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James Webb Space Telescope unveils the universe as you’ve never seen or heard it before

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It’s the universe as we’ve never experienced it before. The James Webb Space Telescope is sending back incredible images of deep space so advanced scientists believe it’s going to “change astronomy forever.”

It’s not only that we can see into space and time billions of years ago. The magic is that we can see anything at all.

Although its predecessor the Hubble Space Telescope offered up some incredible sights, Webb, which was developed in partnership with NASA and the Canadian and European space agencies, is able to look even further back in time and show us more detail about what lies beyond planet Earth.

Take the recent release of the Pillars of Creation which was first captured in 1995 by Hubble. In the original image from the area, which is considered to be a star-making part of the galaxy, pillars of gaseous clouds that look like long fingers are reaching up to the sky.

What we couldn’t see before, and what is now revealed by the Webb telescope, are all the stars hidden behind the gas.

That’s because Webb sees infrared light, which is ordinarily invisible to humans.


Pillars of Creation. Taken by the Hubble Telescope (L) and James Webb Telescope (R).


Courtesy/NASA

By picking up infrared light, Webb can see objects that are so far away, the light they emit takes over 13.5 billion years to reach Earth. That means Webb is also like a time machine in that it can see what the universe looked like back when the earth and sun were formed.

However, what Webb is sending back is invisible to humans because we aren’t able to see infrared light.

So it’s the job of Joe DePasquale and Alyssa Pagan, science visuals developers at the Space Telescope Science Institute in Baltimore, to translate the information from Webb into something visible.


Joey Ruffini/Global News

Joe DePasquale, senior science visuals developer, creates images from the James Webb Space Telescope.

“We can’t see in the infrared. So there has to be some level of translation here. But we use physical meaning like true physical science in order to represent the colour,” Pagan told Global’s The New Reality.

With the help of NASA scientists, Pagan and DePasquale break down the images into wavelengths. “We apply colour according to those wavelengths. And so the shortest wavelength filters that we have, we use blue for those. And as we move into longer and longer wavelengths, we go to greens and then reds,” DePasquale says.


Science visuals developer Alyssa Pagan translates infrared images from Webb into colours we can see.


Joey Ruffini/Global News

The end result is eyepopping images like the mountainous-looking cosmic cliffs of the Carina Nebula captured by Webb.

“What we’re seeing when we look at these images is the raw material for life,” DePasquale says.

“We’re understanding the universe. We’re understanding ourselves. It’s so intriguing to get this new perspective, this bigger picture. A lot of people can be like, ‘Oh, it makes me feel small,’ but I think for a lot of people it actually makes you feel unified, connected, part of something that’s so grand and so beautiful. So you are a part of something that’s awesome.”


An image of the Carina Nebula taken by the James Webb Space Telescope.


NASA

In their own right, these images are showstoppers, yet a Canadian scientist is now adding another level of emotion to it all.

Matt Russo, a University of Toronto physicist and a sonificiation specialist, is working with musician and friend Andrew Santaguida to add sound to the universe.

“The whole process felt really natural because we’re combining things that we’re passionate about: music, astronomy, math, computer programming, science, communication — all of these things wrapped up into one bundle,” Russo says.


Brent Rose/Global News

Matt Russo, a University of Toronto physicist and sonification specialist, creates sounds for the Webb images.

Their first effort at sonifying an image was with the Trappist-1 solar system, first captured by NASA’S Spitzer Space Telescope in 2017.

“[It] is an amazing solar system with seven earth-sized planets. But they also happened to be locked in a musical pattern called an orbital resonance. And so that made it really natural to convert their motions into musical rhythms and pitches,” Russo says.

They did the sonification of Trappist for pure enjoyment — then NASA took notice.

“We kind of just on our own, (started) sonifying different things (NASA) had released and we would send to them and they would just start posting it on their own. And then eventually that led to us working for them professionally.”


Andrew Santaguida, musician, working with Russo to sonify Webb images.


Brent Rose/Global News

Some of the sonifications have been met with skepticism from the public, like when they did the sound for a black hole.

“There’s a real soundwave detected in space in a galaxy cluster. And we were able to see the waves in the image, which means we can extract them and re-synthesize a sound,” Russo says.

“Some outlets would say it’s an actual recorded sound of a black hole, as if you had a microphone in space, which we know would not work for several reasons. So it’s important when we do sonification to present it for exactly what it is: that it’s data converged into sound.”

Now Russo and Santaguida are working on the latest imagery from the James Webb telescope.

They’re taking the spectacular images DePasquale and Pagan have created and putting them through a software system that Russo designed.

According to Russo sometimes the sound from the data can be a pleasant surprise.  Other times they need to get a bit more creative to figure out how best to represent something in the image. Russo says they always try to be as scientifically accurate as possible.

“Where we have a little more musical input, we have to decide, for instance, which musical instrument is going to be triggered by stars,” he adds. “People seem to have an intuition that stars would make kind of a bell or chime sound.”

Their sonifications of the Webb images are now allowing people to see — and hear — the universe.

The sonifications are providing those living with visual impairments the chance to experience new insights into what’s out there.

