in relationship to significant others may manifest itself in different ways. For example, you may act as an "abuser" in some instances and as a "recipient" in others. You may find that you tend to be abused in your romantic relationships, allowing your partners to define and control you. In friendships, however, you may play the role of abuser by withholding, manipulating, trying to "help" others, etc. Knowing yourself and understanding your past can prevent abuse from being recreated in your life.
Often we allow people into our lives who treat us as we expect to be treated. If we feel contempt for ourselves or think very little of ourselves, we may pick partners or significant others who reflect this image back to us. If we are willing to tolerate negative treatment from others, or treat others in negative ways, it is possible that we also treat ourselves similarly. If you are an abuser or a recipient, you may want to consider how you treat yourself. What sorts of things do you say to yourself? Do thoughts such as "I'm stupid" or "I never do anything right" dominate your thinking? Learning to love and care for ourselves increases self-esteem and makes it more likely that we will have healthy, intimate relationships.
If you have been involved in emotionally abusive relationships, you may not have a clear idea of what a healthy relationship is like. Evna (1992) suggests the following as basic needs in a relationship for you and your partner: (I have changed this from "rights" to "needs" and made other small changes- S.Hein)
The need for good will from the others.
The need for emotional support.
The need to be heard by the other and to be responded to with respect and acceptance
The need to have your own view, even if others have a different view.
The need to have your feelings and experience acknowledged as real.
The need to receive a sincere apology for any jokes or actions you find offensive.
The need for clear, honest and informative answers to questions about what affects you.
The need to for freedom from accusation, interrogation and blame.
The need to live free from criticism and judgment.
The need to have your work and your interests respected.
The need for encouragement.
The need for freedom from emotional and physical threat.
The need for freedom from from angry outburst and rage.
The need for freedom from labels which devalue you.
The need to be respectfully asked rather than ordered.
On July 4, 1776, we claimed our independence from Britain and Democracy was born. Every day thousands leave their homeland to come to the "land of the free and the home of the brave" so they can begin their American Dream.
The United States is truly a diverse nation made up of dynamic people. Each year on July 4, Americans celebrate that freedom and independence with barbecues, picnics, and family gatherings. Through the Internet we are learning about and communicating with people of different nations, with different languages and different races throughout the world. Bringing the world closer with understanding and knowledge can only benefit all nations.
We invite all nations to celebrate with Americans online this Fourth of July.
Happy Birthday, America!
“I pledge allegiance to the flag of the United States of America, and to the Republic for which it stands. One nation under God, indivisible, with liberty and justice for all.”
A US woman is selling her home on an auction website with an unusual extra - the chance to marry her.
Deven Trabosh decided to combine the depressed real estate market with her own depressed love life to create an unusual sale item on Craigslist, the personal selling website.
The 42-year-old single mother has been trying to sell her four-bedroom home in West Palm Beach, Florida, for about a year, reports the Daily Telegraph.
"Marry a Princess Lost in America," she wrote in the advertisement last week, describing a life of romance and travel and a home decorated with vaulted ceilings and a soaking tub in a gated community with a pool and tennis courts.
"I figured let's combine the ad because I'm looking for love and I'm looking to sell the house," said the tanned blonde.
"I'm struggling...I don't want to lose my house and I want to find somebody," she said. "So I came up with this dream plan because I've always dreamt about being a fairytale princess."
She listed the home for £170,000 on a sell-it-yourself web site, but increased the price to £420,000 if the buyer decides to take her as well.
Miss Trabosh is yet to receive any serious offers, but says she has had nearly 500 responses, most of them positive.
Inevitably, there has been criticism, too. Haley, her 21-year-old daughter, said she wanted her mother to find love, while another daughter said her mother was embarrassing.
Miss Trabosh said. "Of course, it's going to take more chemistry and connection. It's not going to be instantaneous that I'm just going to be automatically for sale ... it's a package deal for true love."
Long Trip: Magic Mushrooms' Transcendent Effect Lingers
Survey shows that profound mental changes induced by psilocybin have lasted for more than a year
By David Biello
People who took magic mushrooms were still feeling the love more than a year later, and one might say they were on cloud nine about it, scientists report in the Journal of Psychopharmacology.
"Most of the volunteers looked back on their experience up to 14 months later and rated it as the most, or one of the five most, personally meaningful and spiritually significant of their lives," comparing it with the birth of a child or the death of a parent, says neuroscientist Roland Griffiths of Johns Hopkins University School of Medicine, who lead the research. "It's one thing to have a dramatic experience you say is impressive. It's another thing to say you consider it as meaningful 14 months later. There's something about the saliency of these experiences that's stunning."
Griffiths gave 36 specially screened volunteers psilocybin, the active ingredient in so-called magic mushrooms. The compound is believed to affect perception and cognition by acting on the same receptors in the brain that respond to serotonin, a neurotransmitting chemical tied to mood.
Afterward, about two thirds of the group reported having a "full mystical experience," characterized by a feeling of "oneness" with the universe. When Griffiths asked them how they were doing 14 months later, the same proportion gave the experience high marks for transcendental satisfaction, and credited it with increasing their well-being since then.
But some scientists noted that this psilocybin study was just the first trip on a long journey of understanding. "We don't know how far we can generalize these results," cautions neuroscientist Charles Schuster of Loyola University Chicago and a former director of the National Institute on Drug Abuse. "To attribute all of this to the drug, I think, is a mistake and to expect the same effects from simply taking the drug without this careful preparation in these kinds of people would be a mistake."
Herbert Kleber, who directs the division of substance abuse at Columbia University also notes that it is difficult to assess the mushroom's impact without detailed information on how individual lives were changed. For example, it remains unclear from the study whether volunteers really were more altruistic or simply claimed to be.
But the findings do seem to support reports of recreational users and what LSD guru and 1960s counterculture icon Timothy Leary made famous in his psychedelic lab at Harvard University.
Griffiths and Schuster are proponents of future research on psilocybin to determine whether it has long-term influence on the brain—and whether the reported mystical effects affect memory alone or stem from other physiological changes. This study is among the first of so-called "shrooms" in four decades, coming after the widespread, illegal use of hallucinogens as recreational drugs in the 1960s, which turned off corporate and academic researchers.
"I don't think the evidence is sufficiently strong for any beneficial effect in general for us to consider changing the legality of these substances until a great deal more research is done," Schuster says. "But the illegality should not interfere with this research."
For his part, Griffiths is now recruiting terminally illcancer patients for a trial that will test whether psilocybin mitigates the existential anxiety that comes with facing death. Strangely enough, he says, it may also be a salve for alcoholism and drug addiction.
"It does sound counterintuitive," Griffiths says. But, "six of the 12 AA [Alcoholics Anonymous] steps are related to a higher power and surrendering to it. Many people don't engage fully into the 12-step program because they don't have a connection to a higher power. One can't help but wonder whether an experience like this might be useful."