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    Two exoplanet families redefine what planetary systems can look like

    Two tightly packed families of exoplanets are pushing the boundaries of what a planetary system can look like. New studies of the makeup of worlds orbiting two different stars show a wide range of planetary possibilities, all of them different from our solar system.
    “When we study multiplanet systems, there’s simply more information kept in these systems” than any single planet by itself, says geophysicist Caroline Dorn of the University of Zurich. Studying the planets together “tells us about the diversity within a system that we can’t get from looking at individual planets.”
    Dorn and colleagues studied an old favorite planetary system called TRAPPIST-1, which hosts seven Earth-sized planets orbiting a small dim star about 40 light-years away. Another team studied a recently identified system called TOI-178, which has at least six planets — three already known and three newly found — circling a bright, hot star roughly 200 light-years away.
    Both systems offer planetary scientists an advantage over the more than 3,000 other exoplanet families spotted to date: All seven planets in TRAPPIST-1 and all six in TOI-178 have well-known masses and radii. That means planetary scientists can figure out their densities, a clue to the planets’ composition (SN: 5/11/18).

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    The two systems also offer another advantage: The planets are packed in so close to their stars that most are engaged in a delicate orbital dance called a resonance chain. Every time an outer planet completes an orbit around its star, some of its closer-in sibling planets complete multiple orbits.
    Resonance chains are fragile arrangements, and knocking a planet even slightly out of its orbit can destroy them. That means the TRAPPIST-1 and TOI-178 systems must have formed slowly and gently, says astronomer Adrien Leleu of the University of Geneva.
    [embedded content]
    TOI-178’s planets are engaged in a delicate orbital dance called a resonance chain that suggests the system formed gently. This video illustrates this rhythmic dance: as an outer planet completes one full orbit, the inner planets complete multiple orbits. Each full and half orbit is assigned a musical note. When planets align, the notes harmonize.
    “We don’t think there could have been giant impacts, or strong interactions where one planet ejected another planet,” Leleu says. That gentle evolution gives astronomers a unique opportunity to use TRAPPIST-1 and TOI-178 as testbeds for planetary theory.
    In a pair of papers, two teams describe these systems in unprecedented detail. Both buck the trend astronomers expected from theories of how planetary systems form.
    In the TOI-178 system, the planets’ densities are all jumbled up, Leleu and colleagues report January 25 in Astronomy & Astrophysics.
    “In the most vanilla scenario, we expect that planets farther from the star…would have larger components of hydrogen and helium gas than the planets closer in,” says astrophysicist Leslie Rogers of the University of Chicago, who was not involved in either study. The closer to the star, the denser a planet should be. That’s because farther-out planets probably formed where it’s cold, and there was more low-density material like frozen water, rather than rock, to begin with. Plus, starlight can strip atmospheres from close-in planets more easily than far-out ones, leaving the inner planets with thinner atmospheres — or no atmospheres at all (SN: 7/1/20).
    TOI-178 flouts that trend entirely. The innermost planets seem to be rocky, with densities similar to Earth’s. The third one is “very fluffy,” Leleu says, with a density like Jupiter’s, but in a much smaller planet. The next planet out has a density like Neptune’s, about one-third Earth’s density. Then, there’s one with about 60 percent Earth’s density, still fluffy enough to float if you could put it in a tub of water, and the final planet is Jupiter-like.
    “The orbits seem to point out that there was no strong evolution from [the system’s] formation,” Leleu says. “But the compositions are not what we would have expected from a gentle formation in the disk.”
    TRAPPIST-1’s planet septet, on the other hand, has an eerie self-similarity. Each world is roughly the same size as Earth, between 0.76 and 1.13 times Earth’s radius, astrophysicist Eric Agol of the University of Washington in Seattle and colleagues reported in 2017 (SN: 2/22/17). Plus, at least three of them appear to be in the star’s habitable zone, the region where temperatures might be right for liquid water.
    Now, Agol, Dorn and colleagues have made the most precise measurements of the TRAPPIST-1 masses yet. All seven worlds are almost identical to each other but slightly less dense than Earth, the team reports in the February Planetary Science Journal. That means the planets could be rocky yet have a lower proportion of heavy elements such as iron compared with Earth. Or it could mean they have more oxygen bound to the iron in their rocks, “basically rusting it,” Agol says.
    TRAPPIST-1’s seven planets seem to have similar compositions to each other, but different from Earth. They could have an Earthlike makeup but with a smaller iron-rich core (center), or have no core at all (left). They could also have deep oceans (right), but the inner three planets are probably too hot for that much water to last.JPL-Caltech/NASA
    TRAPPIST-1’s seven planets seem to have similar compositions to each other, but different from Earth. They could have an Earthlike makeup but with a smaller iron-rich core (center), or have no core at all (left). They could also have deep oceans (right), but the inner three planets are probably too hot for that much water to last.JPL-Caltech/NASA
    Oxidized iron wouldn’t form a planetary core, which could be bad news for life, Rogers says. No core might mean no magnetic field to protect the planets from the star’s damaging flares (SN: 3/5/18).
    However, it’s not clear how to form coreless planets. “There are propositions for how to form such planets, but we don’t actually have one candidate in the solar system where we see this,” Dorn says. The analogs in the solar system are all asteroid-sized bodies much less massive than Earth.
    Astronomers may soon get a better handle on the compositions of TRAPPIST-1’s planets. The James Webb Space Telescope, set to launch in October, will probe the planets’ atmospheres (if they have any) for signs of chemical elements that would reveal in more detail what they’re made of.
    The TRAPPIST-1 planets’ similarities to each other are not as surprising as the differences among TOI-178’s planets, Rogers says. But they’re still unexpected. If all the planets have identical compositions, then any formation model needs to explain that, she says.
    While these systems challenge astronomers’ views of what sorts of planets are possible, Dorn says, it will take discovering more multiplanet systems to tell how weird they truly are. More