“The whole goal is to communicate those interesting features in the image, through sound,” Russo says.

Christine Malec, a member of the visually impaired community in Toronto and an arts and culture consultant, says the sonifications by Russo and Santaguida allow her to conceptualize the images from the telescope, even though she is not able to see them.

“I had never imagined experiencing astronomy in that way,” she tells The New Reality.


Brent Rose/Global News

Christine Malec, is a member of the visually impaired community, helping NASA make Webb images more accessible.

“When I experienced the sonification for the first time, I felt it in a way that was not intellectual; it was sensory and visceral. So I sometimes wonder if it’s what sighted people experience looking up at the night sky,” Malec says.

She now works regularly with Russo, Santaguida and NASA to help best translate the images from Webb for the benefit of people living with visual impairments.

Malec is excited about the future of space exploration and is hopeful for the future of accessible content in the science field.

“I wonder if I was a child now and came across things like sonification and image descriptions and astronomical stuff, would a career in STEM make more sense? Would it be more appealing? And I think the answer to that is yes. So I think that reason is a really good one for blind and low vision kids today to grow up with this as normal, I think it’s incredibly valuable.”

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Here’s how Helene and other storms dumped a whopping 40 trillion gallons of rain on the South

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More than 40 trillion gallons of rain drenched the Southeast United States in the last week from Hurricane Helene and a run-of-the-mill rainstorm that sloshed in ahead of it — an unheard of amount of water that has stunned experts.

That’s enough to fill the Dallas Cowboys’ stadium 51,000 times, or Lake Tahoe just once. If it was concentrated just on the state of North Carolina that much water would be 3.5 feet deep (more than 1 meter). It’s enough to fill more than 60 million Olympic-size swimming pools.

“That’s an astronomical amount of precipitation,” said Ed Clark, head of the National Oceanic and Atmospheric Administration’s National Water Center in Tuscaloosa, Alabama. “I have not seen something in my 25 years of working at the weather service that is this geographically large of an extent and the sheer volume of water that fell from the sky.”

The flood damage from the rain is apocalyptic, meteorologists said. More than 100 people are dead, according to officials.

Private meteorologist Ryan Maue, a former NOAA chief scientist, calculated the amount of rain, using precipitation measurements made in 2.5-mile-by-2.5 mile grids as measured by satellites and ground observations. He came up with 40 trillion gallons through Sunday for the eastern United States, with 20 trillion gallons of that hitting just Georgia, Tennessee, the Carolinas and Florida from Hurricane Helene.

Clark did the calculations independently and said the 40 trillion gallon figure (151 trillion liters) is about right and, if anything, conservative. Maue said maybe 1 to 2 trillion more gallons of rain had fallen, much if it in Virginia, since his calculations.

Clark, who spends much of his work on issues of shrinking western water supplies, said to put the amount of rain in perspective, it’s more than twice the combined amount of water stored by two key Colorado River basin reservoirs: Lake Powell and Lake Mead.

Several meteorologists said this was a combination of two, maybe three storm systems. Before Helene struck, rain had fallen heavily for days because a low pressure system had “cut off” from the jet stream — which moves weather systems along west to east — and stalled over the Southeast. That funneled plenty of warm water from the Gulf of Mexico. And a storm that fell just short of named status parked along North Carolina’s Atlantic coast, dumping as much as 20 inches of rain, said North Carolina state climatologist Kathie Dello.

Then add Helene, one of the largest storms in the last couple decades and one that held plenty of rain because it was young and moved fast before it hit the Appalachians, said University of Albany hurricane expert Kristen Corbosiero.

“It was not just a perfect storm, but it was a combination of multiple storms that that led to the enormous amount of rain,” Maue said. “That collected at high elevation, we’re talking 3,000 to 6000 feet. And when you drop trillions of gallons on a mountain, that has to go down.”

The fact that these storms hit the mountains made everything worse, and not just because of runoff. The interaction between the mountains and the storm systems wrings more moisture out of the air, Clark, Maue and Corbosiero said.

North Carolina weather officials said their top measurement total was 31.33 inches in the tiny town of Busick. Mount Mitchell also got more than 2 feet of rainfall.

Before 2017’s Hurricane Harvey, “I said to our colleagues, you know, I never thought in my career that we would measure rainfall in feet,” Clark said. “And after Harvey, Florence, the more isolated events in eastern Kentucky, portions of South Dakota. We’re seeing events year in and year out where we are measuring rainfall in feet.”

Storms are getting wetter as the climate change s, said Corbosiero and Dello. A basic law of physics says the air holds nearly 4% more moisture for every degree Fahrenheit warmer (7% for every degree Celsius) and the world has warmed more than 2 degrees (1.2 degrees Celsius) since pre-industrial times.

Corbosiero said meteorologists are vigorously debating how much of Helene is due to worsening climate change and how much is random.

For Dello, the “fingerprints of climate change” were clear.

