Scientists behind a theory that the speed of light is variable - and not constant as Einstein suggested - have made a prediction that could be tested.

Einstein observed that the speed of light remains the same in any situation, and this meant that space and time could be different in different situations.

The assumption that the speed of light is constant, and always has been, underpins many theories in physics, such as Einstein's theory of general relativity. In particular, it plays a role in models of what happened in the very early universe, seconds after the Big Bang.

But some researchers have suggested that the speed of light could have been much higher in this early universe. Now, one of this theory's originators, Professor Joao Magueijo from Imperial College London, working with Dr Niayesh Afshordi at the Perimeter Institute in Canada, has made a prediction that could be used to test the theory's validity.

Structures in the universe, for example galaxies, all formed from fluctuations in the early universe – tiny differences in density from one region to another. A record of these early fluctuations is imprinted on the cosmic microwave background – a map of the oldest light in the universe – in the form of a 'spectral index'.

Working with their theory that the fluctuations were influenced by a varying speed of light in the early universe, Professor Magueijo and Dr Afshordi have now used a model to put an exact figure on the spectral index. The predicted figure and the model it is based on are published in the journal >Physical Review D.

Cosmologists are currently getting ever more precise readings of this figure, so that prediction could soon be tested – either confirming or ruling out the team's model of the early universe. Their figure is a very precise 0.96478. This is close to the current estimate of readings of the cosmic microwave background, which puts it around 0.968, with some margin of error.

Radical Idea

Professor Magueijo said: "The theory, which we first proposed in the late-1990s, has now reached a maturity point – it has produced a testable prediction. If observations in the near future do find this number to be accurate, it could lead to a modification of Einstein's theory of gravity.

"The idea that the speed of light could be variable was radical when first proposed, but with a numerical prediction, it becomes something physicists can actually test. If true, it would mean that the laws of nature were not always the same as they are today."

The testability of the varying speed of light theory sets it apart from the more mainstream rival theory: inflation. Inflation says that the early universe went through an extremely rapid expansion phase, much faster than the current rate of expansion of the universe.

The Horizontal Problem

These theories are necessary to overcome what physicists call the 'horizon problem'. The universe as we see it today appears to be everywhere broadly the same, for example it has a relatively homogenous density.

This could only be true if all regions of the universe were able to influence each other. However, if the speed of light has always been the same, then not enough time has passed for light to have travelled to the edge of the universe, and 'even out' the energy.

As an analogy, to heat up a room evenly, the warm air from radiators at either end has to travel across the room and mix fully. The problem for the universe is that the 'room' – the observed size of the universe – appears to be too large for this to have happened in the time since it was formed.

The varying speed of light theory suggests that the speed of light was much higher in the early universe, allowing the distant edges to be connected as the universe expanded. The speed of light would have then dropped in a predictable way as the density of the universe changed. This variability led the team to the prediction published today.

The alternative theory is inflation, which attempts to solve this problem by saying that the very early universe evened out while incredibly small, and then suddenly expanded, with the uniformity already imprinted on it. While this means the speed of light and the other laws of physics as we know them are preserved, it requires the invention of an 'inflation field' – a set of conditions that only existed at the time.

Author: Hayley Dunning | Source: Imperial College London [November 25, 2016]

Apartment in London, United Kingdom

A modern townhouse located in the northern part of London was completely renovated by TG-STUDIO. Dark and soulless space has the new life. Architect Thomas Griem has introduced a central staircase that connects the six levels of single-parent together. Three bedrooms, two bathrooms, living room, kitchen and dining room smoothly follow each other without visible boundaries. All the rooms are made in a minimalist style with a Scandinavian accent, where a bright finish of natural materials is a reflection of the Norwegian roots of the owner.

The stories of Roman lives are written their bones: diet, disease, childbirth and trauma all leave their mark. Individual skeletons can tell rich tales, but the fullest information comes from large groups, when we can look at populations. So what can we learn about about a Roman community from their skeletons?

Whether they were a slave

Slavery was ubiquitous in the Roman world, and some of its agonies are preserved on skeletons: those working in and living near Roman mines in Jordan were exposed to lead and copper at levels that would have been toxic, and caused a range of illnesses. The remains of people who were likely to have been slaves have also been found still wearing iron shackles, for instance in a subterranean room of a villa in Pompeii, and near the silver mines of Laurion in Roman-era Greece.

