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Tate Papers no.23
Conserving Mark Rothko's Black on Maroon 1958: The Construction of a 'Representative Sample' and the Removal of Graffiti Ink
Tate Papers ISSN 1753-9854
Rachel Barker and Bronwyn Ormsby
This paper describes the preparation of a 'representative sample' and the investigation and refining of the solvent system used to remove graffiti ink from Mark Rothko's Black on Maroon 1958, which was vandalised in 2012. The historical, technical and scientific research carried out led to the successful treatment of the painting, which was returned to display at Tate Modern in 2014.
Coral and Lichen, Brains and Bowels: Jay DeFeo's Hybrid Abstraction Catherine Spencer
As Seen: Modern British Painting and Visual Experience Robert Pepperell and Louise Hughes
Conserving Mark Rothko's Black on Maroon 1958: The Construction of a 'Representative Sample' and the Removal of Graffiti Ink Rachel Barker and Bronwyn Ormsby
Abject Modernism: The Male Body in the Work of Tatsumi Hijikata, Günter Brus and Rudolf Schwarzkogler Lucy Weir
Zen as a Transnational Current in Post-War Art: The Case of Mira Schendel Majella Munro
Why Performance in Authoritarian Korea? Joan Kee
A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore a risky act to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent who would extend their infliction universally.
Mark Rothko, 19471
On the 7 October 2012 Mark Rothko's Black on Maroon 1958 (Tate T01170), one of the Seagram Murals, was tagged with a highly fluid, heavily coloured black ink (figs.1 and 2). Tate's nine Seagram Murals have iconic status within the collection and although only one of them was targeted, their interrelatedness meant that the vandalism was particularly devastating. The visible damage was significant and as the painting was delicate, degraded and unprotected by glazing or a coherent varnish layer, the attack presented a serious conservation challenge. In the days following the incident, much discussion ensued as to the most appropriate method for reversing the damage. The treatment team began with a review of existing research on Rothko's paintings, which was then combined with new investigations into the effect of the graffiti on the painting's surface. Little was known about the ink, its properties and most importantly its reversibility, and so research into the characteristics and solubility of the ink was also undertaken. The testing and application of potential solvent systems could not be carried out on such a delicate painting, hence it was decided that a testing surface – a 'representative sample' – would have to be devised. The test sample had to behave in a manner similar to the painting and so needed to comprise a similar stratigraphy and materials. To achieve this, an in-depth study of Rothko's working practice, his materials and techniques was carried out.
Fig.1
Black on Maroon 1958 after vandalism of 7 October 2012
© Kate Rothko Prizel and Christopher Rothko, 2012
Detail of graffiti in bottom right of Black on Maroon 1958
Rothko's working methods
Little is known of Rothko's technique and he preferred it that way. He exalted in the idea of secrecy and silence. As he himself put it, 'some artists want to tell all like at a confessional. I as a craftsman prefer to tell little'.2 Elizabeth Jones, a conservator who helped Rothko install his Harvard Murals in 1964, remembered that attempts to ask him about his technique or materials were swiftly dismissed as too 'professional' an enquiry.3
Rothko was concerned with the permanence of his paintings. Roy Edwards, his assistant when working on the Harvard Murals, remarked in 1971 that 'He was always reading these books on how to make paintings more permanent. Very concerned with that'.4 However, as has also been well documented, Rothko was experimental and innovative with his materials, making choices that were on occasion at odds with his concerns for longevity.5 He chose light fugitive materials, either consciously or by necessity, if they suited his desired aesthetic effect.6 Although clear evidence of the artist's hand in the making of a painting was essential to Rothko, he sought to enigmatise his processes. Most likely, he wished for the viewer to be unencumbered with contemplating all too obvious remnants of his technique, but rather to be transported beyond their physical making.7
Technical research can be viewed as an exposure of an artist's materials and practice, sometimes against their express will. Hence the value of revealing a once guarded process should be carefully weighed against the benefits it can bring to any necessary conservation treatment and subsequent dissemination of this information.
Mock-ups and reproductions as tools for evaluating conservation treatments
Mock-ups and reproductions are occasionally used as conservation tools to understand the structure of complex artworks, the materials involved in their construction, and the techniques employed by the artist. They can also provide useful test surfaces for conservation treatments. Modern and contemporary paintings can have vulnerable surfaces that do not lend themselves to discrete testing. These 'ersatz' tools allow for testing comprehensive and sometimes unorthodox processes on what are often equally unorthodox original materials, thereby limiting the probability of damaging the original object. Good examples of cases in which 'ersatz' tools have facilitated successful treatments and have added to scholarship on an artist's techniques are Christa Haiml's investigation of reversible methods for the re-integration of losses to the matt and textured surface of Yves Klein's Blue Monochrome in the Menil Collection, Houston, and Glenn Alan Gates's reproductions of paintings by Morris Louis for the evaluation of stain removal techniques.8 Therefore a key initiative in the treatment plan was to create a sample using materials and techniques representative of Rothko's painting in order to better understand the original and to provide an appropriate surface for testing ink removal systems.
Making the representative sample
Schematised design for the representative sample
The primary aim of the conservation treatment was to remove black ink graffiti from the bottom right corner of the canvas while minimising as much risk to the painting as possible. The treatment team initially considered producing a mock-up that would ideally look, as well as behave like the painting. However, it was quickly established that it was not possible to mimic Rothko's idiomatic practice and technical prowess. In addition, we could not source historically accurate, original materials. Instead we decided to make a sample that 'represented' the knowledge available of the materials and techniques of Black on Maroon (fig.3). In particular, we relied on technical and scientific research that had been carried out in preparation for the 2008 Rothko exhibition at Tate Modern.9 The 2008 campaign was the culmination of previous attempts to examine and analyse the Seagram Murals and resulted in a useful understanding of the layer structure of the paintings and the identification of the majority of the materials Rothko used, including animal glue, egg, dammar, oil-modified alkyd resin and possibly modified phenol formaldehyde resin. However, these analyses ultimately yielded uncertain results, due to the fact that Rothko painted in very thin layers using a variety of paint media. The analysis of multifarious materials can prove challenging as it is difficult to isolate particular materials within the range of results. Nonetheless, the 2008 exhibition catalogue contains a table summarising the analytical results into the materials present in each of the Seagram Murals, including a list of pigments and media found in Black on Maroon.10 However, the exact layering of these materials, the comparative thickness of the graffiti ink and whether or not the degree to which it had penetrated the paint layers also needed to be established.
Cross-section x500 UV from graffiti-covered black 'figure' paint of Black on Maroon 1958 with annotated layer sequence (based on information published in the 2008 exhibition catalogue)
Image: Jaap Boon
Previous minute paint cross-sections taken from the painting had yielded confusing results partly due to the extremely friable nature of the paint layers, but also because of the tendency for samples to fragment upon extraction. Further difficulties arose from the fact that the paint layers were applied very thinly and using a wet on wet technique. It was therefore decided to take a slightly larger cross-section sample, which did not fragment and allowed a better understanding of the ink-affected area (fig.4). This new section revealed more accurate information about the layer structure, enabling us to proceed with the fabrication of a test painting with a more reliable stratigraphic as well as material approximation of the original work. Based on all previous analyses and new technical, scientific and visual information, a design for the representative sample was schematised as shown in fig.3. On the right-hand side, the first layer is shown partially exposed, followed by a sequenced system of layers representing those of Black on Maroon, building up from the pigmented size layer (right) to the final resin glaze (left).
Following Rothko's preferred choice of painting support, a heavy-weight cotton duck 'awning-type' canvas was acquired and attached to a wooden strainer (there seemed to be no benefit in replicating and applying Rothko's 'sprung' wooden stretcher as found on Black on Maroon).11 Taking care to match the colour and consistency of the 'ground layer' of the painting, a size mixture consisting of rabbit skin glue, synthetic ultramarine and lithol red was prepared. This was heated to a consistency described by Rothko's assistant Dan Rice: 'like water this stuff'.12 The ground was brushed on with large decorators' brushes, in imitation of Rothko's technique.13 This layer saturated the cotton canvas as a translucent stain, satisfactorily matching that on the painting, albeit in a much more intense hue. The original lithol red pigment has undergone photochemical ageing and possibly deterioration caused by interactions between the lithol red pigment and other materials within the paint system.14 The maroon 'field' was the next layer to be added. Analysis and visual observation suggested that this layer comprised two separate applications of the same paint (see fig.4). The components of the field had been identified in 2008: the medium containing possible phenol formaldehyde and oil-modified alkyd resins, and the pigments including a combination of French ultramarine, barytes, kaolin, iron oxide, cadmium red, bone black and lithol red.15
While oil-based alkyd decorative paints were commonly used in the 1950s, phenol formaldehyde is a more unusual binder to find in fine art painting. Phenolic-based decorative paints were available from the early 1930s and by the 1950s they were being used as a medium for off-set printing inks and in 'quick-dry' gloss and flat decorative paints.16 Elizabeth Jones recalled that 'when he [Rothko] ran out of paint he went downstairs to Woolworth's and bought more … he didn't know what kind it was'.17 It is possible that Rothko would have been attracted to a commercial product claiming to be a rapid drying paint as this would have facilitated the fast build-up of paint layers. Perhaps it permitted him a more expressive and gestural approach than most other available media. However, we cannot be sure how Rothko came to add this material into his painting (further technical investigations of the media of Black on Maroon are underway), which is one of the reasons why we could not produce an 'historically accurate' reproduction of the painting.
In an effort to recreate paint with as similar materials and properties to the original as possible, a supplier of modified phenol formaldehyde resin was located. This resin is used in printing applications and dissolves slowly in Shellsol T (Shellsol T being similar to artists' turpentine – the most likely diluent used by Rothko). The oil-modified alkyd medium was purchased from Kremer Pigmente in Germany. According to the 2008 analysis phenol formaldehyde was found to be present in 'abundant quantity', and so the ratio of media chosen was two parts modified phenol formaldehyde in Shellsol T to one part oil-modified alkyd (used as supplied). In combination they produced a viscous, yellow medium and direct experience of dissolving these materials suggests that it is very unlikely that Rothko made up this paint medium himself. The subsequently admixed pigments were balanced to colour-match the 'field' colour of the painting and further dilution with Shellsol T was made where necessary. One application was brushed on top of the ground layer of the sample, again with five-inch decorators' brushes. After drying for twenty-four hours, a second layer was added. An attempt was made to mimic Rothko's technique when applying the 'field' layers, following Dan Rice's recollection that 'the physical movement was very active and very graphic'.18 The resulting 'field' paint film of the representative sample was glossier and a deeper red colour than that of the painting, but had a consistency and layer thickness close to the original.
