Science and Technology | John Clarke Online

Bubble Submarines Resurface After Fifty-Two Years

A December, 2019 article in the New York Times has the catchy headline, “Bubble Subs Arise, Opening Eyes to the Deep Sea.”

From my perspective, it’s always great when anything about the deep sea attracts the attention of major newspapers. In general, well researched and written publications on the subject are hard to find. A happy exception is biologist Bill Streever’s latest book, In Oceans Deep.

Streever’s excellent book has much to say about free diving, Navy diving, and even one-atmosphere diving suits (wearable submarines, if you will.)

But back to the NYT. William Broad’s article on mini-submarines is both colorful and informative. I urge you to read it if you have even the slightest interest in the undersea world.

However, just as the title of this blog post is deliberately hyperbolic, tongue in cheek, the NYT article is a bit misleading. Just because the technology may be new to the New York Times, it doesn’t mean it’s truly new. Bubble Subs have not actually risen of late. They, and the concepts behind them, have been around for a long time.

To prove my point, this blog post republishes the most interesting parts of an article I penned in the Georgia Tech Engineer way back in 1967. It’s called The Depth Challenger. The article is a little technical, which is the norm for an engineering school magazine, but it was also written to appeal to a diverse student body.

Artist’s conception of a 56-in diameter sphere mounted on its 16-foot maneuvering sled.

The article begins with a short piece of descriptive prose.

A brittle star, its arms twitching, spreading across the firm, grey mud, stops as a tracking light sweeps over and beyond it. An instant later the light returns and fixes on the animal as the whirring bubble slides in close overhead. The sphere hovers briefly then moves off, circling, finally disappearing below a canyon rim. When minutes later the bubble settles to rest on the soft canyon floor, cameras clicking, the two men inside sit gazing, peering, with four miles of water above their heads. These men are new frontiersmen – the oceanographers.

One of the greatest problems preventing our full utilization of the ocean’s potential is the inability of re search devices to withstand the enormous pressures exerted by deep water. At four thousand feet, the sea exerts one ton of pressure on each square inch of surface. At thirty-five thousand feet, the pressure is more than seven and a half tons per square inch. To date, nothing has been developed with the ideal requirements of 1) withstanding deep sea pressure, 2) containing man for extended periods of time, and 3) enabling direct visual observation. However, a solution to these problems may soon be met by glass submarines. H. A. Perry, research materials engineer at the Naval Ordnance Laboratory of Silver Springs, Maryland, is currently researching the feasibility of transparent submarine hulls. Perry states that glass provides a unique degree of buoyancy and safety in deep submergence hulls.

To test his original hypothesis, Perry and other NOL scientists set sail in 1964 aboard the Navy research vessel Gillis with a cargo of 95 hollow spheres provided by Corning Glass Works and the Pittsburgh Plate Glass Company. Once over the Puerto Rico trench, these spheres were lowered to depths of 300, 7000, 1400 and 2100 feet. Pentolite-charges were set a fixed distance away and detonated. If no leakage of the sphere occurred, the charges were moved closer until the glass finally failed. At this point, a “critical distance” was defined. As depth increased, the compressive strength of the glass also increased. With metal hulls, the results are just the opposite.

(As a side note, a few years later I set sail on the same vessel, by then renamed the RV Gillis, for a research cruise to the Puerto Rico Trench.)

Apparently, the deeper a glass submarine dives, the safer are its occupants; that is, down to an optimum depth of about 21,000 feet where the compressive strength diminishes until buckling finally occurs at a theoretical depth of 55,000 feet. However, the deepest part of the ocean, the Challenger Deep, is a trench descending to only 35,888 feet, so the theoretical limit for glass spheres poses no problem. It will be noted, though, that the compressive strength of conventional spheres at relatively low pressures is in itself rather low. The chances of a mariner surviving an accidental collision on down to a depth of several hundred feet is nil. Obviously, there is a need for either foolhardy scientists or “pre-compressed hulls.”

The full article with illustrations can be read here.

Bubble-Sub-1

In my opinion, the epitome of bubble submarines has been the Johnson Sea Link, pictured here. This revolutionary bubble submarine started operations in 1971, with upgrades in 1972, just a few years after I got wind of it.