Whether they played sports

Among the human remains from ancient Herculaneum, which was destroyed by the eruption of Vesuvius at the same time as Pompeii, were a possible boxer, with typical fractures to his hands and nose, and a javelin-thrower whose bones reveal the same elbow problems experienced by modern athletes.

How they died, who they loved

At Dura-Europos in Syria, remains of Roman and Sasanian troops trapped in a siege mine beneath the walls of the ancient city reveal the brutal and violent reality of ancient conflict, including gas warfare. In the nearby cemetery, families were buried together in underground tombs, with women and children placed together.

Where people came from

Even places like Roman Britain were diverse. Scientific methods (such as isotope analysis), as well as the study of graves and grave goods (the objects buried with a body) can tell us where a person was likely to have come from, or where they had links to. For instance, work on the cemeteries of Roman York has shown that people buried there came from other places in Britain, and much further afield in Europe, the Middle East and North Africa.

The extent of childhood illnesses

In the Roman world, children often didn’t make it to adulthood. Roman cemeteries such as Poundbury in Dorset include many children with rickets, scurvy and anaemia – survival rates were staggeringly low by modern Western standards. Infant and early childhood mortality was high in the Roman period, with 45% of children unlikely to survive past five years of age.

So we can learn a lot about how a Roman may have lived from her or his remains, but, while skeletons are biological, bodies are cultured and contextual; they can be modified to fit ideals of beauty, status, or gender. Ultimately, Roman skeletons tell us that culture is a significant factor in determining difference: underneath it all, we’re pretty much the same collection of 206 interlocking parts.

Dr Jen Baird and Dr Tim Reynolds from the Department of History, Classics and Archaeology, Birkbeck College, University of London, will be talking in depth about Roman skeletons at a Guardian Live/Birkbeck event on 21 November.

Authors: Dr Jen Baird and Dr Tim Reynolds | Source: The Guardian [November 14, 2015]

The Australian Age of Dinosaurs Museum today announced the naming of Savannasaurus elliottorum, a new genus and species of dinosaur from western Queensland, Australia. The bones come from the Winton Formation, a geological deposit approximately 95 million years old.

Savannasaurus was discovered by David Elliott, co-founder of the Australian Age of Dinosaurs Museum, while mustering sheep in early 2005. As Elliott recalled yesterday, "I was nearly home with the mob -- only about a kilometre from the yards -- when I spotted a small pile of fossil bone fragments on the ground. I was particularly excited at the time as there were two pieces of a relatively small limb bone and I was hoping it might be a meat-eating theropod dinosaur." Mr Elliott returned to the site later that day to collect the bone fragments with his wife Judy, who 'clicked' two pieces together to reveal a complete toe bone from a plant-eating sauropod. The Elliotts marked the site and made arrangements to hold a dig later that year.

The site was excavated in September 2005 by a joint Australian Age of Dinosaurs (AAOD) Museum and Queensland Museum team and 17 pallets of bones encased in rock were recovered. After almost ten years of painstaking work by staff and volunteers at the AAOD Museum, the hard siltstone concretion around the bones was finally removed to reveal one of the most complete sauropod dinosaur skeletons ever found in Australia. More excitingly, it belonged to a completely new type of dinosaur.

The new discovery was nicknamed Wade in honour of prominent Australian palaeontologist Dr Mary Wade. "Mary was a very close friend of ours and she passed away while we were digging at the site," said Mr Elliott. "We couldn't think of a better way to honour her than to name the new dinosaur after her."

"Before today we have only been able to refer to this dinosaur by its nickname," said Dr Stephen Poropat, Research Associate at the AAOD Museum and lead author of the study. "Now that our study is published we can refer to Wade by its formal name, Savannasaurus elliottorum," Dr Poropat said. "The name references the savannah country of western Queensland in which it was found, and honours the Elliott family for their ongoing commitment to Australian palaeontology."