In previous visual examinations a dammar glaze had been identified between the maroon field and a thin layer of orange paint, which may have been applied to seal the underlying 'field' paint. Consequently a film of dammar resin was next applied to the representative sample. In addition, a heretofore undocumented orange paint layer was also noted at the feathered edges of the black form; although this had not been seen on previous cross-sections of the painting, it was visually quite evident. At the time of construction, however, neither the orange pigment nor its medium had been identified. Therefore this layer was simulated using cadmium orange pigment in the same modified phenol formaldehyde/alkyd oil medium.
The black paint of the 'figure' was the final paint layer to be applied, again a mixture of phenol formaldehyde/oil-modified alkyd medium and kaolin, barytes, bone black as well as iron oxide and earth pigments. This combination of pigments was added to the medium and both body and colour were once again matched to the 'figure' paint on Black on Maroon.
Finally, the two uppermost glazes, the first consisting of whole egg and the second of dammar, were applied. The order of application of these glazes was based on careful visual examination of the painting, particularly in ultraviolet light. It appears that in most areas the dammar glaze extends over the egg glaze, as revealed by the differently fluorescing colours present in fig.4.
Representative sample after completion
After completion, the sample was cut into sections to fit into Tate's accelerated ageing chambers. Two samples containing all of the applied layers and two samples containing mostly the field and ground layers were installed. Each sample was subjected to a combination of light ageing for the equivalent of fifty years in museum display conditions, with added thermal ageing at 30°C and relative humidity cycling from 55–85% over a twenty-four hour period. The aged samples were then tagged with the same graffiti ink used by the vandal. At this stage the preparation of the test samples was completed (fig.5). A cross-section of the aged sample, containing all layers of paint, which had then been tagged (fig.6), can be compared with the cross-section from the painting (fig.4). Note the similar micro-cracks in the graffiti ink and underlying paint film.
Cross-section x500 UV from artificially aged representative sample containing all layers and graffiti
The constituents and solubility of the ink
Designing an appropriate ink removal strategy necessarily began with an investigation of the ink. The product used to deface the painting was Molotow Coversall Cocktail ink, described by the manufacturer as visco-plastic, alcohol-based, 100% buff-resistant, ultraviolet light resistant, quick drying, permanent and weatherproof.19 The colour is listed as 'signal black' and the colourant is described as 'nitrogen synthetic bitumen' and was applied using a marker that facilitated rapid application, producing vertical drips in addition to the inscribed letters (see fig.2).
Analysis of this unusual, proprietary ink material is ongoing. However, it appears to be based on an aromatic hydrocarbon resin, with a high proportion of black dye colourant and polar solvents identified as a 2:1 mixture of ethanol and 1-methoxy-2-propanol (propylene glycol mono methyl ether) with other solvents (e.g. methanol, 2-butanone and ethyl acetate) present in trace (>1%) amounts.20
The areas covered by the graffiti ink included the mostly unglazed, porous and heavily oxidised maroon paint (containing cadmium red, lithol red [PR49] and ultramarine blue) as well as the oxidised egg and dammar glazed black 'figure' paint (containing bone and Mars blacks and extenders). The valuable cross-section (fig.4) revealed that the ink had not uniformly penetrated through all paint layers. This was partially due to the fast drying rate of the ink in addition to Rothko's application of dammar and egg glazes. Nonetheless, the presence of micro-cracks in the paint layers facilitated the flow of ink through to the cotton canvas support in several areas, and it was also evident that the dammar resin glaze at the uppermost surface had been dissolved by the ink solvents.
High magnification observations and scratch tests of dried ink samples revealed that the ink was prone to brittle fracture and therefore of low molecular weight. Simple paper chromatography experiments revealed that the ink remained highly soluble in methanol, ethanol, isopropanol and acetone after drying, with no evidence of separation. Encouragingly, the black colourant moved with the solvent front. However, minute agglomerates of black particles remained visible within paper fibres at low magnification.21
In order to determine whether the ink was likely to quickly become insoluble (hence making the need for removal urgent), a simple solubility test was carried out. For this, the ink was applied to a commercial acrylic primed canvas and light aged to the equivalent of twenty years in museum display conditions (UV free, 21°C, 55% relative humidity). Swab tests carried out on both the light-aged and unaged control samples using methanol and acetone revealed that the solubility of light aged ink remained similar to the unaged control. This simple test, although by no means exhaustive, indicated that the ink was not likely to cross-link significantly within the projected time-frame of the treatment and become more difficult to remove. Hence the treatment team could carry out extensive testing prior to embarking upon the removal of the ink from the painting surface without any significant risk of the ink changing significantly with respect to solubility.
Helpfully, through an ongoing collaboration between Tate and the Dow Chemical Company, the Hansen Solubility Parameters (HSP) of the ink were determined through observation of the dried ink in eighteen solvents of different polarity. The HSP values obtained were: Hansen Dispersion Parameter (17.94); Hansen Polar Parameter (7.91); and Hansen Hydrogen Bonding Parameter (12.01); measured in (J/cc)1/2, as listed in Table 1.
Initial solvent selection
CHEMCOMP™ Solvent Property Modeling Service was used to facilitate solvent selection. The ink HSP values were entered into Dow's solvent database and solubility predictions in the form of relative energy density (RED) values were generated. From over 600 solvents, a group of sixteen with high ink solubility predictions (i.e. low RED values) across a range of solvent classes were chosen within health and safety considerations (Table 1). The initial effect of each solvent was assessed at Dow through removal tests on ink applied to acrylic primed canvas and dried for four and thirty days in ambient conditions. For this, a few drops of solvent were applied to the surface and covered for ten to twenty seconds or two minutes prior to cleaning using a ready-made cotton swab. The same group of solvents were also tested on a two-year old solvent borne green alkyd paint (high RED values), which represented one of the media types in Black on Maroon prior to the availability of the representative sample.
As listed in Table 1, the general classes of solvents that had a useful effect on the ink included alcohols, ethers, esters and ketones. Those with a more effective cleaning performance on the ink (rated ++ and above) included: methanol, benzyl alcohol, methyl CARBITOL™ Solvent (diethylene glycol monomethyl ether or 2-(2-methoxyethoxy) ethanol), ethyl lactate, acetone, DMSO and ethylene glycol diethyl ether. Further tests at Dow into the bleeding behaviour of each solvent and the addition of two water-in-oil microemulsions (WiO) led to the creation of a top-five list. This included: acetone, methanol, ethyl lactate, INVERT™ 2000 Microemulsion (limonene-containing WiO microemulsion) and a mineral spirits-based WiO microemulsion containing linear alkylbenzene sulfonate (LAS) surfactant in a formulation similar to those trialed on acrylic paints.22
Empirical testing and solvent refinement
Test sample showing ink applied to commercially acrylic primed cotton duck canvas with some cleaning tests
To further explore the top-five Dow solvent options they were incorporated into a larger group eventually consisting of over seventy-five systems (Table 2) evaluated across a range of substrates. The first evaluation (Phase 1) involved the application of ten swab rolls of each system to ink applied onto a primed titanium white acrylic canvas (fig.7). Assessments included observations on speed of ink removal, solvent and ink bleeding, paint swelling, solvent bleed to the back of the canvas, paint surface change, ease of solvent use and the effects of prolonged solvent use. From this, each solvent was assigned a rating from one to five, where five was the most successful.
Accelerated aged representative sample tagged with ink
A selection of fourteen systems rated three and above were then selected for further testing (Phase 2) on the acrylic primed sample where the cleaning process was taken to either fifty swab rolls or a natural stopping point (e.g. swelling was noted). This included: benzyl alcohol, toluene, ethyl lactate, INVERT™ 2000 Microemulsion, INVERT™ 5000 Microemulsion, 1-methoxy-2-propanol, diethylene glycol ethyl ether, methanol, ethanol, industrial methylated spirits, acetone, methyl lactate, propylene glycol propyl ether and ethylene glycol diethyl ether. Some systems were then ruled out due to health and safety considerations (toluene) and others rejected due to their tendency to make the ink spread quickly (e.g. methanol, ethanol). Six solvents (benzyl alcohol, ethyl lactate, INVERT™ 2000 Microemulsion, 1-methoxy-2-propanol, diethylene glycol ethyl ether and diethylene glycol monophenyl ether) were then taken forward for testing (Phase 3) on ink applied to the accelerated aged representative sample (fig.8). Observations included: speed of ink removal and controllability, pigment pick up, paint swelling/damage, solvent/ink bleeding, ink staining and paint surface change. This group was then slightly expanded to include the other systems listed in Table 3.
Benzyl alcohol was eventually favoured for a number of reasons including its high affinity for dissolving the ink (low RED, Table 1), the ability to swell and dissolve the ink in a controllable way (due to its relatively high boiling point), minimal pigment loss and minimal changes in surface gloss. However, due to its low vapour pressure (Table 3), it took time to evaporate and occasionally resulted in mild blanching. Attempts were made to increase the solvent evaporation rate by adding proportions of short-chain alcohols. However, this reduced the ink removal efficacy. The ink solvent blend was also assessed for removal and, as anticipated, it dissolved portions of the ink too quickly, thereby increasing the risk of residual ink staining.
Phase 3 also encompassed explorations into the solvent application and removal processes. This included: the use of silicone solvents such as octamethyl cyclotetrasiloxane (D4) as a non-polar masking layer applied before the more polar solvent, blending or incorporating solvents into gels (e.g. Velvesil™ Plus and other silicone polymer gels, Pemulen™ TR2, hydrolised polyvinyl alcohol-borax polymer, agarose and xantham gum); the use of brushes and other tools; masking the ink with polymeric materials to prevent ink bleed (cellulose polymers, cyclododecane); as well as solvent and/or gel application through different types, weights and thicknesses of tissue.