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    Netflix's The Dig review: An archaeology drama with impeccable acting

    Ralph Fiennes and Carey Mulligan star in Netflix’s film The Dig, which reimagines the excavation at Sutton Hoo, where a 27-metre burial ship was uncovered

    Humans 3 February 2021
    By Francesca Steele
    Flawless: Carey Mulligan as Edith Pretty and Ralph Fiennes as Basil Brown
    Larry Horricks/Netflix

    The Dig
    Simon Stone
    Available on Netflix

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    BASIL BROWN, played in The Dig by Ralph Fiennes, was the principal archaeologist behind the 1939 excavation of Sutton Hoo in Suffolk, England. It is now considered one of the most important finds in Britain, the majesty of its 27-metre burial ship and 7th-century Anglo-Saxon treasures reframing historians’ view of the so-called Dark Ages.
    However, it was very nearly missed – and Brown wasn’t always acknowledged for his efforts. He was a self-educated archaeologist and astronomer, who spent much of his income as a tenant farmer and insurance agent on that education. Being an independent scholar without an academic post was an irregularity that led to the omission of his name at the British Museum’s display of the Sutton Hoo treasures for decades.
    The Dig, based on the novel of the same name by John Preston, rights that wrong. It is directed by Simon Stone with a distinctly British tone of restraint worthy of film producer Ismail Merchant and director James Ivory, who made the 1990s hits Howards End and The Remains of the Day.
    The film approaches English passions cautiously, shining a light on Brown’s incredible contribution, as well as that of Edith Pretty (Carey Mulligan), the landowner who hired Brown to dig under the mounds on her estate because she had a “feeling” they would find something of note.
    Fiennes and Mulligan are flawless as the excavators that the professionals underestimate, imbuing their characters with an intelligent zeal for the field that isn’t dampened by their places in society: he’s a lowly contractor for the Ipswich Museum, she’s a wealthy widowed landowner who went to finishing school. They share a quiet determination and mutual respect, initially arguing over which of the 18 mounds to tackle first, but finding common ground in the soil and its secrets. “That’s life what’s revealed,” Brown says in a thick Suffolk accent. “And that’s why we dig.”