Ocean on Top

When I was a graduate student, I found Hal Clement’s science fiction novel in the Florida State University Bookstore. I had just completed a summer in the U.S. Navy-sponsored Scientist in the Sea Program in Panama City, Florida. Being an avid diver, and a burgeoning scientist, my imagination was captured by Clement’s book.

I read his book shortly after it was published in 1973, but after graduating and moving, I lost the book. Unfortunately, I also forgot the book’s title and the author’s name. Yet I still felt a deep connection with the story, and for that reason, I spent decades looking for it, without success.

Recently, my luck changed. While browsing the Wikipedia topic on liquid breathing, I found the source I had long been searching for. “Hal Clement’s 1973 novel Ocean on Top portrays a small underwater civilization living in a ‘bubble’ of oxygenated fluid denser than seawater.”

There it was, at last. And best of all, that bubble turned out to be perfluorocarbon, an exotic, heavier than water, transparent liquid. In reality, filling a person’s lungs with it, is not as murderous as it would seem.

I was ecstatic: could this really be the book I’d been seeking for decades? Being on travel at the time, I searched for an Audible version of the book. Again, I was in luck: there was a version narrated by Tom Picasso. (Thank-you, Wikipedia and Audible, for providing instant gratification!)

With a bit more research, I discovered that “Hal Clement” was the pen name for Harry Clement Stubbs. I ordered two copies of his first edition, one of them signed with both his pen name and real name.

Harry (Hal) Stubbs passed away at age 81, in 2003. Born in 1922, Stubbs was an early leader in the “hard science fiction” genre, where science fiction is infused with scientific facts and logic.

The original version of his story was a Magazine serial version, copyrighted in 1967 by Galaxy Publishing Corp., for Worlds of If.

While the publication of the 1973 book version of Clement’s story might have been influenced by the Energy Crisis of 1973, , the date of the original publication, 1967, suggests that Clement was simply prescient. I would be surprised if in the 1960s, a science fiction writer of ordinary skill could have envisioned the global Energy Crisis of 1979.

Yet, here it is, the publisher’s summary of Ocean on Top: “Aquatic Enigma – The world’s energy was limited… and with overpopulation and a high level of technology, the Power Board had virtually become the real government of the world. Power was rationed, it was guarded, it was sacred. Thus, when three of the Power Board’s agents disappeared at sea, and there was evidence that something irregular was happening to the energy quota in that area, it was cause for real alarm.”

In 1979, while I was stuck in long lines waiting for gas in Maryland and Washington D.C., I vividly remembered the premise behind the book whose title evaded me. What a curious prediction that author had made, a prediction that in part had come true.

Of greater interest to me in 1973, as a newly fledged Navy-trained science diver, was the book’s prediction of the consequences of contemporaneous U.S. Navy-funded work on liquid breathing by human divers. In the 1970s, Johannes A. Kylstra was the primary researcher working on that project in the hyperbaric laboratory at Duke University.

Some critics say Ocean on Top was not the best of Clement’s works. Arguably, that honor belongs to his earlier Mission of Gravity(1954). However, if you are curious about the prospects of forsaking the land and living under the sea, his 1973 book raises some interesting points. One is that it posits the divergence of humans into two races; air-breathing humans and liquid breathing humans.

It also predicts, convincingly, some of the communication difficulties such a human divergence would cause. After all, our anatomical speech apparatus is designed for working in air, not fluid.

Perhaps it was the subliminal memory of Clement’s little book that influenced the storyline in the recent work, Atmosphere, Book Three of the Jason Parker Trilogy. After all, liquid breathing was an exciting science and science fiction concept back in the day, and surely worth a resurgence in this century, based on modern science.

I say “modern science” for two reasons: the first is because liquid perfluorocarbon is now instilled in lungs for medical treatment. Secondly, thanks to new molecular engineering technology like CRISPR-Cas9, we now foresee how genetic engineering can potentially lead to a divergence of the human species.

If Hal Clement was still around, I have no doubt he’d be writing many more science fiction novels about a future that just might be more realistic, and with more immediacy, than we think.

When Heat Pumps Become Killing Machines

Heat pumps have been a boon for efficient residential heating and cooling, at least in those regions of the country where winter temperatures do not consistently hover in the frigid range. In the southern United States, whole house heat pumps are arguably the most efficient way to heat and cool a house. Outside temperatures rarely fall below twenty degrees Fahrenheit, and even at 20°F, there is plenty of ambient heat available to heat a well-insulated home.

