Possible Pressure Plug

is probably obvious that I am an inexperienced engineer, especially when it involves a such a pressing problem as that which is currently in the gulf of mexico. I think, that despite the shearing techniques at the top of well, there is still a possibility to plug this well, though it would have to involve parties with both the technology and "approval" to accomplish the plugging. I do not believe that the present people involved have any such intentions of stopping this leak and thus are essentially are involved in acts of treason against the earth. The pressure at that depth, though intense, are not insurmountable. Again, despite the shearing at the top of the well that leak can be plugged by placing an inflatable plug that uses an internal liquid instead of a a gas, which should perform with more strength and reliably at relatively untested. The plug would have to be made of a type of strong thick rubber that can function at those temperatures and pressures to create a functioning seal inside the well once inflated. To overcome the intense pressure of the oil gushing out the installation of the inflatable plug would have to include a weight on top the plug significant enough to press down with enough mass to push and hold it in place, guided and anchored by rovs, and perhaps shaped like a half sphere, or v, so as to let gushing oil past with minimal resistance as it is placed. This technique could also be used on smaller leaks is near by pipes, which i am guessing there still are, by rovs that have strong enough robotics to insert smaller inflatable plugs at such sites. I know that this idea is not unique to me, and i know that most likely this method could have worked within a few weeks of trying, which is why it is sad to have to write about it at this current stage of this horrible disaster.

As a additional note I think this cruddy occurrance only goes to illustrate the importance of using earth surface biological derived fuels to power both diesel and gas engines until new technologies are developed. m(ost humans are still earting fairly fatty foods.) In my opinion it is becoming obvious that taking oil out of the earth is harming it in the quantities in which we are extracting it, especially with the safety technology that had been developed by such a tiny investment in relation to profits. Removing such quantities of mass from the earth can only be morphing its internal functioning siginificantly in ways not yet fully understood in terms of geophyscical processes, whereas this near star has been there everyday for eons, and the earth itself generates electricity which is obvious by its magnetic field and the lightening and such. i hope this leak is stopped soon and not just written of even for a month because somehow relief wells are seen as the only option, though that seems to be what people resigned themselves to early on and nopw quite a significant and somewhat irreparable damage has been done for most carbon based life in that region and on earth as a whole of unknown depth.

QED: light is heavy, and how?

Event — Tue Nov 24, 2009 12:24 AM PST
e-m, mass-of-light, science-humor, science-serious,
alicedrea

See also: Mass in special relativity and General relativity

(this is a pasted "seed" from wikipedia on the mass of photons, with a few insertions from the author of: A Cathode Ray Tube Inside a Mirrored Orthorhombic Polyhedron Demonstrates Light's Significant Mass)

The energy of a system that emits a photon is decreased by the energy E of the photon as measured in the rest frame of the emitting system, which may result in a reduction in mass in the amount E / c2. Similarly, the mass of a system that absorbs a photon is increased by a corresponding amount. As an application, the energy balance of nuclear reactions involving photons is commonly written in terms of the masses of the nuclei involved, and terms of the form E / c2 for the gamma photons (and for other relevant energies, such as the recoil energy of nuclei).[77]

This concept is applied in key predictions of quantum electrodynamics (QED, see above). In that theory, the mass of electrons (or, more generally, leptons) is modified by including the mass contributions of virtual photons, in a technique known as renormalization. Such "radiative corrections" contribute to a number of predictions of QED, such as the magnetic dipole moment of leptons, the Lamb shift, and the hyperfine structure of bound lepton pairs, such as muonium and positronium.[78]

Since photons contribute to the stress-energy tensor, they exert a gravitational attraction on other objects, according to the theory of general relativity. Conversely, photons are themselves affected by gravity; their normally straight ( ie: where there is no gravity or mass in effect) trajectories may be bent by warped spacetime, as in gravitational lensing, and their frequencies may be lowered by moving to a higher gravitational potential, as in the Pound-Rebka experiment. However, these effects are not specific to photons; exactly the same effects would be predicted for classical electromagnetic waves.[79]
[edit] Photons in matter
See also: Group velocity and Photochemistry