After extensive testing, gelled systems were excluded as they did not offer a high enough degree of control and required clearance in addition to blocking visual access to the paint surface during application. Many of the gels removed some ink and slowed down the transport of the solvents. However, using free solvents offered more control over the solvent contact area, greater visibility at the paint surface, and avoided the need for clearance. The masking options did not prove necessary, as ink spreading was not a particular problem as long as the solvent application process was well controlled. The use of D4 as a non-polar barrier proved beneficial in terms of slowing down polar solvent contact. However, due to the low surface tension of D4, there was a tendency for the dissolved ink to spread with the solvent onto unaffected areas.
Prior to testing the top-rated systems on the painting, a large maroon pigmented-glue size primed canvas dating from around the same year as Black on Maroon was donated from the collections of Kate Rothko Prizel and Christopher Rothko. With permission, graffiti ink was applied to one area and it became immediately apparent that the ink sank further into the paint surface than it did on Black on Maroon. The systems listed in Table 3 were also evaluated on this sample (Phase 4) through the application of swab rolls. Observations included how many rolls were applied before pigment was picked up, speed of ink removal, bleeding of the ink through to the reverse, paint surface after removal, and the extent of ink staining in the paint. In this case, the phenyl ether and INVERT™ 2000 Microemulsion proved less effective than other systems. Although ink removal was encouraging with the WiO benzyl alcohol microemulsion, the surfactant content (TRITON™ XL-80N) resulted in foaming during clearance and also made it difficult to judge the paint surface. Not surprisingly, this sample proved more difficult to clean than the well-bound aged representative sample, but it proved particularly useful in refining the ink removal process from the maroon sections of Black on Maroon.
Removing the ink from Black on Maroon
Fig 9a
Hirox digital image of cleaning test on the black paint using benzyl alcohol through silicone solvent D4
Image: Emilien Leonhardt
Fig.9b
Hirox digital image of cleaning test on the maroon red paint using benzyl alcohol through silicone solvent D4
Due to differences in paint porosity and the thin oxidised glazes present on the black paint, the interaction between the ink and the two paint types on Black on Maroon slightly differed. Initial ink removal tests involved the application of benzyl alcohol through D4 using swabbing action. Cleaning tests were evaluated using a high resolution digital microscope (figs.9a and 9b). The images clearly show that the surface recovery after ink removal from the black paint was encouraging. However, the maroon paint proved more vulnerable to both solvent and mechanical action.
Subsequent testing involved most of the solvents listed in Table 3. These systems were applied in small areas, approximately 5 mm^2, using a size-0 sable-haired brush while observing the process under illuminated magnification. The brush was dampened in solvent and applied in one sweep across the designated area. Where the paint was more textured the brush was lightly oscillated to encourage dissolution of the ink. The solvent was left to swell the ink for five seconds, then a small thin piece of highly absorbent synthetic-fibre tissue was applied directly to the area to encourage uptake. This process was carefully repeated until the ink residue was no longer visible and/or the ink was reduced as much as possible while minimising any damage to the paint film. It is important to note that the degraded dammar glaze had been partially dissolved during the (alcohol-based) ink application process, and that every effort was made to minimise further changes to the paint film during the removal process.
Fig.10
Detail of ink removal from the black paint area of Black on Maroon 1958
To increase the relatively slow evaporation rate of the benzyl alcohol and enhance the ink removal efficacy (by increasing polarity), while also minimising damage to the paint and glaze layers, a mixture of one part benzyl alcohol with one part ethyl lactate was also evaluated. This blend offered a lower contribution from dispersion forces (Table 4) and higher contributions from polar forces and hydrogen bonding, which contribute to the more efficient removal of the ink, while also potentially reducing the solvent effect on the underlying painting materials.23 This blend was eventually chosen as the most appropriate solvent for the removal of the ink from the black 'figure' area of the painting (fig.10). It offered a useful working time at the painting surface, was easy to control, and evaporated from the painting surface at an acceptable rate. However, it was found that the benzyl alcohol component of the system appeared to be causing the ink to travel deeper into the paint layer of the maroon field. Further tests showed that ethyl lactate on its own was a more efficient system for removing ink from this paint. After the majority of the ink had been cleared from the maroon 'field' using this system, the benzyl alcohol and ethyl lactate blend was then used to further reduce residues, although this was not always successful. Thus in order to minimse the impact of the solvents on the original paint, some ink residues remain within the maroon paint.
Testing solvent systems on the graffitied aged sections of the representative sample proved invaluable in establishing an effective system for removing the graffiti ink and recovering the painting surface. The behaviour of the samples, particularly in terms of their response to testing with a comprehensive range of solvents and application methods, enabled concise and minimal testing on the actual painting. Specifically, the sample facilitated an important practical understanding of two of the major risks associated with the ink removal process – pigment bleed and the potential for the ink to spread into unaffected areas – prior to the treatment of the painting itself. It also provided experience in how to prepare and handle the various sample materials used, and generated new knowledge on paint solubility, layer pick up, film hardness, gloss, wetting, toxicity and even the feasibility of some of the materials. The transfer of this knowledge to the treatment of Black on Maroon ensured that testing on the painting was minimised and carried out with precision. This was essential for enabling the exacting task of recovering Rothko's delicately attenuated paint surface.
The treatment team was fortunate to have a body of technical knowledge and analysis on which to base this initiative, and the resources and pre-existing research collaborations to undertake extensive additional investigations. The extremely delicate process of removing a heavily coloured, alcohol-based, oligomeric ink from a degraded and complex painting surface necessitated a prolonged period of collaborative research prior to conservation treatment. This included examinations of the painting and of the graffiti ink, the design of solvent-based cleaning systems, the trialling of cleaning systems on a range of substrates, and the refinement of the final solvent application and softened ink removal processes. Furthermore, the creation of the representative sample facilitated periods of reflection involving Tate staff and external specialists, resulting in new insights and observations about Rothko's complex painting, which will directly benefit the technical study and treatment of other works by Rothko in the collection. Most importantly, the research outcomes and carefully designed treatment strategy have allowed Black on Maroon to go back on display at Tate Modern alongside the other Seagram Murals.
1. Mark Rothko in 'The Idea of Art: The Attitudes of Ten Artists on their Art and Contemporaneousness', Tiger's Eye, no.2, December 1947, p.44.
2. James E.B. Breslin, Mark Rothko. A Biography, Chicago and London 1993, p.392.
3. Majorie B. Cohn, 'The First installation of the Harvard Murals', in Mark Rothko, exhibition catalogue, Fondation Beyeler, Basel 2001, p.59.
4. Roy Edwards and Ralph Pomeroy, 'Working with Rothko: A Conversation Between Roy Edwards and Ralph Pomeroy', New American Review, no.12, 1971, p.112.
5. See Dana Cranmer, 'Ephemeral Paintings On "Permanent View": The Accelerated Ageing of Mark Rothko's Paintings', Preprints for the 8th ICOM-CC Triennial Meeting, vol.1, September 1987, p.283.
6. Ibid., pp.283–4.
7. Christopher Rothko, in conversation with the authors, 25 February 2014, recorded in Restoring Rothko, 12 May 2014, http://www.tate.org.uk/context-comment/video/restoring-rothko, accessed 11 May 2015.
8. Christa Haiml, 'Restoring the Immaterial: Study and Treatment of Yves Klein's Blue Monochrome (IKB 42)', in Thomas J.S. Learner, Patricia Smithen, Jay W. Krueger and Michael R. Schilling (eds.), Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Los Angeles 2008, pp.149–57; Glenn Alan Gates, Teri Hensick, Carol Mancusi-Ungaro and others, 'Reproducing Morris Louis Paintings to Evaluate Conservation Strategies', Preprints for the 14th ICOM-CC Triennial Meeting, 2005, pp.329–34.
9. Leslie Carlyle, Jaap Boon, Mary Bustin and Patricia Smithen, 'The Substance of Things', in Achim Borchardt-Hume (ed.), Rothko, exhibition catalogue, Tate Modern, London 2008, pp.75–87.
10. Ibid., pp.86–7.
11. See Dan Rice, interviewed by Mary Bustin and Jo Cook, Madison, Connecticut, 9 March 2000, p.6, Tate Archive TAV 3331A.
12. Ibid., p.11.
13. See Edwards and Pomeroy 1971, p.113.
14. See Jens Stenger and others, 'Lithol Red Salts: Characterization and Deterioration', Preservation Science, no.7, 2010, pp.147–57.
15. See Carlyle, Boon, Bustin and Smithen 2008, pp.86–7.
16. Harriet Standeven, House Paints 1900–1960: History and Use, Los Angeles 2011, pp.7, 69.
17. Cohn 2001, p.59.
18. Breslin 1993, pp.316–17.
19. See http://www.molotow.com/products/marker-ink/paint-ink/speedflow-coversall-cocktails/, accessed 11 May 2015.
20. See A. Patel and E. Hurst, unpublished report, 2013, Agenda 1, Bradford.
21. Lomax, Palmer and Berrie 2013; Paul Lamoreaux, unpublished report, 2012, ColArt, London.
22. See Melinda Keefe, Bronwyn Ormsby, Alexia Soldano and others, 'Art and Industry: Novel Approaches to the Evaluation and Development of Cleaning Systems for Artists' Acrylic Latex Paints', Coatings Tech, American Coatings Association, September 2011, pp.26–39.
23. Adam Walker, personal email communication with the author, 19 August 2013.
This article was first published as two separate papers in Janet Bridgeland (ed.), ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014, Paris 2014. We thank ICOM-CC for granting us permission to re-publish the papers.
In particular, the authors wish to acknowledge Patricia Smithen, Rothko Project Manager and Head of Conservation, Programme, Tate, for her contribution to this paper, as well as Melinda Keefe, Chris Tucker and Felipe Donate from the Dow Chemical Company for their contributions to the ink removal strategy and support throughout the project.
The authors would also like to thank the following people for their invaluable support and input: Sir Nicolas Serota and the Trustees of the Tate Gallery; Kate Rothko Prizel and Christopher Rothko; Marion Kahan; Christopher Kozak and Rebecca Wachowicz; Matthew Gale; Achim Borchardt-Hume; Joyce Townsend; Jaap Boon, Nelly von Aderkas; Catherine McKenney; Pia Gottschaller; Tate Photography Department; Jay Krueger; Suzanne Quillen Lomax; Michael Palmer; Barbara Berrie; Adam Walker; Damien Kirkpatrick; Emilen Leonhardt; Paul Lamoreaux; Richard Wolbers; Lora Angelova; Sandra Amman; Carol Mancusi-Ungaro; Dana Cranmer; Jeffrey Weiss; David Anfam.
Rachel Barker is a Paintings Conservator at Tate.
Bronwyn Ormsby is a Conservation Scientist at Tate.
© Rachel Barker and Bronwyn Ormsby
Tate Papers (ISSN 1753-9854) is a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today.
Rachel Barker and Bronwyn Ormsby, 'Conserving Mark Rothko's Black on Maroon 1958: The Construction of a 'Representative Sample' and the Removal of Graffiti Ink', in Tate Papers, no.23, Spring 2015, https://www.tate.org.uk/research/publications/tate-papers/23/conserving-mark-rothkos-black-on-maroon-1958-the-construction-of-a-representative-sample-and-the-removal-of-graffiti-ink, accessed 22 January 2021.
The History and Manufacture of Lithol Red, a Pigment Used by Mark Rothko in his Seagram and Harvard Murals of the 1950s and 1960s
Harriet A. L. Standeven
For his 1950s and 1960s Seagram and Harvard murals, American artist Mark Rothko employed lithol red – a highly fugitive …
Conservation Concerns for Acrylic Emulsion Paints: A Literature Review
Elizabeth Jablonski , Tom Learner , James Hayes and Mark Golden
Acrylic emulsion paints have been widely used by artists since their development in the late 1950s. This paper reviews the …