In the same publication, Dr Poropat and colleagues announced the first sauropod skull ever found in Australia. This skull, and the partial skeleton with which it was associated, has been assigned to Diamantinasaurus matildae -- a sauropod dinosaur named in 2009 on the basis of its nickname Matilda. "This new Diamantinasaurus specimen has helped to fill several gaps in our knowledge of this dinosaur's skeletal anatomy," said Poropat. "The braincase in particular has allowed us to refine Diamantinasaurus' position on the sauropod family tree."

Dr Poropat collaborated with British sauropod experts Dr Philip Mannion (Imperial College, London) and Professor Paul Upchurch (University College, London), among others, to work out the position of Savannasaurus (and refine that of Diamantinasaurus) on the sauropod family tree. "Both Savannasaurus and Diamantinasaurus belong to a group of sauropods called titanosaurs. This group of sauropods includes the largest land-living animals of all time," said Dr Mannion. "Savannasaurus and the new Diamantinasaurus specimen have helped us to demonstrate that titanosaurs were living worldwide by 100 million years ago."

Poropat and his colleagues suggest that the arrangement of the continents, and the global climate during the middle part of the Cretaceous Period, enabled titanosaurs to spread worldwide.

"Australia and South America were connected to Antarctica throughout much of the Cretaceous," said Professor Upchurch. "Ninety-five million years ago, at the time that Savannasaurus was alive, global average temperatures were warmer than they are today. However, it was quite cool at the poles at certain times, which seems to have restricted the movement of sauropods at polar latitudes. We suspect that the ancestor of Savannasaurus was from South America, but that it could not and did not enter Australia until approximately 105 million years ago. At this time global average temperatures increased allowing sauropods to traverse landmasses at polar latitudes."

Savannasaurus was a medium-sized titanosaur, approximately half the length of a basketball court, with a long neck and a relatively short tail. "With hips at least one metre wide and a huge barrel-like ribcage, Savannasaurus is the most rotund sauropod we have found so far -- even more so than the somewhat hippopotamus-like Diamantinasaurus," said Dr Poropat. "It lived alongside at least two other types of sauropod (Diamantinasaurus and Wintonotitan), as well as other dinosaurs including ornithopods, armoured ankylosaurs, and the carnivorous theropod Australovenator."

Mr Elliott is relieved that Wade can now join "Matilda" and the other new dinosaur species on display in the Museum's Holotype Room. "That this dinosaur specimen can now be displayed for our visitors is a testament to the efforts of numerous volunteers who have worked at the Museum on the fossils over the past decade," he said. Mr Elliott and Dr Poropat agree that the naming of Savannasaurus, the fourth new species published by the AAOD Museum, is just the tip of the iceberg with respect to the potential for new dinosaur species in western Queensland.

"The Australian Age of Dinosaurs Museum has a massive collection of dinosaur fossils awaiting preparation and the number of specimens collected is easily outpacing the number being prepared by volunteers and staff in our Laboratory," Mr Elliott said. "The Museum already has the world's largest collection of bones from Australia's biggest dinosaurs and there is enough new material to keep us working for several decades."

The paper naming the new dinosaur was published in >Scientific Reports.

Source: Australian Age of Dinosaurs Museum of Natural History [October 20, 2016]

A large wooden model boat from the Egyptian Middle Period 2123-1797 BC, sold for £161,000 at Bonhams Antiquities Sale in London yesterday. The boat had been estimated at £30,000-50,000.

Boats were an integral part of Egyptian everyday life and mythology and as such they were considered necessary in the afterlife. Usually two model boats were provided for each tomb, one showing the crew sailing south with the prevailing wind and the other with the crew rowing north.

The boat was originally bought by British army officer, Esmond Sinauer, in Egypt in the early part of the 20th century and passed by descent to the Scottish private collection from which it was consigned for sale.

In total the sale made more than £1,310,000.

Other highlights included:

• A late Egyptian Bronze Cat from around 664-30 BC estimated at £20,000-30,000 which sold for £137,000. The cat had been in the well-known collection of the Antiquities dealer Raymond Richardson who acquired it in the 1950s.

• A Roman Marble Mask of a Woman from the 1st century AD which sold for £102,500 having been estimated at £20,000-30,000.

• A Roman Marble torso of a man estimated at £30,000-50,000 which sold for £60,000.