(Visible) light that travels through transparent matter (including dense reflected similar or exact photonic substace to itself such as qed'd in cathode ray tube inside a mirrored orthorhombic polyhedron experiment published on this site, as well as demonstrated by experiments with ultra cool lasers) does so at a lower speed than c, the speed of light in a vacuum. X-rays, on the other hand, usually have a phase velocity above c, as evidenced by total external reflection. In addition, light can also undergo scattering and absorption. There are circumstances in which heat transfer through a material is mostly radiative, involving emission and absorption of photons within it. An example would be in the core of the sun. Energy can take about a million years to reach the surface;[80]. However, this phenomenon is distinct from scattered radiation passing diffusely through matter, as it involves local equilibration between the radiation and the temperature. Thus, the time is how long, but never too short, to reach ahead, to project the image, it takes the energy to be transferred, not the photons themselves. Once in open space, a photon from the Sun takes only 8.3 minutes to reach Earth, unless mr. burns or angels star shield is employed in totality over said open space. The factor by which the speed of light is decreased in a material is called the refractive index of the material. In a classical wave picture, the slowing can be explained by the light inducing electric polarization in the matter, the polarized matter radiating new light, and the new light interfering with the original light wave to form a delayed wave. In a particle picture, the slowing can instead be described as a blending of the photon with quantum excitations of the matter (quasi-particles such as phonons, phonographs sent KPSU and excitons) to form a polariton; this polariton has a nonzero effective mass, which means that it cannot travel at c.

Alternatively, photons may be viewed as always traveling at c, though given new theories relating to dark matter and energy the universe seriously does abhor a vacuum. eve

POEM GENERATED FROM A SCIENTIFIC PAPER

the above image is a of the geometry of a photonic crystal, dimensions unknown, though if you can show me a 1 or even 2 dimension photonic crystal I will send you a poem writen with waterproof ink inside a bottle of CRYSTAL. don't stall!

THIS IS A POEM GENERATED FROM A SCIENTIFIC PAPER WRITTEN IN THE SEATTLE PUBLIC LIBRARY (ABOUT AN EXPERIMENT IN PORTLAND OREGON) WHERE ONE COULD GET FREE BROADBAND ACCESS THOUGH THAT DOES NOT MEAN THAT THE BROAD NEXT TO YOU WOULD AGREE TO READ IT WHETHER YOU ARE IN A BAND OR NOT. I THINK IT ONLY PROVES THAT POETRY AS SCIENCE PROBABLY DOES NOT PASS THE TEST OF SCIENCE AS POETRY. YOU'D PROBABLY GET A BIGGER KICK FROM THE NITROUS OXIDE IN OUR ATMOSPHERE, THOUGH I KIND OF LIKE IT...

Feedback, a light source close, which adds fonts which, were changing generated pictures.

Black & white striped imagery combined often descending into "infinity".

Organisms, the plant like structures of vines & flowers egg fertil fibrous strands extending, which you might see.

Somewhat explained via found reminiscent material I do feel that their is probably much.

To be learned in a kind of chicken & egg with respect.

I have yet to be being that of the figurative universe.

Relatively stable, previous changing camera angel, positions an organic world unto itself.

Mirrors this world to operate with an intelligence uniquely its own, which eminates the intensity of the cath.

Ever, I have not done feedback experiments using a not very careful first viewing of these, single can imagine a kind of electronically generated more careful look.

Icons of some kind related to ours, but unique unto itself, smile spirited childlike flowers and garish goth gouls drawn by girls.

Entire bodily forms of creatures not of this world and other entities & dark entries quite easy and enjoyable would be key to what is perceived out of the ether.

Peculiar look fonts swirling a 3 phase exuding & excluding cosmic phenomes which present systems that relate feedback image, motion & luminance.

They oscillate through their periodic cycles, integral.

Images from CRT in Mirrored Orthorhombic Polyhedron article @ alicedrea.newsvine.com

click on images to enlarge:

A Video Feedback Loop as a Model for Organic Life & Technological Generative Processes

This experimental system occurred 1/5/2005...
The Basic Algorithm Was: neg. video feedback, a light source close to the lens which adds a some what point source (in comparison to the light coming into the camera lens from the feedback monitor and room light) of photons to the loop (in this case the camera movie light), and the tape clock (in some feedback camera tilt/lens zoom positions) which was simply adding its numerical fonts which where changing on the second.