Frank is a Global Leader with over 30 years of sales, marketing and operations experience. He is currently responsible for all sales and business development related activities for SAP's Sports and Entertainment industry in North America and Latin America.
Frank previously held various leadership positions including Global Head of Sales Operations for SAP Sales, North America Sales Operations Leader for SAP's MidMarket practice, and various sales, marketing, and consulting related responsibilities focused on strategic sales initiatives.
Prior to joining SAP, Frank spent 8 years at Oracle, holding various positions of leadership in the North America Consulting Organization.
Frank is a graduate of The University of Scranton and has an MBA from St. Joseph's University in Philadelphia. He is actively involved in various local boards and is currently the Commissioner of the CYO Youth Sports Programs in Delaware County. He lives in Havertown, PA with his wife and three sons.


text:
Dělová koule je zastaralý druh projektilu, který byl používán v kanónech. Původně byly dělové koule vyráběny z kamene, od 17. století ze železa. Byly používány zejména při dobývání opevněných staveb, ale i ve válkách v otevřeném poli. V současné době se dělové koule již nepoužívají, byly nahrazeny projektily s větší účinností (například dělostřeleckými granáty).

Hmotnost dělových koulí se v minulosti používala také k určování ráže děl. Například osmnáctiliberní dělo bylo dělo s takovým vnitřním průměrem hlavně, že jím prošla železná dělová koule o hmotnosti právě 18 liber.

Reference

Externí odkazy

Dělostřelecká munice

redpajama_set_name: RedPajamaWikipedia


text:
Secretary Senior
Institutional & Business Affairs, Clerical & Administrative Support
Posted data: 2021-11-04
Req: R-2618
100T-YN - Secretary Senior
Business Title:
Civil Service - OT Eligible
Position Details:
COVID-19 Vaccine Information:
In accordance with Washington State Governor's Proclamation 21.14.2, as a condition of employment, you must be fully vaccinated or have an approved medical/religious accommodation by time of hire. People are considered fully vaccinated two weeks after receiving their last shot in a vaccine series. Vaccine or an approved accommodation will be verified prior to your first day of work. Should you not be fully vaccinated or have an approved medical/religious accommodation you will not be able to start employment with WSU and this offer may be void. Information regarding vaccine verification and/or requesting a medical/religious accommodation is available at https://hrs.wsu.edu/covid-19/vax-verification/. Please contact HRS at hrs@wsu.edu or 509-335-4521 if you have questions.
Summary of Duties:
The Secretary Senior position is responsible for providing administrative assistance to the Department of Psychology Chair and oversee the main office to include serving as the first point of contact; answering the telephone, receive and refer visitors and respond to inquiries. Responsible for creating and/or preparing letters, faculty offer/renewal letters, memos collaborating with the Business Service Manager and the Chair. In collaboration with the Chair, compile and prepare necessary documents from faculty per departmental, college, and university guidelines for annual review, tenure review, intensive third year review and promotion. Process progress toward tenure review materials of untenured faculty per department, college and university guidelines. Assist as required during these processes. Serves as clerical support for faculty and staff searches. Other duties include maintaining office record keeping, or filing system(s); updating department web pages, developing travel itineraries; developing, modifying, and/or maintain data bases; providing assistance in preparing class materials; establishing office procedures, standards, priorities, and deadlines; and coordinating office operations.
High school graduation or equivalent, AND two years of increasingly responsible office experience requiring keyboarding or typing; OR equivalent education/experience.
Demonstrated experience providing complex administrative or secretarial support for an individual or group of individuals.
Experience handling a multi-line telephone.
Strong computer skills including data bases and web page maintenance.
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Ability to schedule Zoom meetings.
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Recent demonstrated knowledge and understanding of WSU policies and procedures.
Strong interpersonal and organizational skills, including attention to detail.
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psychology.wsu.edu/
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The screening of applications has begun and will continue until a successful candidate has been identified.
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WASHINGTON STATE UNIVERSITY IS AN EQUAL OPPORTUNITY/AFFIRMATIVE ACTION EDUCATOR AND EMPLOYER. Members of ethnic minorities, women, special disabled veterans, veterans of the Vietnam-era, recently separated veterans, and other protected veteran, persons of disability and/or persons age 40 and over are encouraged to apply.
WSU employs only U.S. citizens and lawfully authorized non-U.S. citizens. All new employees must show employment eligibility verification as required by the U.S. Citizenship and Immigration Services.
WSU is committed to providing access and reasonable accommodation in its services, programs, activities, education and employment for individuals with disabilities. To request disability accommodation in the application process, contact Human Resource Services: 509-335-4521 (v), Washington State TDD Relay Service: Voice Callers: 1-800-833-6384; TDD Callers: 1-800-833-6388, 509-335-1259(f), or hrs@wsu.edu.
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Founded as the people's university, WSU embraces its land-grant heritage, seeking to transform lives through education, research, and community engagement and service. The University has been delivering life-changing knowledge and discoveries to the state, region, nation, and the world for nearly 130 years. WSU enjoys productive partnerships with major industries in the state, including agribusiness, aerospace, health care, software, technology, and construction. The colleges at WSU Health Sciences Spokane have formed robust partnerships across the state of Washington, both with large medical centers and hospitals, as well as a variety of rural and community hospitals and clinics.
WSU is Washington's land-grant university with campuses located statewide in Everett, Pullman, Spokane, Tri-Cities, Vancouver, and online through the Global Campus. WSU also has research centers located throughout the state and extension offices in every county. Learn about WSU's statewide reach.
WSU employees promote academic excellence and innovative research with nationally recognized academic programs, renowned professors, students who make a difference, and vibrant communities.
WSU offers staff and faculty a comprehensive benefits package as well as professional development and a host of work/life quality programs. Explore WSU's benefits.
Review the application instructions for instructions and tips on using the WSU Jobs site and applying for jobs at WSU.
Diversity Profile: Washington State University
As a land-grant institution, diversity, equity, and inclusion serve as core values and beliefs of Washington State University (WSU). At the university, college, or department level, WSU is committed to fostering open, proactive dialogue to create a more inclusive culture at all its locations including the five physical campuses and its online Global Campus, as well as its 39 Extension offices, four research centers, and 25 small business development centers.
Core Belief
WSU is committed to achieving an ethical and socially just society for all. Instituting social change on a large scale begins at home with system-level policies that actively promote equity. The University is committed to diversity, equity, and inclusion throughout every aspect of its statewide system. We strive to create a climate that enables underrepresented students, faculty, and staff to thrive in communities that foster a sense of belonging in a culture of inclusion. The ultimate goal? Creation of institutional culture in which inclusion and equity are the norms, a model that helps move the world toward a place in which all people are treated with dignity and respect.
Equity, diversity, inclusion, and belonging. Promotion of an ethical and socially just society through an intentional commitment to equity, diversity, and inclusion.
WSU's core ideology can be found in its System Strategic Plan.
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WSU's student body statewide is ethnically diverse: 31 percent of our students are underrepresented minorities, and first-generation students represent nearly 33 percent of the total enrollment. About 15 percent of WSU students hail from outside the state of Washington and about 7 percent are international students. System-wide enrollment reached a record 31,607 students in fall 2019.
Associate Vice Provost for Inclusive Excellence Recently Announced
Dr. Lisa Guerrero was recently named associate vice provost for inclusive excellence. Guerrero has been an active advocate for diversity and inclusion since joining the WSU faculty in 2004. She is currently a professor of Comparative Ethnic Studies in WSU's School of Languages, Cultures, and Race. She will maintain her faculty position, while serving as associate vice provost in a half-time appointment.
Dr. Guerrero will provide leadership to academic affairs in implementing WSU's commitment to equity, diversity, and inclusion. She will help to identify and implement best practices and evidence-based approaches in faculty hiring, tenure and promotion, research support, faculty retention, teaching and mentoring, and curriculum planning. One of her first areas of responsibility will be to oversee the Racism and Social Inequality in the Americas faculty cluster hire program for Fall 2021.
Representative Affinity Groups
Representative affinity groups within the Washington State University system include the following:
Asian American and Pacific Islander Faculty Staff Association (AAPIFSA)
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Commission on the Status of Women
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WSU Resources and Offices
WSU Human Resource Services supports a climate of integrity and equity that actively reflects open, respectful dialog. Additional resources are available on the Human Resource Services website.