“We’ve seen tropical storm impacts in western North Carolina. But these storms are wetter and these storms are warmer. And there would have been a time when a tropical storm would have been heading toward North Carolina and would have caused some rain and some damage, but not apocalyptic destruction. ”

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Follow AP’s climate coverage at https://apnews.com/hub/climate

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Follow Seth Borenstein on Twitter at @borenbears

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Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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‘Big Sam’: Paleontologists unearth giant skull of Pachyrhinosaurus in Alberta

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It’s a dinosaur that roamed Alberta’s badlands more than 70 million years ago, sporting a big, bumpy, bony head the size of a baby elephant.

On Wednesday, paleontologists near Grande Prairie pulled its 272-kilogram skull from the ground.

They call it “Big Sam.”

The adult Pachyrhinosaurus is the second plant-eating dinosaur to be unearthed from a dense bonebed belonging to a herd that died together on the edge of a valley that now sits 450 kilometres northwest of Edmonton.

It didn’t die alone.

“We have hundreds of juvenile bones in the bonebed, so we know that there are many babies and some adults among all of the big adults,” Emily Bamforth, a paleontologist with the nearby Philip J. Currie Dinosaur Museum, said in an interview on the way to the dig site.

She described the horned Pachyrhinosaurus as “the smaller, older cousin of the triceratops.”

“This species of dinosaur is endemic to the Grand Prairie area, so it’s found here and nowhere else in the world. They are … kind of about the size of an Indian elephant and a rhino,” she added.

The head alone, she said, is about the size of a baby elephant.

The discovery was a long time coming.

The bonebed was first discovered by a high school teacher out for a walk about 50 years ago. It took the teacher a decade to get anyone from southern Alberta to come to take a look.

“At the time, sort of in the ’70s and ’80s, paleontology in northern Alberta was virtually unknown,” said Bamforth.

When paleontogists eventually got to the site, Bamforth said, they learned “it’s actually one of the densest dinosaur bonebeds in North America.”

“It contains about 100 to 300 bones per square metre,” she said.

Paleontologists have been at the site sporadically ever since, combing through bones belonging to turtles, dinosaurs and lizards. Sixteen years ago, they discovered a large skull of an approximately 30-year-old Pachyrhinosaurus, which is now at the museum.

About a year ago, they found the second adult: Big Sam.

Bamforth said both dinosaurs are believed to have been the elders in the herd.

“Their distinguishing feature is that, instead of having a horn on their nose like a triceratops, they had this big, bony bump called a boss. And they have big, bony bumps over their eyes as well,” she said.

“It makes them look a little strange. It’s the one dinosaur that if you find it, it’s the only possible thing it can be.”

The genders of the two adults are unknown.

Bamforth said the extraction was difficult because Big Sam was intertwined in a cluster of about 300 other bones.

The skull was found upside down, “as if the animal was lying on its back,” but was well preserved, she said.

She said the excavation process involved putting plaster on the skull and wooden planks around if for stability. From there, it was lifted out — very carefully — with a crane, and was to be shipped on a trolley to the museum for study.

“I have extracted skulls in the past. This is probably the biggest one I’ve ever done though,” said Bamforth.

“It’s pretty exciting.”

This report by The Canadian Press was first published Sept. 25, 2024.

The Canadian Press. All rights reserved.

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The ancient jar smashed by a 4-year-old is back on display at an Israeli museum after repair

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TEL AVIV, Israel (AP) — A rare Bronze-Era jar accidentally smashed by a 4-year-old visiting a museum was back on display Wednesday after restoration experts were able to carefully piece the artifact back together.

Last month, a family from northern Israel was visiting the museum when their youngest son tipped over the jar, which smashed into pieces.

Alex Geller, the boy’s father, said his son — the youngest of three — is exceptionally curious, and that the moment he heard the crash, “please let that not be my child” was the first thought that raced through his head.

The jar has been on display at the Hecht Museum in Haifa for 35 years. It was one of the only containers of its size and from that period still complete when it was discovered.

The Bronze Age jar is one of many artifacts exhibited out in the open, part of the Hecht Museum’s vision of letting visitors explore history without glass barriers, said Inbal Rivlin, the director of the museum, which is associated with Haifa University in northern Israel.

It was likely used to hold wine or oil, and dates back to between 2200 and 1500 B.C.

Rivlin and the museum decided to turn the moment, which captured international attention, into a teaching moment, inviting the Geller family back for a special visit and hands-on activity to illustrate the restoration process.

Rivlin added that the incident provided a welcome distraction from the ongoing war in Gaza. “Well, he’s just a kid. So I think that somehow it touches the heart of the people in Israel and around the world,“ said Rivlin.

Roee Shafir, a restoration expert at the museum, said the repairs would be fairly simple, as the pieces were from a single, complete jar. Archaeologists often face the more daunting task of sifting through piles of shards from multiple objects and trying to piece them together.

Experts used 3D technology, hi-resolution videos, and special glue to painstakingly reconstruct the large jar.

Less than two weeks after it broke, the jar went back on display at the museum. The gluing process left small hairline cracks, and a few pieces are missing, but the jar’s impressive size remains.

The only noticeable difference in the exhibit was a new sign reading “please don’t touch.”

The Canadian Press. All rights reserved.

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