Category Science

WHY HAVE RADIO MESSAGES BEEN BEAMED INTO SPACE?

No one knows if we are alone in the universe. In order to try to make contact with other intelligent life forms in our galaxy, some laboratories regularly send radio signals out into space. In fact, distant constellations do emit radio waves, but so far they do not seem to have been transmitted intentionally by living creatures. Scientists watch for a regular pattern of signals that might indicate a living transmitter.

E.T. isn’t phoning us, so maybe it’s time for us to phone them. That’s the idea behind a new initiative called METI (Messaging Extra Terrestrial Intelligence), an offshoot of SETI (Search for Extraterrestrial Intelligence), that intends to begin beaming targeted messages in 2018 to other star systems that might contain intelligent life.

METI’s messages won’t be the first ones we’ve ever beamed into space. Back in 1974, astronomer Frank Drake used the Arecibo Observatory in Puerto Rico — at the time, the largest radio telescope in the world — to broadcast a long series of rhythmic pulses, 1,679 of them to be exact, with a clear, repetitive structure toward a star cluster called Messier 13, which sits over 25,000 light years from Earth.

Because that message, now known as the Arecibo message, travels at the speed of light, it won’t reach its intended target for another 25,000 years. If there are any aliens living in Messier 13 who happen to have a SETI program of their own, or some equivalent program that listens constantly for alien radio messages, and who happen to have their listening devices pointed in the right direction at the right moment, then perhaps we can expect a call back in around 50,000 years.

In other words, the Arecibo message was not exactly sent to the ideal target. There are star systems we now know of with potentially habitable planets that are much, much closer. METI wants to target these. If there are aliens in our neighborhood, there’s no reason we couldn’t make contact within our own lifetimes.

Picture Credit : Google

WHY WAS MORSE CODE INVENTED?

Morse code was ideal for sending messages by telegraph because it used only two kinds of signal: a long one, called a dash, and a short one, called a dot. By sending long and short bursts of radio waves along a wire, a transmitter could send a clear message. Samuel Morse (1791-1872) was an American engineer who invented a practical magnetic telegraph. His invention was more or less ignored on both sides of the Atlantic, until, in 1843, the United States government allotted 30,000 dollars for a telegraph line between Washington and Baltimore. Morse invented Morse Code for use on his telegraph, which became very successful.

Way back in 1836, Samuel F. B. Morse, along with Joseph Henry and Alfred Vail, invented an electrical telegraph system. Before telephones were invented, it could send messages over long distances by using pulses of electricity to signal a machine to make marks on a moving paper tape.

A code was necessary to help translate the marks on the paper tape into readable text messages. Morse developed the first version of this code.

His version included only numbers. Vail soon expanded it to include letters and a few special characters, such as punctuation marks.

The code — known as Morse code — assigned each number, letter or special character a unique sequence of short and long signals called “dots” and “dashes.”

In Morse code transmission, the short dot signal is the basic time measurement. A long dash signal is equal to three dots. Each dot or dash is followed by a short silence that’s equal to a dot.

If you wonder how they decided which combination of signals was assigned to each letter, they studied how often each letter in the English language was used.

The most used letters were given the shorter sequences of dots and dashes. For example, the most commonly used letter in the English language — E — is represented by a single dot.

The original telegraph machines made a clicking noise as they marked the moving paper tape. The paper tape eventually became unnecessary.

Telegraph operators soon learned that they could translate the clicks directly into dots and dashes. Later, operators were trained in Morse code by studying it as a language that was heard rather than read from a page.

Although Morse originally referred to code signals as dots and dashes, operators began to vocalize dots as “dits” and dashes as “dahs” to mimic the sound of Morse code receivers.

Today, it’s possible to transmit messages in Morse code in any way that dots and dashes can be communicated. This includes sounds and lights, as well as printed dots and dashes.

Morse code was critical for communication during World War II. It was also used as an international standard for communication at sea until 1999, when it was replaced by the Global Maritime Distress Safety System. The new system takes advantage of advances in technology, such as satellite communication.

Today, Morse code remains popular with amateur radio operators around the world. It is also commonly used for emergency signals. It can be sent in a variety of ways with improvised devices that can be switched easily on and off, such as flashlights.

The international Morse code distress signal ( · · · — — — · · · ) was first used by the German government in 1905 and became the standard distress signal around the world just a few years later. The repeated pattern of three dots followed by three dashes was easy to remember and chosen for its simplicity.

In Morse code, three dots form the letter S and three dashes form the letter O, so SOS became a shorthand way to remember the sequence of the code. Later, SOS was associated with certain phrases, such as “save our ship” and “save our souls.”

These were just easy ways to remember SOS, though. The letters themselves have no such inherent meaning.

Picture Credit : Google

WHEN RADIO WAVES WAS FIRST USED TO SEND A MESSAGE?

Although several scientists, including Heinrich Hertz, experimented with sending and receiving radio waves, the first person to patent a useful system for using them to send signals through the air was an Italian engineer called Gugliemo Marconi (1874-1937) in 1896. He created enormous publicity for his work by claiming to have sent the first radio signal across the Atlantic in 1901. Today there is disagreement about whether such a signal was received, but Marconi was right that sending radio messages between Europe and the Americas was possible, and his work encouraged the enthusiasm for and development of radio communications that continues to this day. As Marconi’s messages did not pass through wires, the system was known as wireless telegraphy.

Italian physicist and radio pioneer Guglielmo Marconi succeeds in sending the first radio transmission across the Atlantic Ocean, disproving detractors who told him that the curvature of the earth would limit transmission to 200 miles or less. The message–simply the Morse-code signal for the letter “s”–traveled more than 2,000 miles from Poldhu in Cornwall, England, to Newfoundland, Canada.