Owners of heat pumps have probably noticed that in the summer, heat removed from the home is released into the outside air. Heat coming off the outdoor unit, the actual heat pump, is hot. On the other hand, they may not have ventured out on a winter night to see how cold the exhaust from a heat pump is when it is in “heat” mode. But cold it has to be. Compared to a temperature of absolute zero, winter air is hot as hades. A heat pumps works by extracting some of that heat and sending it into the house to warm the house occupants.

But you can’t get something for nothing. Once the pump extracts a portion of the heat from cold outside air, that outside air must become colder.

Into this thermodynamic saga enters a non-native lizard called the Cuban or Brown Anole. The lizards are invasive, which means they are decimating the native Green Anoles which have long existed in the South Eastern United States. The Cubans are larger, more aggressive than the Greens, and reportedly feed on young Green Anoles.

However, they have a weakness. As you might expect for any species originating in Cuba and the Bahamas, they don’t like the cold. Whereas Green anoles range as far north as the Carolinas, the Browns do not. In fact, after a cold night in the Florida Panhandle I found a Brown Anole hard frozen on my doorstep. Perhaps he sensed warmth seeping from under the front door, and was trying to get in the house. Well, he didn’t make it.

The Greens, on the other hand, apparently shelter on or underground in leafy areas to survive the occasional cold dip.

This image has an empty alt attribute; its file name is Anole-Green-cropped.jpg — Green Anole (Anolis carolinensis)

As the outside temperature begins to drop in the late fall and winter, heat-seeking tropical lizards can be found warming themselves on top of the outdoor heat exchanger of our AC unit. When the proverbial nip is in the air, owners of well-insulated Florida homes plagued with high humidity, continue to run their air conditioning until late in the season.

For the Anoles, that is both a boon and a risk; it can prove to be a dangerous warming strategy. If frightened by the sudden appearance of a homeowner, Anoles run. When in their panic they fall into the running fan, the attempted evasion does not end well.

But the greatest insult is a thermodynamic one, which comes when the outside temperature drops even lower. Naturally, that chill makes the warmth from the heat exchanger even more attractive to the lizards. That is, until one of the human occupants decides it’s time to turn on the heat.

Thermodynamics being what it is, that switch almost instantaneously turns a warming source of air from the AC unit into a frigid blast of air.

Which explains why one morning after turning on the heat, I discovered the freeze-dried carcass of a Brown Anole clutching tightly to the grill of the AC unit. Apparently, the already chilled tropical lizard had what little strength it had left suddenly sapped by the high velocity blast of cold air. It died in place. (I have spared you the photo I took at the time.)

There is a moral to this story I believe.

As we grow cozy with new technology we don’t understand, while basking in the warmth and seduction of advanced engineering with its seemingly miraculous capabilities, perhaps we should remember this little lizard. It had acquainted itself with the bright side of thermodynamics, without realizing there was a dark side. Likewise, with the throwing of a switch, seemingly magical technology could be our undoing.

A serving of Artificial Intelligence, anyone?

Phobos, Chariot of Fear

The title of this posting is no hyperbole. The “Chariot of Fear” is the ancient Greek personification of the mythological God Phobos, described by the ancients as horror riding his chariot across the night sky.

In reality, the diminutive moon Phobos, almost skimming the surface of the warrior planet Mars, is a potentially innocuous place to visit assuming you have a pressure suit and oxygen to breathe. Like Earth’s much larger moon, there is no atmosphere on Phobos. There is also no appreciable gravity.

NASA and Japan are planning a joint unmanned mission to the moons of Mars in 2024. The joint venture is called the Martian Moons eXploration Mission, or MMX. Those unmanned missions may be a prelude to later manned landings since NASA has considered landing astronauts on Phobos before landing on Mars, due to the lack of atmosphere and ultra low gravity of that moon.

Using the Hubble telescope, NASA generated a short video of Phobos as it orbits around Mars.

NASA video made from 14 Hubble Space Telescope images.

While researching a new novel, I was looking for a view of Mars from Phobos. Using the astronomy software Starry Night Pro 8, I found it.

Further more, I was able to make a 3 minute video of Mars going through an entire rotation, sped up of course some 150 times.