Bonhams Senior Specialist in Antiquities, Siobhan Quin, said,” The wooden boat was an exceptionally fine work of particularly impressive dimensions which attracted a lot pre-sale interest, reflected in keen bidding in the sale room on the phones and on the internet. In a strong sale, a first-century bronze Egyptian cat also stood out, but many other pieces also exceeded their estimates.”

Source: Bonhams [December 01, 2016]

An ornate fresco that once adorned the residence of a wealthy Roman citizen has been discovered by a team of archaeologists at 21 Lime Street, in London.

Archaeologists from the Museum of London Archaeology (MOLA) uncovered the fresco six metres below street level, whilst undertaking archaeological fieldwork for a new office development. Dating to the late 1st century AD, and the first decades of London, it is one of the earliest surviving frescos from Roman Britain.

Thanks to a huge Roman construction project, the fate of this rare wall painting was literally sealed in the ground. In AD 100, construction of the 2nd Forum Basilica, the main civic centre for the city and the largest Roman building ever built north of the Alps, began. In advance of construction of the Forum the area was flattened. The painted wall was deliberately toppled and the Forum immediately built over it, incredibly preserving the fresco for nearly 2000 years.

Discovered face down, the fresco was identified from the distinctive markings of the keyed daub onto which the plaster was attached. The fragile remains, surviving to a width of nearly 2.5 metres and a height of over 1.5 metres, were carefully removed from the site by archaeological conservators, who lifted the fresco in 16 sections.

Each section was supported, undercut and block lifted so that soil encased and protected the plaster. Back in the lab the conservators worked quickly to micro-excavate the soil whilst it was still damp, to expose the millimetre-thin painted surface beneath.

The painting is likely to have decorated a reception room where guests were greeted and entertained. Building materials specialists will study the elaborate fresco further to learn more about the fashions and interiors favoured by London’s first wealthy citizens.

The central section, on a background of green and black vertical panels, depicts deer nibbling trees, alongside birds, fruit and a vine woven around a candelabrum. Red panels, bordered with cream lines, surround the main decorative scheme.

The fresco was hand-painted by a skilled artist in natural earth pigments, except one area of red on the twisting vine stem which is picked out in cinnabar, an expensive mercuric sulphide pigment that had to be mined in Spain.

Fascinatingly, a slight error in the design reveals that the craftsman who painted the fresco made a mistake. It suggests that there was more than one person painting the wall and that they may have been working to a pre-prepared template. The mistake could only have been corrected by repainting the whole middle panel.  

Although small fragments of Roman wall plaster have been found in London, complete collapsed wall paintings are extremely rare and the 21 Lime Street example is one of the earliest known from Britain. This design scheme has not previously been seen in Roman Britain; the closest example comes from a Roman villa in Cologne, Germany.

Specialists from MOLA continue to study the fresco and archaeological records from the dig and hope to build a picture of what the area looked like in the Roman period and how it developed over almost 2,000 years of London’s history.

Source: MOLA [February 03, 2016]

Throughout the Renaissance, the demand for antiques among the aristocracy burgeoned, with the trend soaring by the late 17th century as members of the upper classes began scouring Europe in search of bronzes, sculptures, prints, lamps and vases. With disposable income then rising among the aspiring middle classes in the latter part of the 19th century, the bourgeoisie took to investing in their homes and in the finer things as well. As antiques went mainstream, the market boomed in the hubs of London and Paris.

However, despite this generally rising appetite, antiques have a tendency to go in and out of fashion, as evidenced by the lulls in between the booms of the 1950s and 1980s. At present, the market is experiencing yet another lull; new tastes and values have sent demand and prices for antiques crashing, leaving armoires, bejewelled knick-knacks and Regency dining chairs unwanted and unsold, and causing many industry players to close down or change course entirely. Yet, in the midst of all the doom and gloom for antiques aficionados, there is some cause for optimism in a few niche areas, especially when it comes to fossils and minerals.

Out with the old

With so many more people living in smaller abodes these days – urban dwellers in particular – there is very little space for antique desks and looming tapestries. Nor, in fact, do such items match contemporary tastes, as interior design trends have changed considerably over the past decade or two. Sleek and modern pieces, airy spaces and overall functionality are the style du jour; cluttered rooms and bulky furniture seem to have little place in 21st century life.

