It doesn't get any darker. Stealth stuff that is so black, it almost doesn't exist!

It’s like staring ‘into a black hole’: World’s darkest material will be used to make very stealthy aircraft, better telescopes

Surrey NanoSystems Vantablack, super-black carbon nanotube material, absorbs light like a black hole

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At a nondescript industrial park in south England, scientists have created a new super-black material — fashioned out of carbon nanotubes — that is so dark it’s like “looking at a black hole.” The material, called Vantablack, absorbs all but 0.035% of the incident light that bounces off it, meaning your eyes essentially can’t see it — you can only see the space around it, and then infer that there must be something occupying that eerie abyss. Vantablack’s first customers are in the defense and space sectors, where the material can be used to make a whole variety of stealth craft and weaponry, and more sensitive telescopes that can detect the faintest of faraway stars.

Vantablack is essentially a forest of carbon nanotubes on an aluminium foil. Surrey NanoSystems, the company that created Vantablack, presumably to look after its trade secrets, is rather coy about how it built the material and how it actually works. There is a clue in the name, however: The Vanta in Vantablack stands for “vertically aligned carbon nanotube arrays.” We also know that Surrey NanoSystems prides itself in low-temperature atomic deposition processes — so we’re probably looking at ALD (atomic layer deposition) or CVD (chemical vapor deposition) carbon nanotubes on an aluminium substrate.

A piece of Vantablack, which was grown on an aluminium foil

A piece of Vantablack, which was grown on an aluminium foil

There is a little more technical information about Vantablack available in an Optics Express research paper, but it mostly focuses on the material’s qualification for use in aerospace. [dx.doi.org/10.1364/OE.22.007290 - "The partial space qualification of a vertically aligned carbon nanotube coating on aluminium substrates for EO applications"]

We know from previous studies that vertically aligned carbon nanotubes, if you pack them closely together, allow light (photons) to come in – but then don’t let the photons out again. Basically, carbon nanotubes (like graphene) are incredibly absorbent to most forms of radiation — so incident radiation strikes the material, and then bounces around and gets absorbed so effectively that almost no radiation escapes. It’s for a similar reason that graphene is being looked at for ultra-sensitive imaging sensors.

Carbon nanotubes on a flat silicon substrate. See how tightly packed they are.

This is what Vantablack looks like under a microscope — very tightly packed vertical carbon nanotubes

In this case, Vantablack absorbs 99.965% of incident radiation — or, to put it another way, just 0.035% of radiation that hits Vantablack is reflected. Surrey NanoSystems doesn’t say which frequencies of radiation are absorbed, but we know from previous studies that carbon nanotubes are incredibly absorbent across a huge range of spectra, from ultraviolet, to visible light, to infrared, to microwaves. As such, Vantablack is an awesome material for stealth aircraft, weapons, and a whole host of other military uses. It will also be used on the inside of telescopes and other imaging devices, where absorbing stray radiation can significantly reduce the amount of noise — and thus increase the effective range and resolution).

Speaking to the Independent, the company’s CTO, Ben Jensen, attempted to describe the material — which is rather hard, as you can’t really see it. Even when you bend or crumple the Vantablack, the material — or rather, the dark nothingness created by the material — looks completely flat. “You expect to see the hills [of the bends and crumples] and all you can see … it’s like black, like a hole, like there’s nothing there. It just looks so strange.” Stephen Westland, a British professor who wasn’t involved with the work, said: “These new materials, they are pretty much as black as we can get, almost as close to a black hole as we could imagine.”

Moving forward, Surrey NanoSystems says it’s already delivered its first orders of Vantablack, and that its now scaling up production so that it can satisfy the needs of all its early customers (which are “in the defence and space sectors” you’ll be glad to hear). As we covered last year, NASA has developed a very similar material called super-black, but there’s been no word on whether the space agency has successfully found a way of mass-producing it. Currently, instead of super-black materials, the insides of telescopes are simply covered with very black paint (Aeroglaze Z306 in case you were wondering). [Read: Stephen Hawking’s new research: ‘There are no black holes’.]

In either case, it’s now only a matter of time until we soon see — or rather don’t see — stealth aircraft, ships, and tanks that carve their way through the landscape, leaving nothing in their wake except for an oddly disquieting void. I can hardly wait. And when you gaze long into an abyss the abyss also gazes into you…



I love great art, no matter the medium.

Fwd: The Ladder by Lefsetz



I love great art, no matter the medium.

Begin forwarded message:

From: Bob Lefsetz <bob@lefsetz.com>
Date: July 15, 2014 at 7:53:14 PM EDT
To: yes@therainbow.com
Subject: The Ladder
Reply-To: Bob Lefsetz <bob@lefsetz.com>

STARTING

We've all got to start somewhere, just don't delude yourself that because you've started you deserve to be successful.