While the above video is aesthetically pleasing because of the background stars and the entirety of Mars being in the field of view (FOV), in reality Mars is too far away in this simulation. As the NASA movie suggests, the surface of Mars is much closer (about 6000 km away from Phobos), and thus in reality Mars fills a quarter of the celestial horizon as seen from Phobos. In other words, from Phobos the FOV of Mars is about 45°, which yields a more accurate view as shown in the following video, also made using Starry Night Pro.

Mars at a realistic distance.

The shadow of Phobos can be seen racing across the surface of Mars, to the left of center of the Martian equator.

From a writer’s perspective, thanks to affordable but sophisticated astronomical simulation software and a bountiful database of space objects and trajectories, both near and far, there is no longer an excuse for science fiction writers not getting their scenes setup correctly, assuming their stories are based on the observable universe.

As for the unobservable universe, well that’s where this thing called imagination comes into play. In an imaginary universe, there’s no fact checking allowed.

Cosmic Coincidence

Almost exactly a year ago, I began writing one of my third novel’s introductory chapters. I am sharing a sample of that chapter at this time because of what seems to me to be a recently discovered coincidence.

“A person can be born, grow old and die, but his or her energy goes on, somehow. It may not be recognizable, but physics says it must be that way. Even a universe is born, grows for a seeming eternity, yet eventually, it too must die. Some say in its end, there is a new beginning.

Dr. Peter Green knew those facts better than most. As an astrophysicist working with colossal machines of physics research at CERN, Switzerland, machines that have the power to peer into the beginning of the universe, he’d often thought about not just the beginning, but the ending, the ending that precedes what comes next.

His specialty was dark matter, and something perhaps related, dark energy. We can’t see either, but physics says they must exist for the universe to be what it is.

Either that, or physics is wrong, and neither Green nor his scientist colleagues had ever found physics to be in error.

But he did wonder, if a universe dies, does it leave behind a ghost, unseen but somehow there, with mass that exists at grand scales, but nonexistent at human scales?

And if so, must not the nature of our universe, the shape of our galaxies, depend on an ever-growing graveyard of dead stars, galaxies — and people?

Where does it end? Well, it doesn’t, not really. At least that’s how Dr. Peter Green saw it.”

Arguably, that’s a pretty unconventional thought, Dr. Green had, even for cosmologists who, as a whole, are renowned for unconventional thinking. And at the time that I wrote it, I thought it was a good way to illustrate that the character Peter Green was brilliant, but a bit odd.

Well, he is odd no longer.

I say that because just today I saw a LiveScience article, from which I quote:

“Physicists have found what could be evidence of ‘ghost’ black holes from a universe that existed before our own.

The remarkable claim centers around the detection of traces of long-dead black holes in the cosmic microwave background radiation – a remnant of the birth of our universe.

According to a group of high-profile theoretical physicists including Oxford’s Roger Penrose (Ph.D. in mathematical physics), these traces represent evidence of a cyclical universe – one in which the universe has no inherent end or beginning but is formed, expands, dies, then repeats over and over for all eternity.“

“If the universe goes on and on and the black holes gobble up everything, at a certain point, we’re only going to have black holes,” Penrose told Live Science. “Then what’s going to happen is that these black holes will gradually, gradually shrink.”

When the black holes finally disintegrate, they will leave behind a universe filled with massless photons and gravitons which do not experience time and space.

Some physicists believe that this empty, post-black hole universe will resemble the ultra-compressed universe that preceded the Big Bang – thus the entire cycle will begin anew.

If the cyclical universe theory is true, it means that the universe may have already existed a potentially infinite number of times and will continue to cycle around and around forever.

Penrose is clearly one of the great minds of the world, as you can perhaps appreciate from this YouTube clip.

As a reminder, this is also what the fictional cosmologist in the upcoming novel, Atmosphere, believed.

“He did wonder, if a universe dies, does it leave behind a ghost, unseen but somehow there, with mass that exists at grand scales, but nonexistent at human scales? And if so, must not the nature of our universe, the shape of our galaxies, depend on an ever-growing graveyard of dead stars, galaxies — and people?

Where does it end? Well, it doesn’t, not really.”

Pretty interesting coincidence, don’t you think?

Read the LiveScience article here.

Siri versus Napoleon Bonaparte

Napoleon Bonaparte once famously said, “A soldier will fight long and hard for a bit of colored ribbon.”