“In general, young people have lost interest, and it is mostly older people who are buying – and obviously this area of the population is one that declines”, said Errol Fuller, a curator at Summers Place Auctions, and a leading expert on fossils and extinct species. “Not all areas of antique collecting are in retreat; it is the more drab brown furniture and traditional items that young people have little interest in. They look old-hat and boring.”

Given the niche knowledge and training required to even begin delving into the subject, Baby Boomers and Millennials are largely uninterested in antiques. Adding further to this growing indifference is the reputation antiques have for popularity among the older generations – a status consolidated by television programmes, such as the US and UK versions of Antiques Roadshow, that depict the field as a hobby for pensioners. The downsizing of former antiques hubs, such as London’s Fulham Road and New York’s Kentshire Gardens, reflects this shift further still, indicating the market in general has indeed reached a precarious state.

In with the even older

Over the past year or so, one big trend that is offering hope to those in the trade is the growing popularity of fossils and minerals.

“Decorative items, or things with intrinsic interest, still have appeal, and fossils and minerals have much of this quality. As do antique stuffed animals and birds. And it is these kind of things that are appealing to the young”, Fuller said. “The general public is becoming increasingly interested in the natural world – perhaps because we realise that much of it is vanishing at an alarming rate. We are becoming more conscious of anything to do with nature and to call a piece of natural history your own and to look after it for a few more years and save it for generations to come, is quite special.”

This interest in the natural can be seen across numerous sectors and industries: food, make-up and alternative therapies, to name but a few. It would seem, as these trends indicate, that people are done with the artificial and are tired of fakery; they yearn for something with authenticity. Items such as fossils and minerals offer a window into the natural world within one’s own home.

“Some are incredibly rare as well. But I think the main point is that most people are in sheer awe when they look at something that was created millions of years ago and which is still appealing to us”, said Fuller. “To imagine that this fossilised dinosaur or crab used to live on this planet such a long time ago, and is now one of the prized possessions in your collection is quite mind-blowing. Antiques and the amazing craftsmanship used to create them will always attract us, but I think it is the fact that fossils are not man-made that makes us look at them in wonder.”

Crucial to this trend is the fact that fossils and minerals complement almost any type of interior design. They offer contrast to a modern room with soft furnishings, yet not in the garish way that a cumbersome 17th century dining table might. Given the variety of sizes, colours and types available, there is something for everyone and every budget. “Fossils are also still reasonably priced, so are more accessible to the general public and not restricted to those with millions in their bank accounts”, Fuller said.

Their backgrounds make talking points like no other; it’s impossible not to be interested in their age, formation and aesthetic value.

“They are not man-made and, in terms of antiquity, they are much older. And, of course, they almost always have a story”, Fuller said. “People tend to buy antiques because they are interested in their history and they look great in their homes. Fossils and minerals tick all those boxes, but as our homes are getting more contemporary, fossils actually fit in better. They look better in a minimalist home than most antiques, while still being quirky enough to be a real focal point.”

When asked if he sees this trend continuing in the coming years, Fuller’s response was clear: “Absolutely, and especially because it is an area in which young people are becoming particularly interested, for all the above reasons. Summers Place Auctions established specific natural history sales with our first Evolution sale in 2013, but we have since gone from one specialist auction a year to including natural history items in all our sales – four in total. There is always a huge interest, but our last sale, which included the natural history collection of the Emmen Zoo, was the best yet – every single lot sold. We offered items at prices as low as £30, up to over £100,000.”

Cyclical nature

As shown throughout history, the trend for antiques in the home comes in waves. Wider phenomena, it would seem, have a large role to play; something may occur in popular culture that can ignite a craze, and a shift within an economy can spur a new trend. Take the hit show Mad Men; watched by millions and considered by many to be one of the greatest dramas of all time, the programme, which depicted life in a New York advertising agency in the 1960s, had a direct impact on the antique market. As the show’s popularity grew, so did that of sleek mid-century furniture, with sales of pieces by Charles and Ray Eames, and Jean-Michel Frank soaring during the show’s run. However, sales of such items have begun to slow once more since the show ended in 2015, demonstrating the fickle nature of tastes and trends when it comes to interior design, popular culture and what’s ‘in’.