Born in Bologna, Italy, in 1874 to an Italian father and an Irish mother, Marconi studied physics and became interested in the transmission of radio waves after learning of the experiments of the German physicist Heinrich Hertz. He began his own experiments in Bologna beginning in 1894 and soon succeeded in sending a radio signal over a distance of 1.5 miles. Receiving little encouragement for his experiments in Italy, he went to England in 1896. He formed a wireless telegraph company and soon was sending transmissions from distances farther than 10 miles. In 1899, he succeeded in sending a transmission across the English Channel. That year, he also equipped two U.S. ships to report to New York newspapers on the progress of the America’s Cup yacht race. That successful endeavor aroused widespread interest in Marconi and his wireless company.

Marconi’s greatest achievement came on December 12, 1901, when he received a message sent from England at St. John’s, Newfoundland. The transatlantic transmission won him worldwide fame. Ironically, detractors of the project were correct when they declared that radio waves would not follow the curvature of the earth, as Marconi believed. In fact, Marconi’s transatlantic radio signal had been headed into space when it was reflected off the ionosphere and bounced back down toward Canada. Much remained to be learned about the laws of the radio wave and the role of the atmosphere in radio transmissions, and Marconi would continue to play a leading role in radio discoveries and innovations during the next three decades.

In 1909, he was jointly awarded the Nobel Prize in physics with the German radio innovator Ferdinand Braun. After successfully sending radio transmissions from points as far away as England and Australia, Marconi turned his energy to experimenting with shorter, more powerful radio waves. He died in 1937, and on the day of his funeral all British Broadcasting Corporation (BBC) stations were silent for two minutes in tribute to his contributions to the development of radio.

Picture Credit : Google

HOW CAN LENSES CHANGE OUR VIEW?

The way in which we see the world has been greatly influenced by photography. We are used to seeing printed images that we could never see with our naked eyes, either because they happen too fast, or because a special camera lens has allowed an extraordinary view to be taken.

Macro-photography is a way of photographing very small objects by using special macro lenses. Used for both still and moving pictures, macro-photography has transformed our knowledge of the way that living things, such as insects, behave.

Macro photography is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life size (though macro-photography technically refers to the art of making very large photographs). By the original definition, a macro photograph is one in which the size of the subject on the negative or image sensor is life size or greater. However, in some uses it refers to a finished photograph of a subject at greater than life size.

The ratio of the subject size on the film plane (or sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically a lens capable of reproduction ratios of at least 1:1, although it often refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1.

Apart from technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 35formet (36×24 mm) film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio.

Reproduction ratios much greater than 10:1 are considered to be photomicrography, often achieved with digital microscope (photomicrography should not be confused with microphotography, the art of making very small photographs, such as for microforms).

Due to advances in sensor technology, today’s small-sensor digital cameras can rival the macro capabilities of a DSLR with a “true” macro lens, despite having a lower reproduction ratio, making macro photography more widely accessible at a lower cost. In the digital age, a “true” macro photograph can be more practically defined as a photograph with a vertical subject height of 24 mm or less.

Picture Credit : Google

HOW CAN PHOTOGRAPHS ARE MADE TO MOVE?

Moving pictures, or movies, do not really have moving images at all. They are simply a series of still photographs, shown rapidly one after the other. Our brains are not able to distinguish the individual images at that speed, so we see what appears to be a moving picture.

Film, also called movie or motion picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty or atmosphere, by the means of recorded or programmed moving images, along with sound (and more rarely) other sensory stimulations. The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.

The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects.

Traditionally, films were recorded onto celluloid film through a photochemical process and then shown through a movie projector onto a large screen. Contemporary films are often fully digital through the entire process of production, distribution, and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack (a graphic recording of the spoken words, music and other sounds that accompany the images which runs along a portion of the film exclusively reserved for it, and is not projected).

The movie camera, film camera or cine-camera is a type of photographic camera which takes a rapid sequence of photographs on an image sensor or on a film. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images; each image constitutes a “frame”. This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the frame rate (number of frames per second). While viewing at a particular frame rate, a person’s eyes and brain merge the separate pictures to create the illusion of motion.

Since the 2000s, film-based movie cameras have been largely (but not completely) replaced by digital movie cameras.

Picture Credit : Google

HOW ARE FILMS PRINTED?

Printing converts the negative image of the film into a positive image on paper. Light is shone through the film onto light-sensitive paper. Passing the light through lenses makes the image larger. The print is then developed and fixed just as the film was.

Photographic paper is a paper coated with a light-sensitive chemical formula, used for making photographic prints. When photographic paper is exposed to light, it captures a latent image that is then developed to form a visible image; with most papers the image density from exposure can be sufficient to not require further development, aside from fixing and clearing, though latent exposure is also usually present. The light-sensitive layer of the paper is called the emulsion. The most common chemistry was based on silver salts but other alternatives have also been used.

The print image is traditionally produced by interposing a photographic negative between the light source and the paper, either by direct contact with a large negative (forming a contact print) or by projecting the shadow of the negative onto the paper (producing an enlargement). The initial light exposure is carefully controlled to produce a gray scale image on the paper with appropriate contrast and gradation. Photographic paper may also be exposed to light using digital printers such as the Light-jet, with a camera (to produce a photographic negative), by scanning a modulated light source over the paper, or by placing objects upon it (to produce a photogram).

Despite the introduction of digital photography, photographic papers are still sold commercially. Photographic papers are manufactured in numerous standard sizes, paper weights and surface finishes. A range of emulsions are also available that differ in their light sensitivity, color response and the warmth of the final image. Color papers are also available for making color images.

Picture Credit : Google