At precisely 10:09 this morning I was in an office discussing awards, and the lack thereof, for civilian service members in military organizations. It was a matter of fact discussion, contrasting the award system for civilians and the military. And at that moment, Napoleon’s famous quote came to mind. I reminded that executive of the above quote.

My fellow workers and I talk frequently, and there have been numerous discussions in that office, and elsewhere, that have been of a sensitive nature.

As I turned and returned to my office, I heard a familiar voice coming from my pocket. “That’s not nice!” it said.

In utter dismay, I pulled my iPhone from my pocket where it had lain untouched and unused for quite some time. And that was when I saw the following plainly written on my phone’s screen.

Siri was scolding me!

Unknown to us, Siri had been listening, transcribing what it THOUGHT I was saying, clearly imagining vulgarity where there was none. After I ended the conversation, Siri addressed me like she was my mother.

Now, a human would know those transcribed words were ludicrous, nothing but gibberish, but not the phone’s AI system controlling Siri. Unbelievably, that system took the gibberish seriously, perhaps by parsing a few words out of context. And in spite of that stupidity, Siri felt led to judge me!

Perhaps smart phone AIs are taking themselves too seriously. Perhaps they think they have advanced enough that they now think they can pass judgment on human speech.

A few years ago, in another meeting, in another room, Siri spoke up unbidden while we were discussing sensitive project planning.

The door to the conference room had been closed so we wouldn’t be disturbed. But disturbed we were when Siri suddenly spoke and said, “I don’t know what you mean.”

Everyone at the table stared first at my phone and then at me, perhaps wondering if I’d been recording the planning meeting.

AI is certainly becoming increasingly intrusive. But as shown by Siri’s text message to me today, it’s still not smart. And arguably that’s a scary thing.

For example, supposedly China is using data collected from social apps (collected by various AI systems) to rate the trustworthiness of its citizens. That’s bad enough, but what if the data collected is garbage like the recorded text today, and the AI uses that faulty data to make a perfunctory and wildly incorrect judgment?

And, scary thought, what if that social monitoring trend were to spread to the U.S., and your character could to be judged based on the digital algorithms of certifiable AI idiots?

If that doesn’t worry you, perhaps it should. It certainly did me, enough to cause me to shut down all access to Siri … for almost 24 hours, until I was driving home and said, “Siri, call home.”

She was silent, sullen, unresponsive.

Dead Space – A Lesson in Survival

Dead Space is a defunct, or shall we simply say “dead,” survival horror game that enthralled computer game players from 2008 to at least 2013. Sadly, the company that designed the horrifically beautiful game, Visceral Games, is no more. It has been, so to speak, eviscerated.

The main protagonist of the Dead Space Series was Isaac Clarke. If I was a game player I think I would be an Isaac fan since he was one of those rare Clarke’s known as a “corpse-slaying badass.” If in some unforeseen future my survival depended on being such a slayer, I’d want to be badass about it too, just like Isaac. As they say, anything worth doing …

Isaac Clarke and his Dead Space world make a great segue to introduce another matter of personal survival. And that is DEAD SPACE in underwater breathing equipment.

Clarke has proven to be equally at home underwater and in space due to his interesting cyan-lighted helmet. (I’m not sure where his eyes are, but perhaps in the 26th century a multi-frequency sensor suite makes a simple pair of eyes redundant.)

Historically, the U.S Navy used the venerable MK 5 diving helmet and the MK 12 diving helmet, which although they had no sensor suites, at least allowed divers to work at fairly great depths without drowning. However, they shared a common problem: Dead Space.

In ventilation terms, dead space is a gas volume that impedes the transfer of carbon dioxide (CO2) from a diver or snorkeler’s breath. When we exhale through any breathing device, hose, tube, or one-way valve we expect that exhaled breath to be removed completely, not hanging around to be re-inhaled with the next breath.

But a diving helmet inevitably has a large dead space. The only way to flush out the exhaled CO2 is by flowing a great deal of fresh gas through that helmet. A flow of up to six cubic feet of gas per minute is sometimes needed to mix and remove the diver’s exhaled breath from a diving helmet like the MK 12.

In more modern helmets, the dead space has been reduced by having the diver wear an oral-nasal mask inside the diving helmet, and giving the diver gas only on inhalation using a demand regulator like that used in scuba diving. The famous series of Kirby Morgan helmets, arguably the most popular in the world, is an example of such modern helmets.