Several of the resultant systems generated from the above first reminded me of pictures of Julia sets I had seen because of the black and white striped imagery combined with fractal geometry like elements often descending into "infinity". From what I have studied of the Julia set it does involve a sort of mathematical "feedback" process with respect to his equations.

Also, while looking at many of these systems, all of which were derived d��ˇuring the same experimental session, I noticed many similarities to dynamic systems already existing in the known universe, such as: single or simple celled organisms, cellular reproduction in more complex organisms, the plant like structures of vines and flowers, egg/sperm fertilization in animals, fibrous strands extending from a central core as in the ganglions of neurons and dendrites, maze like structures that seem somewhat a kin to the mammalian brain, to more cosmic scale phenomenon like vortices which you might see in nature in scale ranging from whirlpools to hurricanes to the storms on Jupiter on up to galaxies such as our milky way and possibly beyond. This coil or vortex pattern/system is well known in the world of mathematics and somewhat explained via phi, aka, the golden mean/ratio ie: the spiral, to be observed on the animal scale in the shells of snails and a variety of species who “carry their home on their back”. Another form I noticed frequently occurring was many kinds of “strings” t��¸hat I found reminiscent of material and images produced of: chromosomes, protein strands, dna/rna, polymers and even the highly abstract string/M theories. The last two types of forms I observed being generated in these systems relate more the human intellect and perhaps demonstrate a natural link between the universe and that of human language/art and technology. I recorded symbols such as swirling yin/yang like pictures, the triangle, the star of David, atomic orbits, diagrams of lunar/seasonal cyclical positions ect. as well as technological structures developed by humanity such as the turbine (Tesla's 3 blade turbine engine in particular) and a timed electrical distributor (such as that in the automobile).

These video feedback systems I found extremely interesting from the perspective of both artist and scientist. I am not a knowledgeable enough mathematician to describe in mathematical script what is going on in terms of the xy co-ordinates/black and white imagery over time with respect to ��Çthe parameters of each system as described in the "Basic Algorithm". I do feel that there is probably much to be learned from a physics, bio., chem., engineering, systems analyst, and social science perspective by describing these systems in terms of calc. script, in a kind of reverse process from the way fractal geometric graphics were derived from the scripts of Mandelbrott and Julia. I am not sure, though I would think it would be most likely, that their respective calculus was originally inspired by some sort of visual phenomenon in nature. As they were pioneers in the field of chaos math/the non-linear dynamics of complex systems it is a bit of a chicken and egg question I suppose.

While the aforementioned systems are worthy of in depth research with respect to their relevance to a particular field of study. I have yet to describe what I consider to be the most interes��Åting aspect discovered during this session, being that of the figurative universe found lurking between the derivations of the more "significant" or at least more relatively stable systems listed in the previous paragraph. In these spaces the common generative factor was what I would consider one of the most significant "chaos" elements in the this experimental system, that of changing camera angel and lens zoom positions. While looking at these “between” sections frame by frame I literally stumbled upon a sort of "virtual" organic world unto itself that mirrors this world in many ways, but which also seems to operate with an intelligence uniquely its own, one which is far greater than the sum of the basic interaction of the materials used in this experiment, namely that of light. The particular type of light employed here was that which emanates from the cathode ray tube @ 60hz to m��ake two video fields or one video frame every 30th of a second. My point being, a video feedback loop using a cathode system is very much a kin to a photon based particle accelerator. I believe it is the intensity of the cathode ray "guns" "firing" the photons to make television pictures @ the fairly extreme rate 1440 X 960 (720 X 480 X 2 DV NTSC aspect ratio) "pixels"/30th of a second that makes this virtual universe unique with respect to the physical interaction of light in a feedback loop. However, I have not done feedback experiments using LCD or plasma monitors to confirm this at this point in time and thus this theory remains conjecture on my part, based on what I know about the physical properties of the cathode system, obviously, until experimentally confirmed.