    Brown forms a friendship with Pretty’s young son Robert, a keen amateur archaeologist. It is all the more affecting as we learn that Pretty is dying so Robert will soon be an orphan (Pretty died in 1942).
    “The Dig is obsessed with class boundaries. It fizzes with curbed passions amid honey-coloured fields”
    This is a film of two halves, the first about archaeology, the second concerned with the personal lives of the people behind the dig. The first half is more successful, illustrating the patience necessary for excavation, especially in England where it is always raining, exposing fragile finds to the elements. It also reveals the dangers. In one of their earliest conversations, Pretty rescues Brown when the earth falls in on him and he claws desperately at the dirt. It is a good illustration of the risks an ordinary man took to exhume historical artefacts, only to be cast aside later.
    Like Howards End and The Remains of the Day, The Dig is obsessed with class boundaries. It fizzes with curbed passions amid the honey-coloured English fields, the indomitable march of time making each ordinary moment both horribly transient, as the second world war calls up young men to die in the background, and simultaneously everlasting.
    History is made of such things, and forgotten items – like Anglo-Saxon gold and Brown himself – can be retrieved.
    In the second half, we learn more about other characters on the dig, including supercilious chauvinist Charles Phillips (Ken Stott) who arrives from the British Museum to oversee things. Then there are archaeologists Stuart Piggott (Ben Chaplin) and his wife Peggy Piggott (Lily James), whose strained marriage disintegrates before our eyes as Peggy forms an attachment with good-looking photographer Rory (Johnny Flynn).
    The acting is impeccable, particularly from James, but the romance and domestic crises feel a little heavy-handed in a film that is otherwise so self-possessed. The Dig doesn’t need such frills. Like Sutton Hoo, the treasures aren’t showily arranged but lie quietly, in the silences between people, and in simple shared hopes that stretch across generations.
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    How to be an expert: What does it really take to master your trade?

    We are relying on specialist knowledge to guide us through the coronavirus pandemic – so it is more important than ever to grasp what expertise is and where it comes from, says Roger Kneebone, author of a new book on the subject

    Humans 3 February 2021
    By Richard Webb

    Rocio Montoya

    IF ROGER KNEEBONE is an expert, he has spread his expertise widely. Trained as a medical doctor, he spent many years working as a trauma surgeon in the township of Soweto in Johannesburg, South Africa, at the height of apartheid, before returning to the UK to become a general practitioner in rural Wiltshire.
    Now in his third career as a professor of surgical education at Imperial College London, he has been at the forefront of many innovations aimed at widening the scope of influences that students are exposed to. These include setting up a Centre for Performance Science with the neighbouring Royal College of Music and helping to devise the Chemical Kitchen project, which exposes chemistry undergraduates to lab skills through the “non-threatening” parallel of cooking.
    Kneebone has also tried his hand at many extracurricular activities, from flying light aeroplanes and learning to juggle to building harpsichords – with varying degrees of success, he freely admits. He recently wrote a book, Expert: Understanding the path to mastery. Drawing on the experiences of people from musicians to magicians and tailors to taxidermists – and some scientific and medical experts for good measure – it examines the ubiquitous, but understudied, process of becoming an expert.
    Richard Webb: Experts are very much in the public eye at the moment.
    Roger Kneebone: I finished writing the book just before the UK’s March covid-19 lockdown began. But now more than ever we need to think about how we make use of the most valuable aspect of expertise – the wisdom based on experience that allows people to give sensible guidance about what to do … More

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    How the pandemic is revolutionising art galleries and museums

    What have covid-19 closures done to art galleries and museums? From virtual tours of mothballed shows to advanced tech like lidar, they are finding new, more personal ways to wow audiences

    Humans 3 February 2021
    By Simon Ings
    Curious Alice is a VR experience created by the V&A and HTC Vive Arts
    Kristjana S Williams, 2020

    Exhibitions
    IN NOVEMBER, the International Council of Museums estimated that 6.1 per cent of museums globally were resigned to permanent closure due to the pandemic. The figure was welcomed with enthusiasm: in May, it had reported nearly 13 per cent faced demise.
    Something is changing for the better. This isn’t a story about how galleries and museums have used technology to save themselves during lockdowns (many didn’t try; many couldn’t afford to try; many tried and failed). But it is a story of how they weathered lockdowns and ongoing restrictions by using tech to future-proof themselves.