Full face masks are used when light weight and agility is required, as in public service diving, cold water diving, or in Special Forces operations. The design of full face masks (FFM) has evolved through the years to favor small dead space, for all the reasons explained above.

Erich C. Frandrup’s 2003 Master’s Thesis for Duke’s Department of Mechanical Engineering and Materials Science reported on research on a simple breathing apparatus, snorkels. You can’t get much simpler than that.

Frandrup confirmed quantitatively what many of us knew qualitatively. Snorkels are by design low breathing resistance, and low dead space devices. Happily, the dead space can be easily calculated, as simply the volume contained within the snorkel.

Surprisingly, some snorkel manufacturers have recently sought to improve upon a great thing by modifying snorkels, combining them with a full face mask. The Navy has not studied those modified snorkels since Navy divers don’t use snorkels. However, you don’t get something for nothing. If you add a full face mask to a snorkel, dead space has to increase, even when using an oral-nasal mask.

So what?

In 1995 Dan Warkander and Claus Lundgren compared the dead space of common diving equipment, including full face masks, and reported on increases both in diver ventilation and the maximum amount of CO2 in the diver’s lungs. Basically the physiological effects of dead space goes like this: we naturally produce CO2 during the process of “burning” fuel, just like a car engine does. (Of course our fuel is glucose, not gasoline.) The more we work, the more CO2 we produce in our blood, and the more we have to breathe (ventilate) to expel that CO2 out of our bodies.

If we are exhaling into a dead space, some of that exhaled CO2 will be inhaled into our lungs during our next breath. That’s not good, because now we have to breathe harder to expel both the produced CO2 and the reinhaled CO2. In other words, dead space makes us breathe harder.

Now, if we’re breathing through an underwater breathing apparatus, hard breathing is, well, hard. As a result, we tend to get a little lazy and allow CO2 to build up in the blood stream. And if that CO2 get high enough, it’s lights out for us. Underwater, the lights are likely to stay out.

In a computer game like Dead Space, no one worries about helmet dead space. But if a movie is ever based on the game, whichever actor plays Isaac Clarke should be very concerned about the most insidious type of Dead Space, that in his futuristic helmet. It can be (need I say it?) — deadly.

If I Had Written the Score to Interstellar

If I was Hans Zimmer, I would be a bit annoyed.

What is arguably the best score Hans Zimmer has ever written, the music for Interstellar, has thrilled me to my core. However, I came to that conclusion by an indirect route.

Like many of you, I saw the movie in all it’s cinematic glory when it was released in 2014. But it was not until 2017 that I fell in love with it, both the movie and the score.

In preparation for an after-dinner talk to a panel of the American Heart Association’s 2017 Science Conference, I was looking for an inspirational way, preferably with great video and sound, to describe the sport of competitive free diving. This past summer I had the opportunity to meet some of the world’s best free divers and free diving instructors in a Colloquium put together by the University of California at San Diego, Center of Excellence in Scientific Diving.

I had pretty much given up on finding something to help me illustrate the beauty, and challenges, of competitive free diving. That changed, however, when I came across a posting from a group of tactical military divers. In a short 3-minute video the young French diver Arnaud Jerald set his personal free diving (CWT, Constant Weight Dive discipline) record of 92 meters in a competition in Turkey. He placed third in a field which included world record holders in the same event.

Three things made the diving video great, in my opinion: 1) the subject matter which vividly shows a human activity little known by most people, and understood by even fewer; 2) steady and clear video produced by a new underwater camera, the Diveye, and 3) the accompanying music.

A film score is only successful if it aids the audience in generating an emotional response to a movie scene. In that respect, a great movie hinges not only on good acting and script, but on an almost telepathic connection between the film director/producer and music director/composer.

In the free diving video clip, the accompanying music swelled in concert with the audience’s tension, generated perhaps unconsciously in response to the drama of the moment. And then there was organ music at just the right point. For me a pipe organ truly is the most impressive and grand of any musical instrument.

And just when the cinematic moment was right, you could hear the heart beats, helping us realize what a strain it must have been on young Jerald’s heart as he reached his deepest depth, far from the surface, and air.

Indeed, when I gave the presentation, the video clip seemed to have the effect on the audience that I was looking for. But afterwards, I was relieved that no one had asked me where that music came from. I had no idea.