redpajama_set_name: RedPajamaCommonCrawl


It was a game of free throws when the JV Arabians faced Pearsall in their final game of the year, last Friday night. Nearly half of Devine's points came from the free throw line as Pearsall sent them there 14 times. Devine played a much cleaner game and Pearsall only found themselves at the line three times. The Arabians made 15 of their 28 free throws and won the game 33-16.
In the aggressive game, Pearsall found the lead early in the first quarter but couldn't keep it and Devine finished the first half ahead by one point. The Arabians took control of the game in the third and out shot Pearsall 8-1. The Arabians continued to dominate and ended the game 33-16.
Mackenzie McClellen scored 8 points, Janee Wofford and Baleria Arana 7 each, Analea Brooks 6, Brianna Bowyer 3, Jojo Villanueva 2, and was assisted by Pauline Calame in this final win. The JV Arabians have finished their season 18-8 overall and 5-3 in district.


Western Technical College's Massage Therapy Program recently implemented a new curriculum endorsed by the Commission on Massage Therapy Accreditation (COMTA), making it the first and only COMTA recognized school in the State of Texas.
Commissioned by the U.S. Department of Education, COMTA is the only accrediting body that dictates massage therapy curriculum by a review process that sets rigorous standards in which less than 1% of schools' meet nationwide.
Since its development in 2006, Western Tech's Massage Therapy program has continuously ensured a quality level of education that prepares students for a successful career.
Vargas and Western Tech will continue to focus on becoming a fully COMTA accredited program in the near future.
For more information about Western Tech, please call (915) 532-3737.


I've been an Adobe Voice user and have used it countless times with students. However, there was a piece missing for students who needed a platform to liven up projects or ideas that required much more text. A few weeks ago, I was able to get a peek inside Adobe Slate and I've been anticipating its release since.
Simultaneously, my father…with his ipad…has been thinking about publishing his family history based on his research. Today, Adobe Slate released and I put it to the test with my dad who at 63 years young is a complete tech novice who has never used an app beyond safari and the photo album.
Ironically, I was asked today if I have ever used this app with students. In a non-traditional sense, my dad is a student. We all are…aren't we? As a matter of fact, my work with my father is something that I recommend for all of us to do. Whether we capture these stories via video, portfolio or web…capture them. This is necessary. Adobe Slate was simple enough for him to use and we appreciated that.
The app was created with schools in mind although it definitely has applications beyond school. For now, sign-ups are limited to Adobe and "Facebook". For many schools, this is limiting and even more so when students do not have email. Come on Adobe? Work with us here!
Typing was problematic so we'll definitely have to purchase a keyboard.
The app includes an internal image search and cites it accordingly, which is awesome!
Adobe boasts that stories can be embedded yet, that option is only available via the ipad app so to embed his story, I had to copy the code to a note file and then share it. The published web piece should have an embed option, somewhere at the bottom or where ever the share options are, but it does not.
Adobe Story allows videos to be saved to camera roll. Adobe slate should at least export as a pdf. It does not and that alone almost made us not use this app.
Where is the option to copy the published link to share? Yes, we can post to social media and then grab the link but if I wanted to embed a Slate story into thinglink, I have to share it to social media first and then grab the link. Updated below!
When the research supports that schools using Chromebooks outweigh those using ipads, why make an application that works on an ipad only? Creative storytelling via the web should always be a thing!
My dad's first creative app was Slate and so far, he is pretty happy with it. Now, to work on his space to house his published library!
Thanks to Ben at Adobe, the "copy link" mystery has been solved.
Scott S. Floyd, M. Ed.
Love it. He (y'all) did an excellent job. I only wish more senior citizens would start documenting their history for their families who do not realize how important those memories will be to them one day.
So true Scott! He's beginning to understand that. He's recording videos too and we're setting him up a domain. It's so necessary!