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    One key tool turned out to be virtual tours. Before 2020, they were under-resourced novelties; quickly, they became one of the few ways for galleries and museums to engage with the public. The best is arguably one through the Tomb of Pharaoh Ramses VI, by the Egyptian Tourism Authority and Cairo-based studio VRTEEK.
    And while interfaces remain clunky, they improved throughout the year, as exhibition-goers can see in the 360-degree virtual tour created by the Museum of Fine Arts Ghent in Belgium to draw people through its otherwise-mothballed Van Eyck exhibition.
    The past year has also forced the hands of curators, pushing them into uncharted territory where the distinctions between the real and the virtual become progressively more ambiguous.
    With uncanny timing, the V&A in London had chosen Lewis Carroll’s Alice books for its 2020 summer show. Forced into the virtual realm by covid-19 restrictions, the V&A, working with HTC Vive Arts, created a VR game based in Wonderland, where people can follow their own White Rabbit, solve the caterpillar’s mind-bending riddles, visit the Queen of Hearts’ croquet garden and more. Curious Alice is available through Viveport; the real-world show is slated to open on 27 March.
    Will museums grow their online experiences into commercial offerings? Almost all such tours are free at the moment, or are used to build community. If this format is really going to make an impact, it will probably have to develop a consolidated subscription service – a sort of arts Netflix or Spotify.

    What the price point should be is anyone’s guess. It doesn’t help for institutions to muddy the waters by calling their video tours virtual tours.
    But the advantages are obvious. The crowded conditions in galleries and museums have been miserable for years – witness the Mona Lisa, imprisoned behind bulletproof glass under low-level diffuse lighting and protected by barricades. Art isn’t “available” in any real sense when you can only spend 10 seconds with a piece. I can’t be alone in having staggered out of some exhibitions with no clear idea of what I had seen or why. Imagine if that was your first experience of fine art.
    Why do we go to museums and galleries expecting to see originals? The Victorians didn’t. They knew the value of copies and reproductions. In the US in particular, museums lacked “real” antiquities, and plaster casts were highly valued. The casts aren’t indistinguishable from the original, but what if we produced copies that were exact in information as well as appearance? As British art critic Jonathan Jones says: “This is not a new age of fakery. It’s a new era of knowledge.”
    With lidar, photogrammetry and new printing techniques, great statues, frescoes and chapels can be recreated anywhere. This promises to spread the crowds and give local museums and galleries a new lease of life. At last, they can become places where we think about art – not merely gawp at it.
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    Don’t Miss: Manchester Science Festival majors on our changing climate

    New Scientist’s weekly round-up of the best books, films, TV series, games and more that you shouldn’t miss

    Humans 3 February 2021
    NASA on Unsplash

    Watch
    Earth, But Not As We Know It is a free online event by London’s Science Museum on 13 February, bringing James Lovelock and his peers into a conversation about his controversial idea that Earth acts like a living organism.

    Zoonar GmbH/Alamy

    Explore
    Manchester Science Festival returns from 12 February with an online programme on our changing climate and ideas for a better future. There are photography exhibitions and talks on everything from improving air quality to eco-anxiety.