There are a number of routes to take, some of which can be combined.

Skills cannot be emphasized enough. Knowing how to play your instrument, sing or deejay, gives you a floor upon which you can build. But, once again, talented people are a dime a dozen.

Furthermore, creativity is king at this level. What can you do that both sounds professional and sounds different? When you're starting at the bottom you jump to the top by creating that which can get instant airplay, instant success. Managers and labels are not looking for me-too. They can get that from "Idol" and the "Voice." They're looking for unique.

MUSIC

You need a finished product. Best to learn how to make it yourself, whether it be on GarageBand, Pro Tools, Logic or...

Today you're both the creator and the producer. And so many producers are creators. The roles have merged. Knowing how to work the equipment and get what you want, and experience happy accidents, pays dividends down the road.

Rather than pay a name producer to cut demos, you should do them yourself.

The truth is, no pro the labels are really interested in is gonna do your demo, they're inundated with offers from true talents/famous people. Rather, you'll get someone over the hill or who never quite made it. That does not mean they're not talented, just that working with them won't give you much of a jump. Every week someone e-mails me that they cut demos with a name, which, unfortunately, I've usually never heard of. Yes, there are many who will take your money despite having no real c.v. So what you end up with in most cases is a polished turd.

No one said the music business was easy. In order to move forward on the board you've got to capture the zeitgeist, which is damn near impossible.

DISTRIBUTION

Don't talk about money, don't talk about streaming royalties, just place your music where everybody can hear it. Jason Flom found Lorde's "Royals" from an online posting. If your music is not available, you'll never make it. The way the music business works is you get screwed first, sometimes a few times, and then you make the money. I'm not saying to sign a bad deal, I'm just saying if you're thinking about getting paid from the get-go, you're on the wrong track.

BIFURCATION

Huh?

The road splits, you take one way or the other.

Let's say you make Top Forty music, the kind you hear on the radio. Then the most important thing is to have the track and an online presence, that's how labels judge your success. How many followers you have, how many likes, how many YouTube plays. Yes, if you're going the Top Forty route, you should have a video, which features you, yourself, in all your glory. Either you've got to be beautiful or demonstrate charisma or both. That's what sells today, your looks and personality, it's key to major companies investing in you.

Or, you don't make Top Forty music...

Then you've got to penetrate deeper into the scene you're in. Make friends with traction, get them to allow you to open. Sure, you can do it yourself, but it's much easier with friends. Which is where you truly start, if the people you know and can reach easily are not rabid, no one else will be, don't delude yourself. The people you know would love to spread the word on you if you're good. Don't get caught up in hater/jealousy mind games. If you've got no virality, even at the tiny friend level in your own hometown, no one else will care.


TOP FORTY ACTS

You're building your resume. You're selling to the tippity-top most level, because to make it in radio you need bucks behind you, and only the major label has these. Oh, you also need relationships. So even if a billionaire will fund you, that's irrelevant, he can't get you on the radio.

Keep working it and being innovative, trying to get to the point where the label will find you! Followers are not enough, there must be substance. YouTube stars are a dime a dozen, but all they've got is their will to be famous and a willingness to do anything. Everything revolves around your music. If you don't have a good or unique voice, find another career. Because Top Forty is a massaged medium. They'll find someone else to write the hits, the only thing they can't change is you, what you sound like and look like.

ROAD ACTS

Yup, you're sweating it out on the boards. It's less about a digital presence/social networking, than finding places to play and building your fan base.

You want to build up your mailing list. Yes, that may sound antique, but it's the only thing that's real. You want to be able to reach your people and motivate them, e-mail is the best way.

You can spam everybody else, but no one will care.

You can send tracks to Pitchfork and other sites, but unless they're one listen smashes, you will get no traction.

You're building your fan base live and figuring out your act, you're getting onstage experience, discovering yourself off the grid.

MAKING IT

Top Forty

In both Top Forty and road act paradigms, it pays to know someone, because they can gain you access. But they'll only provide this if they think it's of benefit, they don't want to abuse their relationships, everyone's overwhelmed, no one's got any time.

So when you've got something that's already ready for Top Forty radio, that might need only a few tweaks, then you press the button and get it to the decision-maker, not a moment before. It's a business, they want to make money, can you make them some?

So you're one step away from success, but it's a huge chasm, most people never cross it. And now, more than ever before, the majors take fewer chances, they want to know you're gonna succeed, they just don't want to throw it against the wall. Are you Beyonce, Rihanna? If not, you probably won't get an investment.

