Dark Matter

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Hubble Maps the Cosmic Web of “Clumpy” Dark Matter in 3-D

This three-dimensional map offers a first look at the web-like large-scale distribution of dark matter, an invisible form of matter that accounts for most of the universe’s mass. This milestone takes astronomers from inference to direct observation of dark matter’s influence in the universe. Because of the finite speed of light, regions furthest away are also seen as they existed a long time ago. The map stretches halfway back in time to the beginning of the universe.

The map reveals a loose network of dark matter filaments, gradually collapsing under the relentless pull of gravity, and growing clumpier over time. This confirms theories of how structure formed in our evolving universe, which has transitioned from a comparatively smooth distribution of matter at the time of the big bang. The dark matter filaments began to form first and provided an underlying scaffolding for the subsequent construction of stars and galaxies from ordinary matter. Without dark matter, there would have been insufficient mass in the universe for structures to collapse and galaxies to form.

[Top] – Three slices through the evolving distribution of dark matter. The dataset is created by splitting the background source galaxy population into discrete epochs of time (like cutting through geologic strata), looking back into the past. This is calibrated by measuring the cosmological redshift of the lensing galaxies used to map the dark matter distribution, and binning them into different time/distance “slices”. Each panel represents an area of sky nine times the angular diameter of the full Moon. Note that this fixed angle means that the survey volume is a really a cone, and that the physical area of the slices increases (from 19 Mpc on a side to 31 Mpc on a side) from left to right.

[Bottom] – When the slices across the universe and back into time are combined, they make a three-dimensional map of dark matter in the universe. The three axes of the box correspond to sky position (in right ascension and declination), and distance from the Earth increasing from left to right (as measured by cosmological redshift). Note how the clumping of the dark matter becomes more pronounced, moving right to left across the volume map, from the early universe to the more recent universe.

The dark matter distribution was mapped with Hubble Space Telescope’s largest ever survey of the universe, the Cosmic Evolution Survey (“COSMOS”). To compile the COSMOS survey, Hubble photographed 575 adjacent and slightly overlapping views of the universe using the Advanced Camera for Surveys’ (ACS) Wide Field Camera onboard Hubble. It took nearly 1,000 hours of observations. The distances to the galaxies were determined from their spectral redshifts, using the Subaru telescope in Hawaii.

Tiger Mountain Strategies

tiger_mountain.jpgTaking Tiger Mountain (By Strategy) is familiar to those of us in the decadent west as the title of Brian Eno’s second solo album, released in 1974. Eno borrowed the title from a set of Chinese postcards depicting a performance of a Maoist opera, and you can now see a copy of those very postcards here.

“The modern revolutionary Peking opera Taking Tiger Mountain by Strategy, carefully revised, perfected and polished to the last detail with our great leader Chairman Mao’s loving care, now glitters with surpassing splendour.

Taking Tiger Mountain by Strategy is one of the outstanding model theatrical works. It describes an episode in the great Chinese People’s War of Liberation, a battle in which a pursuit detachment of the Chinese People’s Liberation Army wiped out a Kuomintang die-hard gang in northeast China. The opera creates the brilliant images of Yan Tzu-jung and other proletarian heroes by the method of combining revolutionary realism with revolutionary romanticism, and eulogizes Chairman Mao’s great thought on people’s war. The successful creation of the modern revolutionary Peking opera Taking Tiger Mountain by Strategy is a splendid victory for Chairman Mao’s revolutionary line on literature and art.”

Eno produced his own set of strategic cards with artist Peter Schmidt (who painted the cover of Tiger Mountain) a year later, Oblique Strategies, “Over one hundred worthwhile dilemmas.” Originally an expensive limited edition, these are now available in a variety of freeware applications or online versions. Best one if you’re among the 17% of Mac-users visiting this site is probably the Dashboard widget, the latest version of which includes the texts of all three editions. The instant access nature of OS X’s Dashboard is especially suited to small information systems such as this.

Previously on { feuilleton }
Exodus art and Plague Songs
Generative culture
My Life in the Bush of Ghosts

You, me and the continuum

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More magazine covers as Time makes everyone using the web (yes, you, dear reader) its person of the year. The first Time cover to favour an object over a human also featured a computer back in 1982, in a picture that looks like one of Ed Kienholz’s assemblages. Steve Jobs must be pleased they used an iMac as the model for this year.

“It is no longer possible to be rooted in history. Instead, we are connected to the topography of computer screens and video monitors. these give us the language and images that we require to reach others and see ourselves.” Celeste Olalquiaga, writing presciently in Megalopolis: Contemporary Cultural Sensibilities (University of Minnesota Press, 1992).

God in the machines

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Fm3’s Buddha Machine.

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The Electronic Qur’an.

• Compact, robust and easy to use;
• Long lasting battery life;
• Large LCD with blue backlight for night time viewing;
• Built-in audio speaker;
• Built-in DC adapter jack;
• Ability to record up to 3 hours* of voice;
• Follow and compare your own voice with the reciters;
• Excellent sound quality with AudiTrax technology;
• Inter-changeable audio plug-in system;
• Bookmark function;
• Repeat function;
• Search function;
• Full audio recitation;
• Approved/licensed Qur’an text in Arabic (Uthmanic font type);
• Approved/licensed Qur’an text in English (Mushin Khan’s translation);
• Approved Islamic contents in both Arabic and English translation.

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Modern Orthodox by Elliott Malkin.

Modern Orthodox is a working demonstration of my next-generation laser eruv system. An eruv (pronounced ey-roov) is a symbolic boundary erected around religious Jewish communities throughout the world. While an eruv is typically constructed with poles and wires, Modern Orthodox employs a combination of low-power lasers, wifi surveillance cameras and graffiti, as a way of designating sacred volumes of space in urban areas.

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Crucifix NG by Elliott Malkin.

Crucifix NG (Next Generation) is the principal work of the Faith-Based Electronics Group at the Interactive Televangelist Program (ITP). Crucifix NG is a printed electronic circuit board in the shape of a crucifix. This handheld, wall-mountable device houses a battery-operated transmitter that broadcasts an ASCII, non-denominational version of the Lord’s Prayer at 916 megahertz. (916 has no numerological significance – it is simply a function of the availability of low-cost transmission chips within this FCC license-free bandwidth.)

Previously on { feuilleton }
Layering Buddha by Robert Henke

Folder icons

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I don’t use customised folder or desktop icons much these days but this set, entitled Ink, is great, based on tribal tattoo stylings. If there were other designs as good as this in the world of lurid, gum-drop-shaped, drop-shadowed reflectiveness, I might be more inclined to customise my folders now and then. Jamie McCanless is the artist responsible and you can see these and other designs on his site, including some nice GLBT and Pride-themed works.

PS: these are Mac-only.