    Read
    The Genes That Make Us by Edwin Kirk combines his experiences from lab work and clinical practice to present stories from a revolution in medicine — one that may ultimately change what it means to be human.
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    The Mandalorian review: How special effects made the Star Wars series

    State-of-the-art special effects combined with a compelling story makes Star Wars spin-off The Mandalorian viewing to be savoured on Disney+

    Humans 3 February 2021
    By Bethan Ackerley

    The Mandalorian
    Created by Jon Favreau
    Disney+

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    WHEN George Lucas set out to create Star Wars, he wanted to use special effects that had never been seen before. Over the course of the franchise’s history, that dream has been pursued relentlessly with mixed results.
    The original Star Wars trilogy was brought to life by Lucas’s visual effects company Industrial Light & Magic (ILM) through a groundbreaking combination of blue screens, miniatures, puppets and camera trickery. The prequel films (released between 1999 and 2005) were ambitious too, pioneering the use of digital film and fully computer-generated characters, but relied heavily on digital effects that didn’t always stand up to scrutiny. Since 2015, the latest Star Wars films have showcased some stunning effects, but it is now in TV show The Mandalorian that the series’ most exciting technological developments are taking place.
    Set five years after Return of the Jedi, The Mandalorian follows a bounty hunter tasked with finding The Child (a pointy-eared alien better known to fans as Baby Yoda). Unable to surrender the infant to his nefarious client, the Mandalorian is forced to traverse the galaxy to protect his charge from remnants of the Empire.
    So far, so Star Wars. Yet what makes The Mandalorian so special is how it builds on the successes and failures of every story in the franchise, especially when it comes to technology. Though you wouldn’t know it, the many alien worlds it features aren’t filmed in deserts and tundras around the world, but are instead realised by ILM on just one stage in Los Angeles, nicknamed “the Volume”.

    “The many alien worlds of The Mandalorian are realised on a single stage in Los Angeles called ‘the Volume’”
    This cavernous set is encircled by LED panels on its 6-metre walls and ceiling. Instead of shooting actors against green screens and adding a virtual background later, environments – Tattooine’s desert plains, say – are projected onto the walls during filming, blending seamlessly with practical props.
    The advantages of this approach are manifold. While shooting with green screens means lighting and reflections have to be tweaked in post-production – a difficult task and part of why the prequel trilogy was so maligned – the Volume accurately lights a scene while it is being filmed, so every world our hero steps onto (in his gleaming beskar armour, no less) feels like a real location.
    Those alien planets can be edited on set, so the crew can quite literally move mountains. ILM also uses Unreal Engine from Epic Games, the firm behind Fortnite, to create 3D environments in real time in the Volume. The screens respond to positional data from a camera, so as it moves, the setting shifts to provide realistic changes in perspective.
    Beyond the Volume, the show builds on the techniques of its predecessors, using puppetry and animatronics alongside actors to create believable aliens. You only have to look at fans’ reactions to The Child and to “Frog Lady”, season two’s amphibious breakout star, to see how successfully they have been realised. Even old-school miniatures are used.
    The Mandalorian represents the next generation of technology in Star Wars, which is fitting for a brand so obsessed with lineage. That doesn’t mean it should be judged on this alone. It is also a compelling story about fatherhood and duty, albeit one with meandering side quests that sometimes divide viewers. Yet with a universe this beautifully realised, who wouldn’t stop to take in the view from time to time?

    Bethan also recommends…
    TV
    Disney Gallery: The Mandalorian
    Disney+
    This fascinating series explores key elements of The Mandalorian. A highlight is the episode looking into how composer Ludwig Göransson built the cool soundtrack around giant recorders.
    Film
    Empire of Dreams: The story of the Star Wars trilogy (2004)
    Ken Burns
    The original Star Wars films were taken from the brink of disaster and made into a global phenomenon. This documentary tells the tale.

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    Pandemic burnout: Do you have it and what can you do about it?

    As the coronavirus crisis goes on, an increasing number of us are feeling worn out and unable to cope. Here’s how you can tell if this is burnout, and what you can do to protect yourself