Road Act

Keep building your fan base, and once you get traction sell them something, merch, vinyl, t-shirts...

A road act has to constantly put out new material, their hard core fans demand it. And if you grow bigger, you can get an indie label deal, oftentimes through someone you know who knows...

What the indie will do is get you a little publicity/notoriety. Indies are legendary for disappointing, not doing what they say they will and not paying either. But the more major ones, like Merge, mean something to tastemakers, if you're on their label, people pay attention. But you must deliver, you don't get endless chances.

MANAGER

Every great act has one. One can argue that the manager is more important than the act, never mind the label. The manager believes in you and promotes you. It doesn't matter if the manager is famous if they're not committed to you. Furthermore, a scrappy young person will pay further dividends, they're banking their progress/career on you.

ATTORNEYS

Don't sign anything without one. Especially a management or label deal. And not just any attorney, one who specializes in music. There are a ton in New York and L.A. without famous names who want to rise with you. Do your research. If you're unsure about signing a deal with a manager or label, don't. They can always find another act, your career might be hamstrung forever.

SUCCESS 1

With a Top Forty act it means you're on the radio. Congratulations, you've made it.

With a road act it means you can sell a thousand tickets all by your lonesome, almost anywhere.

But neither of the above mean you will sustain, that you will get rich, they're really just a start. Now the truly hard work begins. Going from someone some people have heard of to someone everybody has heard of. It's hard work and it cannot be done alone. Align yourself with the best team and good luck.

SUCCESS 2

You're making a living, you've not only given up your day job, you're being inundated with offers, everybody wants to be in business with you.

If you don't think you've got shelf life, if you want to go to graduate school, sign everything, take all the bucks.

If you want to last, pick very carefully. Everything's got a cost. Your one asset is your fan base, don't do anything to alienate those who believe in you and sustain you.

CONCLUSION

It's not that complicated, but it depends on the music, creativity and hard work.

The music is the question mark. Good is no longer good enough. Your tunes have to resonate, people must be clamoring to hear them again, your inbox must be blowing up or you're not there yet.

And you've got no idea of the amount of work involved. As Shep Gordon so famously said, if the manager does his job right, it'll probably kill you!


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Fwd: Stop the Filthy Chicken Rule



I love great art, no matter the medium.

Begin forwarded message:

From: "Sarah Alexander" <noreply@list.moveon.org>
Date: July 15, 2014 at 2:06:13 PM EDT
To: yes@therainbow.com
Subject: Stop the Filthy Chicken Rule
Reply-To: "Sarah Alexander" <salexander@fwwatch.org>

Hi Herb,

We only have a matter of weeks to stop the USDA’s Filthy Chicken Rule from being finalized by President Obama. The rule would cut the budget for poultry inspections, putting millions of adults and children at a higher risk for eating dangerous pathogens. Tell Obama to reject the Filthy Chicken Rule.

Here's what these cuts would mean for our food: government inspectors would be removed from poultry plants, leaving private companies to police themselves when it comes to the safety of our food. In plants where they've been testing this, line speeds have been permitted to run as fast as 200 birds per minute, which is faster than any human could possibly inspect all those birds. Company employees who perform inspections are not properly trained to stop unsafe poultry products from leaving the plant.

This is a recipe for disaster. Take action to stop the privatization of poultry inspection.

Whether or not you eat chicken, we can all agree on one thing: if someone's going to eat it, chemicals and do-it-yourself inspections don’t cut it. From what we've seen in tests of this new, privatized inspection process, it's not working. It's no surprise that regulations are not being enforced by company employees. For example, the records show that bile, sores, scabs, feathers and digestive tract tissue are often not being properly removed from chicken carcasses. Two of the test plants failed when the USDA carried out salmonella testing on their birds.

This rule, which essentially privatizes poultry inspections, serves up the huge gift of deregulation to the meat industry. If the White House agrees, it will be a disaster for workers and consumers who want to know that the poultry they are eating is safe. Our food safety should be the last thing on the budget chopping block.

Will you tell President Obama to keep government inspection for poultry?

Thank you,

Sarah Alexander
Deputy Organizing Director
Food & Water Watch
 

This message was sent to Herb Gart by Sarah Alexander through MoveOn's public petition website. MoveOn Political Action licensed and paid for this service, but does not endorse contents of this message. To unsubscribe or report this email as inappropriate, click here: http://petitions.moveon.org/unsub.html?i=23900-8550191-PJomj4

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A recent review in the British Journal of Nutrition concluded that the nutritional quality and safety of organic food was higher than conventional food. Fruits, vegetables, and grains, organic versions were better in all ways than conventional farming, they determined. 

I love great art, no matter the medium.