I don’t recall what led me to Interstellar as the music source: it may have been a random playing of movie soundtracks on a music streaming service, but once I heard a snippet, I recognized it. “That’s it!” I shouted to no one in particular.

It wasn’t just me; my family, including a nine-year old granddaughter had heard me rehearse my talk many times, and they also immediately recognized the similarity between the free diving video, and part of the Interstellar soundtrack.

The closest musical correlation to the diving video was the “Mountains” track in the movie soundtrack. Strangely, the match was not perfect. In fact the differences were easily notable, a fact I discovered after I bought both the movie and the Hans Zimmer soundtrack. And I must note, I think the music in the diving video is better.

Perhaps the full music was present in the original version of the movie, and perhaps some fancy mixing in the sound room deleted it. If so, too bad. But I must admit, the quiet musical nuances would have been missed during the cacophonous sound of a 4000 foot tall tidal wave sweeping upon a tiny spacecraft. There was lots of shouting and screaming.

As for my opinion that Hans Zimmer might be annoyed, well, I suggest you watch the portion of the full movie where the Mountain track rises to prominence. That is the part where the tidal wave, initially mistaken as mountains, appears on the horizon of the first planet the Horizon space craft landed on outside of our galaxy.

As exciting as the action was, and as wonderfully crafted the dialog and acting, it obscured the finer points of the music. Fortunately, the free diving video, coming as it does with no dialog at all, puts the music in the perspective that I, at least, can completely enjoy.

I find it fitting that in both videos, the incredibly powerful music was used to showcase humans extending themselves to their absolute limits. Of course, one of those stories is fictional, and the other is real.

A Matter of Chance: Music Makes the Video

I was recently asked to give a 30-minute after-dinner talk to the 3CPR Resuscitation Panel of the American Heart Association at their annual scientific meeting in Anaheim, CA. In the audience were scientists, cardiologists, anesthesiologists, anesthetists, emergency physicians, and resuscitation technicians. It was a multimedia event with professionally managed sound and video.

Knowing that the group would be well acquainted with the role of chance in medical procedures, I chose to use a segue from medicine into the topic of extreme adventures in military and civilian diving. The focus of the talk was on how chance can turn adventures into mis-adventures.

I revealed three areas where Navy Biomedical Research is expanding the boundaries of the state of the art in military and civilian diving. One area was in deep saturation diving, another was polar ice diving, and the third was breath hold diving.

As an introduction to polar diving, I wanted to create a video travelogue of my National Science Foundation-sponsored research and teaching trips to the Arctic (Svalbard) and Antarctica (McMurdo Station and vicinity.) These projects were spearheaded by the Smithsonian Institution, and my participation was funded in part by the U.S. Navy.

To begin the preparation of the video, I assembled my most relevant photos, and those taken by various team mates, and imported them into my favorite video editing software, which happens to be Cyberlink Director.

Then I went looking for potential sound tracks for the approximately 5 minute video. Considering the topic, I thought Disney’s Frozen would have familiar themes that might be acceptable. I rejected a number of YouTube videos of music from Frozen; most were too close to the original and included vocal tracks. Finally I came across the “Let It Go Orchestral Suite” composed by the “Twin Composers,” Andrew and Jared DePolo.

It was perfect for my application. I extracted the audio track from the Suite as shown on YouTube, imported it into Director, and lined it up with the nascent video track which included all images and other video segments.

To match the music to the video, I simply cut back on the duration for each of 97 images, keeping the other 5 videos in their native length. By experimentation, I found that 3.21 seconds per image resulted in the last image fading out as the music came to a close and the end credits began to roll.

On the first run through of the new video, I couldn’t find anything to complain about; which for me is rare. So I ran it again and again, eventually creating an mp4 file which would play on a large screen and home audio system. But I couldn’t help notice that the gorgeous score would sweeten at interesting times, and serendipitously change its musical theme just as the video subject matter was changing.

How fortunate, I thought. It was then that I began to realize that “chance” had worked its way into the production effort, in an unexpected way.

First, the music seemed to my ear to be written in 4/4 time, with each measure lasting 3.2 seconds, precisely, and purely by happenstance matching the image change rate. At a resulting 0.8 seconds per beat, or 75 beats per minute, that placed the sensed tempo in the adagietto range, which seemed appropriate for the theme of the music. (Without seeing the score, I’m just guessing about the tempo and timing. But that’s how it felt to me.)