    Health 3 February 2021
    By Caroline Williams

    Nathalie Lees

    “I AM not just busy, I am being overwhelmed by an onslaught of requests like yours…”
    There is a certain irony to the email I have just received: the pioneer of burnout research is feeling utterly swamped by work. Christina Maslach, a psychologist at the University of California, Berkeley, spearheaded the study of burnout back in the 1970s and has been working on ways to tackle the problem ever since. Her expertise was already highly sought after even before the coronavirus pandemic. Now she can barely move under the weight of her inbox.
    It is hardly surprising. In the year since the word lockdown became ubiquitous, it seems as if almost everyone has hit the wall at least once. But amid the emotional roller coaster of work stress, homeschooling, social isolation and the not inconsiderable fact that there is still a pandemic raging outside, how can you tell when you have reached the end of your tether? When does feeling understandably stressed in difficult times turn into an irretrievable case of burnout? And what can you do to protect yourself?
    Thankfully, five decades of research means we have a fairly good idea of what burnout is and what causes it. According to Maslach’s Burnout Inventory, an assessment tool she co-developed, burnout arises when three factors coincide: an overwhelming feeling of emotional exhaustion, feelings of cynicism and detachment and a feeling of lack of accomplishment. For those experiencing burnout, these criteria might manifest in feelings like being exhausted even after plenty of sleep, being emotionally distant from loved ones or no longer caring about jobs that need doing. … More

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    The Milky Way’s newfound high-energy glow hints at the secrets of cosmic rays

    The Milky Way glows with a gamma ray haze, with energies vastly exceeding anything physicists can produce on Earth, according to a new paper. Gamma rays detected in the study, to be published in Physical Review Letters, came from throughout the galaxy’s disk, and reached nearly a quadrillion (1015) electron volts, known as a petaelectron volt or PeV.
    These diffuse gamma rays hint at the existence of powerful cosmic particle accelerators within the Milky Way. Physicists believe such accelerators are the source of mysterious, highly energetic cosmic rays, charged particles that careen through the galaxy, sometimes crash-landing on Earth. When cosmic rays — which mainly consist of protons — slam into interstellar debris, they can produce gamma rays, a form of high-energy light.  
    Certain galactic environments could rev up cosmic ray particles to more than a PeV, scientists suspect. In comparison, the Large Hadron Collider, the premier particle accelerator crafted by humans, accelerates protons to 6.5 trillion electron volts. But physicists haven’t definitively identified any natural cosmic accelerators capable of reaching a PeV, known as PeVatrons. One possibility is that supernova remnants, the remains of exploded stars, host shock waves that can accelerate cosmic rays to such energies (SN: 11/12/20).
    If PeVatrons exist, the cosmic rays they emit would permeate the galaxy, producing a diffuse glow of gamma rays of extreme energies. That’s just what researchers with the Tibet AS-gamma experiment have found. “It’s nice to see things fitting together,” says physicist David Hanna of McGill University in Montreal, who was not involved with the study.

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    After cosmic rays are spewed out from their birthplaces, scientists believe, they roam the galaxy, twisted about by its magnetic fields. “We live in a bubble of cosmic rays,” says astrophysicist Paolo Lipari of the National Institute for Nuclear Physics in Rome, who was not involved with the research. Because they are not deflected by magnetic fields, gamma rays point back to their sources, revealing the whereabouts of the itinerant cosmic rays. The new study “gives you information about how these particles fill the galaxy.”
    Lower-energy gamma rays also permeate the galaxy. But it takes higher-energy gamma rays to understand the highest-energy cosmic rays. “In general, the higher the energy of the gamma rays, the higher the energy of the cosmic rays,” says astrophysicist Elena Orlando of Stanford University, who was not involved with the research. “Hence, the detection … tells us that PeV cosmic rays originate and propagate in the galactic disk.”
    Scientists with the Tibet AS-gamma experiment in China observed gamma rays with energies between about 100 trillion and a quadrillion electron volts coming from the region of the sky covered by the disk of the Milky Way. A search for possible sources of the 38 highest-energy gamma rays, above 398 trillion electron volts, came up empty, supporting the idea that the gamma rays came from cosmic rays that had wandered about the galaxy. The highest-energy gamma ray carried about 957 trillion electron volts.
    Tibet AS-gamma researchers declined to comment on the study.
    Scientists have previously seen extremely energetic gamma rays from individual sources within the Milky Way, such as the Crab Nebula, a supernova remnant (SN: 6/24/19). Those gamma rays are probably produced in a different manner, by electrons radiating gamma rays while circulating within the cosmic accelerator. More