In the vast realm of space exploration, new discoveries often emerge from old data. Thanks to advanced algorithms and keen observers, the seismic activities of our closest celestial neighbor, the Moon, have recently been thrust back into the limelight.
Thanks to the effort of the NASA crew involved in the Apollo 17 mission, it’s possible investigate these phenomena today with datasets from the past. Recently, researchers working with this data turned up some intriguing findings, and published them in a new paper. It reveals that one unexpected source of moonquakes could be the very equipment that Earth’s astronauts left behind. Continue reading “Scientists Call Out Apollo 17 After Investigating Moonquakes Past”→
Over the past decades we have been able to observe a change in the Earth’s climate, caused by an increasing amount of energy being retained in the atmosphere. This in turn has affected weather systems around the globe, causing more extreme weather. As a result, the prospect of weather control is more relevant than ever for the nations which are most directly impacted by severe rain and winds. Although the concept of weather modification is not new, it used to be primarily focused on rather limited aspects, such as cloud seeding to increase precipitation.
Recent proposals such as Japan’s weather modification moonshot program seek to find ways to prevent or lessen the impact of torrential rains, typhoons and similar extreme weather events which accompany climate change. This proposal is part of Japan’s multi-topic Moonshot R&D program which seeks to advance the state of the art in a wide range of fields in a very significant way by 2050. As far as weather modification is concerned, this naturally raises many questions. Clearly we are capable of affecting the climate through emissions of e.g. greenhouse gases and large-scale construction, but are there ways in which humans can affect the climate and weather in a more refined manner that benefits society, or is this something which will remain beyond our grasp for the foreseeable future?
When navigating the vast and unpredictable expanses of outer space, particularly on the alien terrains of distant planets, smart engineering often underlies every major achievement. A paramount example of this is the rocker bogie suspension system. It’s an integral component of NASA’s Mars rovers and has become an iconic feature in its own right. Its success has seen the design adopted by the Indian space program and thousands of hobbyists in turn.
So, what exactly is it that makes rocker bogie suspension such a compelling design solution? Let’s dive into the engineering that makes these six-wheeled wonders so special.
By 1953, the post office badly needed modernization. When Postmaster General Arthur Summerfield was appointed that year, he found the system essentially in shambles. Throughout the 1930s and 40s, the USPS had done absolutely no spending beyond the necessary, with little to no investment in the future. But Summerfield was an ideas man, and he had the notion to build a totally automated post office. One of them would be located in Providence, Rhode Island and be known as Project Turnkey — as in a turnkey operation. The other would be located in Oakland, California, and serve as a gateway to the Pacific.
For most people, the Wi-Fi hardware of today provides a perfectly satisfactory user experience. However, technology is ever-evolving, and as always, the next advancement is already around the corner. Enter Wi-Fi 7: a new standard that is set to redefine the boundaries of speed, efficiency, and connection reliability.
Wi-Fi 7 isn’t just another incremental step in the world of wireless tech. It’s promising drastic improvements over its predecessors. But what does it bring to the table? And how does it differ from Wi-Fi 6E, which is still relatively fresh in the market? Read on.
A culture in which it’s fair to say the community which Hackaday serves is steeped in, is electronic music. Within these pages you’ll find plenty of synthesisers, chiptune players, and other projects devoted to synthetic sound. Not everyone here is a musician of obsessive listener, but if Hackaday had a soundtrack album we’re guessing it would be electronic. Along the way, many of us have picked up an appreciation for the history of electronic music, whether it’s EDM from the 1990s, 8-bit SID chiptunes, or further back to figures such as Wendy Carlos, Gershon Kingsley, or Delia Derbyshire. But for all that, the origin of electronic music is frustratingly difficult to pin down. Is it characterised by the instruments alone, or does it have something more specific in the music itself? Here follows the result of a few months’ idle self-enlightenment as we try to get tot he bottom of it all.
Will The Real Electronic Music Please Stand Up?
If you own a synthesiser, the Telharmonium is its daddy.
Anyone reading around the subject soon discovers that there are several different facets to synthesised music which are collectively brought together under the same banner and which at times are all claimed individually to be the purest form of the art. Further to that it rapidly becomes obvious when studying the origins of the technology, that purely electronic and electromechanical music are also two sides of the same coin. Is music electronic when it uses an electronic instrument, when electronics are used to modify the sound of an acoustic instrument, when it is sequenced electronically often in a manner unplayable by a human, or when it uses sampled sounds? Is an electric guitar making electronic music when played through an effects pedal?
The history of electronic music as far as it seems from here, starts around the turn of the twentieth century, and though the work of many different engineers and musicians could be cited at its source there are three inventions which stand out. Thaddeus Cahill’s tone-wheel-based Telharmonium US patent was granted in 1897, the same year as that for Edwin S. Votey’s Pianola player piano, while the Russian Lev Termen’s Theremin was invented in 1919. In those three inventions we find the progenital ancestors of all synthesisers, sequencers, and purely electronic instruments. If it appears we’ve made a glaring omission by not mentioning inventions such as the phonograph, it’s because they were invented not to make music but to record it. Continue reading “Where Did Electronic Music Start?”→
Quartz, though, is at least a partial exception to this rule. Once its unusual electrical properties were understood, crystalline quartz was sent directly from quarries and mines to factories, where they were turned into piezoelectric devices with no chemical transformation whatsoever. The magic of crystal formation had already been done by natural processes; all that was needed was a little slicing and dicing.
As it turns out, though, quartz is so immensely useful for a technological society that there’s no way for the supply of naturally formed crystals to match demand. Like copper before it, which was first discovered in natural metallic deposits that could be fashioned into tools and decorations more or less directly, we would need to discover different sources for quartz and invent chemical transformations to create our own crystals, taking cues from Mother Nature’s recipe book on the way.