The timing coincidence was rather subtle at first, but as the finale began building at the 3:39 minute mark, the force of the down beat for each measure became more notable, and the coincidence with image changes became more remarkable. There was absolutely nothing I could do to improve it.

In some cases the technical dissection of music can be a distraction from the beauty of the music, but I’ve done it here merely to point out that sometimes you just luck out. In this case it truly was a matter of chance.

In my mind, the DePolo Orchestral Suite makes the video. Hope you enjoy the show.

To learn more about these composers and their music, follow this link.

Cereal Was Almost the Death of Me

This year, 2017, marks the 120th year that Grape Nuts cereal has been in existence. Generations have been raised on it, and as the 1921 ad would suggest, it seems to help little bodies grow big and strong. As the Post company says, “There’s a Reason” for the cereal’s success.

However, through some weird quirk, some random juxtaposition of breath and nerves, a single, tiny particle of this delicious blend of barley and wheat almost killed me.

Or so it seemed at the time.

I consider Grape Nuts part of a paleo diet, of sorts. As cereals go, it’s primitive. It is merely ground bits of grain that never needed to be squeezed into flakes, or coated with sugar or artificial flavorings. For me, it’s like getting back to the basics of breakfast, or in this particular case, an evening snack.

On the night of my close call, while my wife was watching TV, I settled into my home office to edit my newest book while I snacked on a demi-bowl of Grape Nuts, wet with skim milk.

No doubt your parents lectured you repeatedly about the dangers of talking with food in your mouth. Well, in adherence to my parent’s scolding, I was not talking when it happened. I was quietly reading, and breathing.

And then, in an instant, I could not breathe, at all. I could not speak or yell out. I could not swear, or call for help. No air could enter or leave my lungs.

As I looked to the doorway, terrified, half hoping for my guardian angel to appear and magically save me, I realized that if I didn’t do something, quick, I would die. I was most unexpectedly suffocating.

I stood up, planning to head to the bathroom out of some strange thought that it might be my salvation, or at least an easier place to clean up the vomitus mess or whatever else follows death by asphyxiation. And as I reached the door frame a scant twelve feet away from where I’d been sitting, I could feel myself becoming faint.

This could not be happening. What an inglorious way to die.

With all the fortitude I could muster, I was determined to make it into the bathroom before I passed out. A second later, I was bent over a sink, supporting my upper body with my hands, trying with all my might to pull air into my lungs.

Finally, I found that with almost superhuman effort I could squeeze a little air through whatever was blocking its flow. The result was a high pitched nonhuman sounding squeal, a falsetto screech higher than even a little girl can produce. Physicians call it stridor, which sounds like this.

But at least it was something. Again and again I managed to suck in just enough air to keep me alive, one loud screech after another.

In the meanwhile, my greatly concerned wife was asking, “Are you OK, are you OK?”

No, I was not at all OK, but I could not communicate that fact, other than to make that hellish shriek. But with each shriek a few more oxygen molecules entered my oxygen-starved lungs.

And as the fog of impending collapse slowly began to clear, I was finally able to cough.

After that cough, there lay in the sink a tiny granule of cereal, presumably the little spec that landed in a sensitive spot in my larynx or “voice box”, triggering the spasm which tightly closed my vocal cords. With the cords, or more properly “vocal folds”, closed, air cannot enter the lungs.

Under normal conditions, a person can hold their breath for two to three minutes without losing consciousness. But as I later analyzed what had happened, I realized that the particle of cereal was most likely sucked into my airway when I was just beginning to inhale, at the bottom of my “tidal volume.” So my lungs were not full of air.

Logically, when involuntarily holding your breath with lungs only partially inflated, the 2-3 minute rule may not apply. So, there was a chance that I was about to lose consciousness from hypoxia.

As I later discovered, laryngeal spasm is short-lived, and resolves within a few minutes, leaving the terrified victim shocked but relieved to be able to breathe again.

The aftermath of this incident was that I now realize how little we appreciate the simple act of breathing. For our entire lives we never think about it. It just happens.

Until it doesn’t.

I still enjoy my Grape Nuts, and highly recommend it to anyone looking for the simple pleasures of life. But at the same time, I’m now a little more careful when I’m eating, especially if my attention is directed towards something else. Multitasking while eating can be scary.