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Showing posts with label Harmonic Oscillator. Show all posts
Musical Acoustics
A recipe for a violin
Chladni patterns show the geometry of the different types of vibration of violin plates. This site has an introductory explanation of modes of vibration and a library of photographs of the Chladni patterns of the bellies and backplates of two different violins (one mass-produced and one hand-made). It also has photographs of plates with regular geometries which assist in understanding the violin modes. For some related history, see Chladni's law. For some Chladni patterns on metal plates, with sound files, see Acoustics of bell plates. To make your own Chladni patters, try this site.
Modern tests of the vibrational properties of the unassembled topand back plates of a violin reveal something of what violimakers do by "feel" and lead to thr making of consistently good violins by Carleen Maley Hutchins.
Links to this post Labels: Chaldni, Hans Jenny, Harmonic Oscillator, kaleidoscope, Oscillations
The Quantum Harmonic Oscillator
Quantum Harmonic Oscillator
Here are a series of written Blog entries by Matt Strassler from his Blog, Of Particular Significance.
Ball on a Spring (Classical)
Ball on a Spring (Quantum)
Waves (Classical Form)
Waves (Classical Equation of Motion)
Waves (Quantum)
Particles are Quanta
How fields and particles interact with each other
How the Higgs Field Works
Given a preceding map by Proffessor Strassler according to what has been gain in finality views requires this updating in order to proceed correctly in the views shared currently in science. So that lineage of thought is important to me.
Probability Distributions for the Quantum Oscillator
At the same time one cannot be held back from looking further and seeing where theoretical views have been taken beyond the constraints applied to the science mind.:)
Pythagoras could be called the first known string theorist. Pythagoras, an excellent lyre player, figured out the first known string physics -- the harmonic relationship. Pythagoras realized that vibrating Lyre strings of equal tensions but different lengths would produce harmonious notesratio of the lengths of the two strings were a whole number. (i.e. middle C and high C) if the......
Pythagoras discovered this by looking and listening. Today that information is more precisely encoded into mathematics, namely the wave equation for a string with a tension T and a mass per unit length m. If the string is described in coordinates as in the drawing below, where x is the distance along the string and y is the height of the string, as the string oscillates in time t,
See: Official String Theory Web Site
Links to this post Labels: Harmonic Oscillator, Higgs, Prof. Matt Strassler, Pythagoras
A General Guide to Harmonic Analysis and Beyond
Thanks to Clifford of Asymptotia for the Link too, and from Good Vibration
Some of us do look toward these analogies as signs of Complexity science, so as to apply this thinking to the life they lead. How such implementations allow them to look at this life very differently.
Each time the operator tuned to a new frequency, the wave was very simple and repetitive, just as above. This wave can be expressed by only two qualities: frequency and amplitude, and yet each new frequency created a new and many times surprisingly different result than it's neighbor.
This phenomenon is analogous to all aspects of Complexity Science. And just like the simple rules set by the speaker in the video, an economy can achieve surprisingly complex results with simple rule sets.Harmonic Science
In classical mechanics, a harmonic oscillator is a system that, when displaced from its equilibrium position, experiences a restoring force, F, proportional to the displacement, x:
where k is a positive constant.
If F is the only force acting on the system, the system is called a simple harmonic oscillator, and it undergoes simple harmonic motion: sinusoidal oscillations about the equilibrium point, with a constant amplitude and a constant frequency (which does not depend on the amplitude).
If a frictional force (damping) proportional to the velocity is also present, the harmonic oscillator is described as a damped oscillator. Depending on the friction coefficient, the system can:
Oscillate with a frequency smaller than in the non-damped case, and an amplitude decreasing with time (underdamped oscillator).
Decay exponentially to the equilibrium position, without oscillations (overdamped oscillator).
If an external time dependent force is present, the harmonic oscillator is described as a driven oscillator.
Mechanical examples include pendula (with small angles of displacement), masses connected to springs, and acoustical systems. Other analogous systems include electrical harmonic oscillators such as RLC circuits. The harmonic oscillator model is very important in physics, because any mass subject to a force in stable equilibrium acts as a harmonic oscillator for small vibrations. Harmonic oscillators occur widely in nature and are exploited in many manmade devices, such as clocks and radio circuits. They are the source of virtually all sinusoidal vibrations and waves.
Simple Harmonic Motion Frequency
The frequency of simple harmonic motion like a mass on a spring is determined by the mass m and the stiffness of the spring expressed in terms of a spring constant k
The Landscape "avant la lettre" by A.N. Schellekens
The lowest harmonics correspond to the particles of the Standard Model, plus perhaps a few new particles. The higher harmonics correspond to an infinite series of particles that we can never observe, unless we can build a Planck Energy accelerator
The Sound The Universe Makes
Cymatics and the Heart Song
Links to this post Labels: Cymatics, Hans Jenny, Harmonic Oscillator, Heart
Fear and Ignorance
This is a very significant physical result because it tells us that the energy of a system described by a harmonic oscillator potential cannot have zero energy. Physical systems such as atoms in a solid lattice or in polyatomic molecules in a gas cannot have zero energy even at absolute zero temperature. The energy of the ground vibrational state is often referred to as "zero point vibration". The zero point energy is sufficient to prevent liquid helium-4 from freezing at atmospheric pressure, no matter how low the temperature.
See:Quantum Harmonic Oscillator: Energy Minimum from Uncertainty Principle
It would be hard here to explain the way I see these things. In the way one can shift perspective, to think, that this measure of any "systemic reason" would ask that one consider the state of equilibrium?
It would be foolish to me for any science process to discount the value on how one can measure storms in space not to think that "such resonances" could have not found suitable actions as being represented in sociological correspondence.
Let us see how these great physicists used harmonic oscillators to establish beachheads to new physics.
Albert Einstein used harmonic oscillators to understand specific heats of solids and found that energy levels are quantized. This formed one of the key bridges between classical and quantum mechanics.
Werner Heisenberg and Erwin Schrödinger formulated quantum mechanics. The role of harmonic oscillators in this process is well known.
Paul A. M. Dirac was quite fond of harmonic oscillators. He used oscillator states to construct Fock space. He was the first one to consider harmonic oscillator wave functions normalizable in the time variable. In 1963, Dirac used coupled harmonic oscillators to construct a representation of the O(3,2) de Sitter group which is the basic scientific language for two-mode squeezed states.
Hediki Yukawa was the first one to consider a Lorentz-invariant differential equation, with momentum-dependent solutions which are Lorentz-covariant but not Lorentz-invariant. He proposed harmonic oscillators for relativistic extended particles five years before Hofstadter observed that protons are not point particles in 1955. Some people say he invented a string-model approach to particle physics.
Richard Feynman was also fond of harmonic oscillators. When he gave a talk at the 1970 Washington meeting of the American Physical Society, he stunned the audience by telling us not to use Feynman diagrams, but harmonic oscillators for quantum bound states. This figure illustrates what he said in 1970.
We are still allowed to use Feynman diagrams for running waves. Feynman diagrams applicable to running waves in Einstein's Lorentz-covariant world. Are Feynman's oscillators Lorentz-covariant? Yes in spirit, but there are many technical problems. Then can those problems be fixed. This is the question. You may be interested in reading about this subject: Lorentz group in Feynman's world.
Can harmonic oscillators serve as a bridge between quantum mechanics and special relativity
To consider such geometrical form "as the sphere," to have encouraged collapse, and find a resulting behaviour as signalling a change overwrought by influences that will insight idealizations to division and the idea that "no" global consideration is present.
While one may debate the idea of the classification of democracies in the 167 countries around the world, a consensus to quality control of information is insinuated. So now moving beyond "the border" to lesser degrees of, while there is no offering of what the idea of democratic institutions in the free countries of the world could be related too. It's measure in the degrees thereof.
While I had offered "in bold" the understanding, they( should I offer by name?) are quick to point out in rebuttal, by an offering to discount the very source of this consideration. I am all for further dialogue, but it looks like that won't happen.
See:Central Theme is the Sun
So how does it look, as a spherical realization, that SOHO measure in terms of predicting an "outcome of weather" could not have found "early warnings" to possible outcomes in the evolution of the planet it's electrical grids and power usage, telecommunications, and the events thereof?
You had to know that Plato "saw further" by understanding the examples of the sun, as a source of "seeing beyond the shadows of the cave." Of knowing, that one could be "free of the chains that bind."
No where does this say it is easy to overcome. The sociological and psychological behaviour that evolves in that "spherical engage", but that it is always the life struggle to get back to the light. One had to be fully aware of the topological translation of the relationship between the inner/outer and the reductionist move to what is self evident. There is no way for one to be aware of the analysis and the final outcome without knowing the way in which one could move to such a result, without knowing the wider perspective that is held about life.
Links to this post Labels: Harmonic Oscillator, Self Evident, SOHO, Sonoluminence, Sound, Sun
GRand Quantum Conjecture
My continued looked into the "fluids dynamics" had me wonder about the superfluid anomalies. How would the "sphere look" if it collapsed and allowed information to travel through it, based on what has been given here for perspective, when the "state of equillibrum" is arrived at?
In regards to 3, let's just say the assumption is from a theoretcial standpoint, that microstate blackholes "are created." They are created in "cosmic particle collisions" as well?
This is the premise from which I work, and how I gave "how particles are created," a beginning(dimensional referencing), and a basis from which all science becomes "evidentary" in the particle creations.
Exotic physics finds black holes could be most 'perfect,' low-viscosity fluidVince Stricherz, University of Washington
Son and two colleagues used a string theory method called the gauge/gravity duality to determine that a black hole in 10 dimensions -- or the holographic image of a black hole, a quark-gluon plasma, in three spatial dimensions -- behaves as if it has a viscosity near zero, the lowest yet measured.
It is easy to see the difference in viscosity between a jar of honey or molasses at room temperature and a glass of water. The honey is much thicker and more viscous, and it pours very slowly compared with the water.
Using string theory as a measuring tool, Son and colleagues Pavlo Kovtun of the University of California, Santa Barbara, and Andrei Starinets of the Perimeter Institute for Theoretical Physics in Waterloo, Ontario, have found that water is 400 times more viscous than black hole fluid having the same number of particles per cubic inch.
Your points in conclusion,I, II, III
I-yes
II-yes
III- from my conclusions as well.
Again in above quote, I am defining the leading perspective on blackholes as they are being theoretically defined now, and will be subject to experimentation soon?:)
Now again "backreaction in the laval nozzle" is up for inspection here as we delve deeper into the nature of the blackhole.
Nature in Analog Models
Analogue models of (and for) gravity have a long and distinguished history dating back to the earliest years of general relativity. In this review article we will discuss the history, aims, results, and future prospects for the various analogue models. We start the discussion by presenting a particularly simple example of an analogue model, before exploring the rich history and complex tapestry of models discussed in the literature. The last decade in particular has seen a remarkable and sustained development of analogue gravity ideas, leading to some hundreds of published articles, a workshop, two books, and this review article. Future prospects for the analogue gravity programme also look promising, both on the experimental front (where technology is rapidly advancing) and on the theoretical front (where variants of analogue models can be used as a springboard for radical attacks on the problem of quantum gravity).
"Analogistical behaviors" help to push perspective, where before, our theoretical explorations had ran dry?
These wormhole like 'blackholes' do not lead to other pocket universes, unless we choose to call another sector of space a pocket universe, like Europeans first called the land across the Atlantic the 'New World' or Australia 'Another World' yet still clearly part of this World we call Planet Earth.
If we are to think that the overall context can be apllied to this universe, then such evidence "should be obtainable" as to the nature of such a beginning? But even still, to your point and aspect within this universe, we are looking for accontable methods to such dark energy creation?
Every picture held in mind is a link to other pictures
Each event in regards to gravitational collapse would be indicative of what can be "put back into this universe" and sustain it?
Lubos Motl:
The mechanism behind sonoluminiscence remains a bit controversial. Claiming that a thermonuclear fusion occurs during sonoluminiscence is among the more conservative explanations. The physicist Claudia Eberlein argued that the correct explanation is that the imploding bubbles create sonic black holes and the flashes are the counterpart of Hawking radiation as the sonic black hole evaporates. You should not think that this is an example of a very, very low energy quantum gravity because the sonic black holes have no connection with the scales of gravity. It is not a supercollider in a glass of beer. But let me admit that as an undergrad, I was excited by this proposal, at least for a few minutes, but I apparently forgot the details of that encounter.
So by developing this picture of the "bubble collapse in sonofusion", and let's forget about the energy produced from such bubbles and focus on the geometrics of such a collapse. That's my point.
Janice Granhardt has pointed out a press release that is two days old and arguably much more serious and potentially far-reaching than the news about "sonofusion" we described yesterday.
That is part of my conjecture as well as the "unification factor" in my GRand Quantum perceptions.:)That if you remember Kip thorne's plate 27 you will understand that information from the collapse had to be sent over a great distance for us to make sense of the geometrical dynamics that are unfolding from that time and place.
So you look for the gravitational waves that Webber initiated, and Kip Thorne encouraged in our measures of what is actually being transmitted. Kip Thorne is the father of the LIGO program?
You must remember gravitational waves have not yet been verified, yet the theory of GR implicitly tells and is about gravity. It was thus taken further in my conclusions having understood that the creation of this infomration would allow one someday "to map" this very collapse in terms of the gravitonic information left in the bulk?
This is "Dimensional orientated" from a beginning(11dimensional view?), from which evidence is "the 3+1."
That's outside the box thinking? :)Cosmologists work "inside," as Clifford of Cosmic Variance once said?
How then is such a gravitational heat generated from the boundary conditions(blackhole), which grows ever smaller in that collapse, and our energy valuations go higher to supersymmetical realizations? The present volume calculated in the extension of our universe would have to be in concert with the volume before such a collapse was to be expected?
This "total energy value," assuming the universe is flat teeter's on the brink of ?:)
Total dark energy would have to account for this and supernova events contributing as well as, particle collisions that go on all the time?
So if space is not really empty, then what is it supposed to be filled with? Quantum harmonic oscillator and zeropoint?
Charlatan's Who Use Graviton
Links to this post Labels: Analogies, Black Holes, Bubbles, Cosmic Strings, dark energy, Earth, General Relativity, Geometrics, Gluon, Graviton, Gravity, Harmonic Oscillator, Kip Thorne, Laval Nozzle, LIGO, Microstate Blackholes, Particles, Perfect Fluid, Quantum Gravity, Quark Gluon PLasma, sonofusion, Stephen Hawking, String Theory, SuperNova, SuperNovas, Time Travel
Harmonics will Color Your World?
If you are a active participator of the very world around you, how is it, the makeup of high energy particle creations could not have included the standard model make up "harmonically described" does it not also apply to our "very thinking and conscious mind?" :)
So of course the very basis of the thinking was drawn in my mind to the very subject enlisted by the minds of our predeccessors, to wonder, how this associative function could have ever been at the basis of how we may look at the World?
Lee Smolin:
In case it is not obvious, let me emphasize that harmonic oscillators are not relevent here, and can play no role in a background independent quantum theory, precisely because the division of a field into harmonic modes requires a fixed background metric. Thus, the physics of the problem REQUIRES an alternative quantization
Of course it is never easy for me to understand what is going on while we have the issues of the background, versus, the non background, and this brings up the ole debates about positions and adoptives stances scientists have taken in regards to the "duality" of science's "quantum gravity" issues?
Do I have a complete grasp of it. Absolutely not, while it forces me back to the issues, as to what is the basis of this "difference of opinion?"
THE ANTHROPIC PRINCIPLE
Leonnard Susskind and Lee Smolin
While this is a conversation written by physicists for physicists, it should nonetheless be of interest for Edge readers as it's in the context of previous Edge features with the authors, it's instructive as to how science is done, and it's a debate that clarifies, not detracts.
So by historically looking back, this is a reminder, about the ways in which science people are still looking at things, while holding their positions of thought today?
SEan's meeting at PI, is a very interesting one becuase what it does is take the teacher and student scenario, and manifests the circumstance of clarification as to positions, while providing for a intuitive surge to present itself in the minds of it's participnats.
So this debate then was held and it's relationship rememebered within this blog as to the basis of determination, about how we see the universe and all that is in it.
The aim of this paper is to explain carefully the arguments behind the assertion that the correct quantum theory of gravity must be background independent. We begin by recounting how the debate over whether quantum gravity must be background independent is a continuation of a long-standing argument in the history of physics and philosophy over whether space and time are relational or absolute. This leads to a careful statement of what physicists mean when we speak of background independence. Given this we can characterize the precise sense in which general relativity is a background independent theory. The leading background independent approaches to quantum gravity are then discussed, including causal set models, loop quantum gravity and dynamical triangulations and their main achievements are summarized along with the problems that remain open. Some first attempts to cast string/M theory into a background independent formulation are also mentioned.
The relational/absolute debate has implications also for other issues such as unification and how the parameters of the standard models of physics and cosmology are to be explained. The recent issues concerning the string theory landscape are reviewed and it is argued that they can only be resolved within the context of a background independent formulation. Finally, we review some recent proposals to make quantum theory more relational.
So if someone saids that space is empty, I have a really hard time with it.
Links to this post Labels: Anthropic Principal, Colour of Gravity, Cosmology, Creativity, Einstein, Foundation, General Relativity, Gravity, Harmonic Oscillator, Landscape, Loop Quantum, M Theory, Particles, planck, Quantum Gravity, Smolin, Standard model, String Theory, Supersymmetry, Susskind
Harmonic Oscillation
This "math sense" has to become part of one's makeup? An inductive process. Experimentally challenged. Deductive.
If such a idea is held from weak to strong idealizations in terms of comological views, then you get this sense of "energy valuations" as well. If you calculate when the binary pulsar distances around each other, the value of that information has been released in the bulk. This information should become weaker, as the orbits get closer?
The theory of relativity predicts that, as it orbits the Sun, Mercury does not exactly retrace the same path each time, but rather swings around over time. We say therefore that the perihelion -- the point on its orbit when Mercury is closest to the Sun -- advances.
I would think this penduum exercise would make a deeper impression if held in concert with the way one might have look at Mercuries orbit.
Or, binary pulsar PSR 1913+16 of Taylor and Hulse. These are macroscopic valutions in what the pendulum means. Would this not be true?
Part of the Randall/Sundrum picture Sean supplied of the brane world perspectives needed for how we look at that bulk view. If you are to asume that space is not indeed empty, then what is it filled with? Gravitonic perception would make this idea of the quantum harmonic oscillator intriguing to me in the sense that "zero point", would be flat space time. Any curvature parameters would have indeed signalled simple harmonic initiations?
Omega valutions in regard to the what state the universe is in, would have been defined in relation to a triangulation.
The quantum harmonic oscillator has implications far beyond the simple diatomic molecule. It is the foundation for the understanding of complex modes of vibration in larger molecules, the motion of atoms in a solid lattice, the theory of heat capacity, etc. In real systems, energy spacings are equal only for the lowest levels where the potential is a good approximation of the "mass on a spring" type harmonic potential. The anharmonic terms which appear in the potential for a diatomic molecule are useful for mapping the detailed potential of such systems.
But indeed while we understand this large oscillatory factor in our orbits, does it not make sense to wonder how simple that harmonic oscillator can become when we are looking for extra dimensions?
I had a picture the other day of a music instrument of a wire stretched, and weights being applied respectfully. The string when strummed gave certain frequencies accordingly to different mass valuations. This is the early pythagorean instrument I had see a few years ago, that would have similarities with "gourds of water" as weight and levels changed.
Here we seen a torsion pendulum. The way the wire twists and it's resulting valuation.
So you see how simple experimental processes help to correct our views on the way we see things.
From a historical perspective views of scientists with this explanation support the harmonic oscillators as follows:
Can harmonic oscillators serve as a bridge between quantum mechanics and special relativity?
Lee Smolin saids no to this?
Links to this post Labels: Curvature Parameters, Dirac, Einstein, Foundation, Harmonic Oscillator, Heisenberg, Hulse, M Theory, Music, Omega, Particles, Smolin, String Theory, Sun, Taylor
Could "Chaos" have been Implied in the Quantum Harmonic Oscillator, as Supersymmetry?
See:Quantum Harmonic Oscillators
Fortunately being the junior here in knowledge comprehension, the benefits, as of my having wrongly thought a certain way, allows "fantasy a great journey." I have wondered, could I have ever attained such insights that would awaken even the most determined individual to the quest of, to finally rest easy and a warm satisfaction?
Let's hold the Trigger in suspension. What is it's potential, had such symmetrical realizations made the axis of this process move according to some plan not seen? Are There methods seen in the matrices, that revolve around this "i" that woud have given the photon dispersement some relevance to a interactive phase within context? How about gluon perceptions? Tipler's lightcones also comes to mind here, as such a process?
I am so afraid to trip on my tongue, that such words listed, would have provided the necessary crackpot label. I wondered whether I should continue. But a motivation is borne of it's own accord, I couldn't help see some relevance to the "uncertainty in langrange points."
Although chaotic planetary motion had not been observed, experimentalists had encountered turbulence in fluid motion and nonperiodic oscillation in radio circuits without the benefit of a theory to explain what they were seeing.
Could have exemplified such unequilibrium, that at first, it made no sense to me that such points could have ever accomplished anything. Was there a lesson from lorentz and his model butterfly that such models had found the transfer from one state to another, could reveal such supersymmetrical acts of consideration in having found the anti- anything, and soon learnt, that it was the other side of the equation? The 720 degree turn, that brought the history of this action into a complete whole, and accord.
I would like to say this is nice to see that Lee Smolin has taken the time to help set things straight. This caught my eye.
This is linked to a Post written by Peter Woit called, " Why No New "Einstein"?
6) With regard to the non-standard quantization, in which holonomies, but not local field operators are well defined, it is of course true that when applied to standard systems this leads to inequivalent results. "This apparently leads to unphysical consequences, such as an unbounded spectrum for the harmonic oscillator." But, give me a break, do you really think someone is proposing to replace the standard quantization of the harmonic oscillator with the alternative one? What is being proposed is that the quantization used in LQG is well suited to the quantization of diffeo invariant gauge theories.
In case it is not obvious, let me emphasize that harmonic oscillators are not relevent here, and can play no role in a background independent quantum theory, precisely because the division of a field into harmonic modes requires a fixed background metric. Thus, the physics of the problem REQUIRES an alternative quantization.
I have to read things over quite a few times before it seems to sink in, but reference to three sphere and the understanding of Poincare's model did not reduce my interest in seeing such correlations in how we saw such langrange points develope into this suspended state for the trigger to make itself known?
Many physicists find extra dimensions a distasteful notion. In remarks to an American Physical Society newsletter, physicist Frank Wilczek of MIT called the black hole study a sound way to test an unattractive idea.
"There's no question that the Auger observatory will be sensitive to this signal, if it exists," says Penn State's Stéphane Coutu, a member of the international Auger Observatory team. "We'll definitely look."
All of us are on the same wavelenght right? Blackhole determinations, set the stage, for what we hope to percieve is, "the basis of this trigger?"
How wonderful this rubber band that is slipped over the sphere, and as it expands from this point, "the loop" now becomes a exemplifier of all those things manifested from the spherical gaze of the harmonics?
What image is given from the blackhole to realize, that the gravitonic messager sent from the daisy of Taylor, would have found the penduluminaric thoughts in Greg's Egans's "animations of Lissajous" and a coordinated frame?
Links to this post Labels: Einstein, Harmonic Oscillator, Loop Quantum, Photon, Smolin, Sound, Standard model, Supersymmetry, Taylor
Links to this post Labels: Dirac, Einstein, Harmonic Oscillator, Heisenberg, Particles