Upon a n��ßot very careful first viewing of these single frames I can imagine a cynical skeptic dismissing this world as a kind of electronically generated "rorschach" (sp?), though I would have to insist that they were quite misguided and I would urge them to take a closer more careful look at this imagery where I have found all sorts of specific forms that are literal icons of some kind of intelligence related to ours, but unique to itself (a sort of “AI” if you will) making pictures literally at light speed and photographically documented @ a 30th of a second. I personally see in this experimental system, and can point out to another observer upon request, simple yet spirited childlike flower drawings and smiley faces at one end of the spectrum to the other end of the spectrum, being that of complex entire bodily forms of creatures not of this world and “drawn” completely by the physical interaction of light with in this system.���

It is here I would like to interject a tenet of quantum mechanics, that being that the observer (in this case the partial creator of the system) of a system effects the perceived system because in reality they are part of the system they are observing. This bears particular significance to these creatures and other entities because each observer will bring their own consciousness to the viewing and see what they see as unique individuals. This scientific perspective probably has even more significance during the experimental recording sessions for the obvious reason that that is when the recording is being created. I mention this because I have found it quite easy and enjoyable to construct entire narratives by simply placing a soundtrack with this imagery. With this in mind the particular consciousness of the participating observers, and their interactions with each other, if there is multiple observers, would be key to what is perceived. This is of course where the art and imagination side of the p���roject comes into play and what I would like to make the focus of an animation project, working with these characters which quite literally almost have appeared out of the ether and place them within the tools of modern day photographic and computer animation. To call upon a bad pun using somewhat antiquated video speak, this system is a C.G.... a Character Generator, only most of the characters it generates are just that, characters, not fonts in an alphanumeric language, though the camera time code was certainly an element which brought these creatures into existence. Occasionally there does occur some rather peculiar looking fonts swirling in this virtual cosmic soup.

In closing, I consider this system to be a "small" scale alternate “dimensional” model for how a universe might come into existence over a period of evolution. It is small in scale, in human terms of course, as scale is always relative to the size of the observer and it is of an alternate dimension than ours because it is made prima��⁄rily of light and the absence of light.


I have looked at many texts on the subjects of non-linear dynamics and fractal geometry from the fields of mathematics, physics, fluid mechanics, astrophysics, astronomy (gaseous nebula, Jovian planets and star clusters are excellent examples of non fractal yet “chaotic” systems) chemistry, botany, biology, oceanography and geology and have not run across any imagery approaching the variety, complexity and probably most importantly the human like, but definitely meta-human intelligence encountered in some of the still imagery from this experimental session. A recent book I am currently reading Nonlinear Oscillations in Physical Systems by Chihiro Hayashi (1964, McGraw Hill) has some similar looking imagery with respect to some of the more basic oscillations which I referred to as “symbolic”. ie: the yin yang and the spiral, but with multiple levels elements interacting. His experimental methodology appears to be an electric��≈al synthesis feedback loop systems monitored over a 3 phase electricians oscilloscope, but he does not go into the specifics of any of the technology employed other than he is an electrical engineer and he does show the 3 phase 1080 degree scope. (An Introduction to Fluid Mechanics by G.K. Batchelor Cambridge, 1967 excluding cosmic phenomena is a second text which presents relevant graphical systems that relate to the non-linear dynamics and fractal aspects of this experimental system) astronomy(gaseous nebula, Jovian planets and star clusters are examples of non fractal chaos systems) The math is over my head as I am not a mathematician of that level in the field of electrical engineering, but it is appears to be an excellent book for me to begin looking at the relationship between calculus and non linear dynamic pictures like the ones I have generated with the help of a 1 video camera and 1 television monitor. The experimental system I am working o��3n is more specific to the interaction of light in a feedback system than electricity, but there are some obvious relations as well.

An Introduction to Fluid Mechanics by G.K. Batchelor (Cambridge, 1967) is a second text which presents relevant graphical systems that relate to the non-linear dynamics and fractal aspects of this experimental system)

A third text, and probably the most relevant one yet that I have encountered related to this experimental work is by J.P. Churchfield, entitled Space-time dynamics in video feedback (Physica D, vol. 10, 1984 p.229). In it he attempts to describe some of the aspects of the single monitor/single camera video feedback image motion and luminace dynamics as they oscillate through their specific periodic cycles in time using differential and integral calculus.