The growing demand for Chinese antiquities offers another important lesson for the antiques world. Given the exponential growth in the Chinese economy over the past three decades, a huge social shift has taken place in the country, with a sizeable middle class now present for the first time in the country’s history. This expansion and growth in disposable income has allowed considerably more people in China to own their own homes and, consequently, to invest in them and in objects of aesthetic value. Interestingly, this shift has taken place at the same time as a significant cultural transition within the country, whereby symbols of the past, which were once neglected and even rejected, have regained their prominence. Until recently, all reminders of the China’s imperial past were overlooked by the ruling regime and, as a result, the public. However, a renewed zeal for Chinese history has seen citizens reach out for objects of cultural significance. This trend has led Chinese buyers to scour the globe in search of rare pieces.

The western trend for fossils and minerals may be in line with contemporary tastes, yet this too is likely to pass at some point – it may take several years, but it will pass. Evidently, the appetite for antiques, and for the various individual categories themselves, comes and goes. They are a reflection of society, the state of the economy, and of what was valued at any one time. At present, we are at a stage where the natural is lovingly embraced, which is clearly reflected in what we eat and how we style our homes. But the future may look very different. Perhaps period decor will come back into fashion, perhaps the dining room will have a revival, and maybe even large brown furniture will have its day once more.

Ultimately, the antiques market has a life of its own. It has its own ebb and flow, and is certainly an interesting reflection of society. Although the antique market is shrinking in general, all is not lost for those invested in it; who knows what we’ll once again value in the future?

Author: Elizabeth Matsangou | Source: European CEO [July 19, 2016]

Wire Tree Sculpture

A wire tree sculpture is a great way to spruce up a room without having the pain and mess of having a live tree in the house. The wire tree sculptures are good for models for a larger project and for the full-scale item itself. These are often created by artists because you are able to be very creative at a reasonable price and with a very limited amount of time. A tree is one of the most interesting things that can be made as a model with wire. If the artists has a good background with sketching trees, this will help because the knowledge of the proportions of trees will be helpful in the sculpting process.

Choosing The Wire

The wire that is chosen for the artistic piece is going to set the mood for your tree. If you want the tree to have a lighter, more airy feeling, a smaller gauge wire is best, but if you want something larger and more defined, a thicker, heavier wire will look much better. These kinds of wire can be purchased at craft stores, big retailers, home improvement stores or at Bonsai Tree Gardener. They are sold on spools, so make sure you get the correct amount, and choose between the common types of metal, steel or copper. Copper will be more bendable, but it will remain copper-colored, however steel isn’t as pliable but will be able to be colored.

Tools Required

You will also need to choose which tools you want to use for the production of your tree. Your hands will serve for most of the detail work; however a pair of needle nose pliers will also be helpful. The wire will be able to be bent without problem in most cases, but for the tiny curls and bending the pliers will be helpful. If you choose to use a similar gauge to coat hangers, this will most assuredly need at least one pair of pliers for bending.

Creating Your Sculpture

After you have purchased all of the wire and have planned out your tree and gathered your tools, you are ready to create your new piece of art. The base should be created first since it is the trunk of the tree. An easy way to do this is to take the pliers and bend the wire so it zigzags up and down vertically to create the trunk, and splay the bottom out while flattening the individual wires just like roots.

This will allow the tree to sit up on its own. You can also spiral the wire from the bottom to the top, both of these ideas will give you a realistic-looking tree while still being rather artistic. The leaves and the top of the tree in general can either be contoured or you can add an additional piece and connect them. If the artwork has leaves, make sure to vary the position, size, and area that the leaves are placed. Make sure the area where the leaves are looks full as well; continue adding leaves until it looks desirable to you. Using coat-hanger-like wire will result in it being much more difficult to do the top of the tree since it does not end as easily as the more rounded, smaller wire.

For more instructions on how to create or to purchase a wire tree sculpture, visit Wire Tree Sculpture | Bonsai Tree Gardener — The #1 Guide To Bonsai Trees on the web.