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text:
FG committed to eradication of child labour – Perm. Sec.
Abdul JimohJune 14, 2016 5:14 pm 0
The Federal Government said on Tuesday in Abuja that it was committed to the eradication of all forms of child labour in the country.
This is contained in a statement issued by Dr Clement Illoh, the Permanent Secretary, Federal Ministry of Labour and Employment, and made available to the News Agency of Nigeria (NAN).
Illoh said that contrary to reports in a section of the media, Nigeria was fully represented at the meeting of the International Labour Organization (ILO) Committee on Applications of Standards.
NAN reports that Nigeria was one of the countries invited to appear before the Committee on June 1, concerning the Minimum Age Convention of 1973.
"The representation and defence by Nigeria is contained in the ILO document, dated June 1, 2016 from pages 14 to 23.
"The committee was informed of Nigeria's effort to ensure that the articles of the ILO Convention No. 138 on Minimum Age for Employment are incorporated in the expected new National Labour Laws. "
Illoh explained that Nigeria also presented to the committee, comprehensive efforts on tackling issues of child labour as contained in the National Child Labour Policy and other documents.
He said that Nigeria was among the first countries in Africa to ratify and implement the ILO Convention on Minimum Age at Work and Worst Forms of Child Labour.
"Also, the Child Rights Act is currently a national law which has been domesticated by a majority of state governments in Nigeria.
"It is pertinent to stress that the Federal Government, through the Federal Ministry of Labour and Employment, remained unwavering in its determination to eradicate any form of child labour in the country, " Illoh added. (NAN)
CATEGORIES DomesticEconomyNewsPolicy
TAGS Child LabourClement IllohCommitteeEmploymentILO ConventionLabourMinimum AgeNANNational Child Labour policyNigeia
AUTHOR Abdul Jimoh
Currently in Social Media platform of NTA, Largest TV in Africa. Iam a graduate of Mass Communication with special interest on social media and NTA ICT Reporter.
Update on Lifting 20m Nigerians out of Poverty
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For those programmers that only think a spring is something that can contract and expand, you're missing out on a particularly useful and more and more essential, programming framework.
It is the first time in my 6 year programming life cycle that I have used spring on a project and I must say, there is no going back. Its benefits are incalculable. Regardless of the size of the application the Spring Application framework adds enormous value.
What exactly is Spring then, or more accurately, what is the Spring Framework?
Spring is a framework which enables the efficient development and maintenance of high quality applications. It is an infrastructure which handles many of the every day which developers would otherwise have to do. It has many facets, with the various components both tightly integrated and complementary. But the biggest win with "spring-core" at it is affectionately known is that gives the application "Inversion of Control" or otherwise known as Dependency Injection.
In the above example, if you have read Robert Martin's brilliant "Agile Software Development" you'd already be pointing out that you're violating the Dependency Inversion principle, and that is that dependencies should go "down" and not "up". In this case if I wished to use a different mechanism to send the mail, maybe a LinuxMailService or even change the mode of transport it would cause a change to this class. i.e. The "higher" class would require a change if a changed the "lower class". So in other words, changing details, i.e. Nuts and bolts of the mail send mechanism would cause a change in the higher level business logic of the application. This is something we want to avoid. By the way, it's also violating the open-closed principle.
It would be a lot better to abstract the message dispatch mechanism via an interface and then remove the dependency between the business logic and the message dispatch mechanism.
You may now be asking, so where does spring fit in. Well, even if we abstracted via an interface, we would still need to get at the service to send the mail somehow. This is where spring comes in. If I were to use spring to construct the above infrastructure I would first add a property to our business object above which takes a IMesssageDispatchService interface and then create a file which defined the infrastructure.
This file of xml is provided to a spring definition loader which would load the file in and create a context. The context would create the beans defined in the file, business.logic and service.mail and make then available via a getBean(String) method. It would instantiate them as the class specified and with any properties specified. In the above example it would call the "setMessageService" method on the BusinessObject with an instance of the MailService class. Thus the creation of the infrastructure has now been abstracted out into this file. Plugging in another message dispatch service would mean coding the service and then changing the xml definition file. No change to the calling context or any of its code, necessary.
You've probably already noticed tha changing the mechanism used to send the mail is as simple as changing the definition file. As long as the service.mail bean implements the ImessageDispatchService interface it can point to any class.
So then to give you a whirlwind summary of the advantages from my own experience, here goes.
When you create a spring managed bean you can easily specify the dependencies (i.e. Other beans) which that bean depends on. Spring will then go and build those various dependencies for you and you end up with a fully built up bean. Those beans should also be managed by spring. You don't have to code the plumbing.
One of the problems I've often found when designing an application is working out the relationships between the objects and keeping those relationships clean. I've often found myself simply making a singleton out of my service objects and thereby making them available wherever they are required. I've often felt uneasy about this because I allow any object to have access to any other object and the relationships are not explicit. i.e. Because it is a singleton it can be referenced anywhere without limitations. Using spring allows those relationships to be controlled and explicitly defined (in an xml file) but at the same time it provides a mechanism to provide easy access to the services. The spring developers do not recommend that you do to much of the context.getBean calls illustrated above. This should only be done for the "root" of your infrastructure.
Spring uses an xml file to define the infrastructure. For this reason changing the infrastructure is as simple as changing an xml file, and spring provides quite a few efficiencies in how you can change this xml file, via a property file for example. In our project for instance, we can change from container managed transactions to hibernate managed transactions as simply as changing a value in a properties file.
I think the key issue with spring is that it is a framework. It is a framework for building an application. It's analogous to a building. Spring is the framework while the application is the bricks. Because you already have a framework, adding aop for instance, is simple, the framework enables it. It does a lot of the "heavy lifting" of management and infrastructure, leaving the developer free to work on the interesting bits.
In our project we have junit test which test at the service level and these tests test locally (outside the container and not via web services). Now because the service level is what is presented to the outside world, this is the level which is exposed by web services, and there is thus a one to one mapping between the service level and the wsdl's. Now for this reason I felt it was possible to switch those junit tests to test against a running remote application server, and I achieved this switch by adding a bit of spring infrastructure definitions and I only had to change one line in the test code!
Spring has become as essential in my day to day life as a programmer as an IDE. I would not consider not using it in any application, no matter what the size.
When I came on the project I had never used it, but then I had not been involved in developing an enterprise application and now I cannot be without it.


Similar to the famous Kirkwood gaps there must be positions in the solar system between Venus' en Earths orbit where asteroids lay be spare .
The sim hereby puts 300 particles into circular orbit between Venus and Earth , originally at 0° Inclination .
How do they evolve ?
The system above seems to be full of resonances as can be seen in the animation hereunder , which shows the eccentricity build up during almost 1000 years of simulation .
The resonances are weak but can be attributed to either Venus or Earth , in some cases to both .
The last picture of the animation shows the possible resonances .
In this picture the resonances to Venus are shown on top , those to Earth at the bottom line .
Not surprisingly also the inclination of the test particles will be influenced by both planets Venus and Earth.
The animation shows the inclination build up of the test particles .
Surprisingly there is little indication of resonances in this graph , but inclination variation seems to be function of the distance to either planet .
The longitude of ascending node , which originally was set at random between 0 to 360° evolves quickly te a value near 165° . I don't know how this value is related to the LAN Venus ( 76°) and the value of Earth ( 149°) .