Thursday, March 27, 2014

Dear critics. Please be on the look-out for a Mark 3 model for how the Shroud image was produced (the “pseudo-bas relief”/sand bed model).



 
There have been two interesting responses from (gastroenterologist) Steve Hammond and (pharmacist) Mike M- see tail end of previous posting re the chin level crease on the TS. (I maintain the latter gives important clues as to how the image was imprinted).

Rather than respond to them in detail (which I was minded to do, but am presently a bit pushed for time) I’ll simply say this.

The objections they raise would be serious ones if the model I propose for Shroud imprinting were either of the two  previously described, set in concrete. But they are not,  (phew, with a single bound he was free) since for some time I have been moving towards a third model that constitutes effectively a fusion of the two, i.e. incorporating elements of both in such a way as to address suspected weak points in both AND provide an important plus point.

What prompted the new thinking? There were a number of things, but this particular image below from shredstory   shroudstorydotcom that I referred to (and recommended recently) probably lodged in the subconscious and began gradually to link up with other inklings:

It's the way that face appears to be semi-embedded in a plane (or should one say plain?????), that appearance being accentuated by the oblique viewing option thoughtfully provided  by the ImageJ software).

I hope my two thoughtful critics won’t mind if I use this post to flag up the genesis of a new “improved” model, one l which I consider can provide satisfactory answers to their reasonable and indeed perceptive objections, but leave the details for a day or two, once they have recognized that this blogger’s ideas are evolving by the day. (And sometimes it takes a little flak to move things along at maybe a faster pace than I might have wished!).

The gist of the two objections to my “baked-in crease” idea was as follows. First the allegedly baked-in crease (one of them) extends beyond the body image onto supposedly blank image-free background where there is presumably nothing behind the linen to provide either a hot surface or resistance to imprinting pressure. Second, the twin track crease, with a pale centre, still has some coloration in the central area, suggesting it did not escape scorching through being out of direct contact with hypothetical hot template. Why not?

OK, here’s a hint to the way my thoughts are now going  (just a hint in case I change my mind). If things gel after looking at more images (newly enhanced Shroud Scope and Shroud 2.0)  I will hopefully have something more concrete to say in a day or two.

First: the Mark 1 model, proposed on this site over 2 years ago, was described as the ‘sand bed model’. Linen was placed over cold sand, and the hot template thrust in from above, with semi-yieding sand providing resistance and thus contact pressure. But there were drawbacks (temperature control, not  knowing the progress of scorching, too much risk of over-scorching or getting edges that were too well-defined, not “fuzzy” etc etc ).

More recently, I turned that mechanism on its head, literally, by proposing the 'LOTTO' model.  There, the heated template was laid on a support, linen was spread on top, then a damp overlay (e.g. sacking) and the latter then patted around the highest relief of the template. That made for easier temperature control (being judged by finger tips), the ability to mould linen manually around relief, and a fuzzier end-result, confirmed by experiment.

But there is still a drawback using either of these methods – excessive imprinting of the sides of a 3D template (unless a customised bas-relief were fabricated and used) with unsightly lateral distortion.

The new model combines elements of the two. I call it the “pseudo-bas relief” model (hint hint) , in which an essential role for a sand bed (or similar) is restored.

I believe there is corroborating evidence on the TS image for a role for some grainy material (like SAND)  in the imprinting process, one that might meet the objections raised by my two sharp-eyed critics. Be on the lookout for another posting in the next few days. First I must do a belated short posting on the three-instalments Psychology Today attack on Shroud pseudoscience, and bemoan yet again the not-fit-for-purpose Google search engine.

Sunday, March 23, 2014

Modelling two distinct types of BAKED-IN crease in the still-enigmatic Shroud of Turin, ones that provide important clues to the image-imprinting mechanism.



The iconic Shroud image, Durante 2002/Shroud Scope after 3D enhancement in ImageJ. Note the prominent twin-track feature at chin level, the main interest of this and two previous postings.


This is the third in my series of postings on a feature (or rather, features) of the Shroud image which may tell us a lot about the way the image was created. The first was on this site, over two years ago:



Monday, February 6, 2012

Why does the Turin Shroud appear to have scorched-in crease marks? Tell-tale signature for medieval forging?

 I am more than ever convinced that the answer to the question in that title was a resounding YES! The creases or, rather, some of them, contain imprinted MEMORY of what was happening to the Shroud at the instant it received its 'body image' (Blood arguably came later as a part of an extensive re-invention exercise - see my other site).

Later, I did a second posting on that specialist Shroud site after being made aware by IT expert Mario Latendresse of his now invaluable Shroud Scope tool, and learning to adjust contrast to facilitate interpretation of small detail.



Shroud Scope 4: No matter what process mysteriously produced a negative ‘snapshot’ of the Man on the Shroud, it captured that of creases in the linen too. Why?

Posted on June 15, 2012 by colinsberry
 


I refer to what previously I have referred to simply as "creases". In view of comments made elsewhere, some helpful, some less so, I shall now have to be more precise in my nomenclature.

First. let me state an article of faith, one that will not be shifted unless evidence to the contrary is placed in the public domain (Shroud Science Group insiders' references to what one has shown another cannot be given serious consideration on this, an open-access website, where total transparency is everything).

I believe the sepia coloration of the crease marks under consideration, largely indistinguishable from body image, means they are essentially part of the image, sharing the same provenance. They are NOT handling creases that have arrived later, not even with the 1532 fire and its creation of burn holes, scorched edges etc etc. That is why I now refer here to "baked-in" creases. As will be seen, one can model two situations, one in which there were pre-existing fold marks in the linen, rectilinear along obvious short and long axes, as with sheets stored for future use in one's airing cupboard, and secondly (and more importantly) creases that were generated as an "accident" of the image imprinting process and immediately baked in as a kind of memory, even if the fabric has since been smoothed out. The memory is still there, if one knows where to look, and HOW TO INTERPRET what one sees based on the model (we scientists like our models, even if at times we sound as if we regard them as fact- as distinct from working hypothesis. Don't be deceived. It would be tedious to have to keep repeating that the model is merely a mental aid to interpretation that could be promiscuously dumped for another any time it ceased to be of value in interpreting new data).

(Double click on this and other images to enlarge)
White rectangle - site of a "Type 1A crease, with 'baked-in' appearance and presumed to be such pending firm evidence to the contrary.  A cryptic Type 1B crease is probably present in corresponding area on right hand side (with ridge rather than furrow type fold ) which failed to "bake in" at time of image imprinting.  Type 1 creases were present before image imprinting, due to way fabric was folded initially. Yellow rectangles: sites of Type 2 creases, baked-in S-shaped infoldings of linen, that are  presumed to have been created during the imprinting process due to mechanical ruction and entrapment of linen.


Here's a Shroud Scope close up, intermediate magnification, of the highly conspicuous crease at the base of the chin.  Note the twin track appearance, the subject of my first of 2 postings on creases, here over 2 years ago. What I failed to comment on before, having spotted it just a week ago, is the suggestion of there being more "baked-in image" above rather than below the central pale area, perhaps better seen on the right than left half. The asymmetry appears to be a real effect (see what follows) and is easily modelled.




This is a close up of the left half above,  with added contrast  (MS Photoeditor). While there is ample pigmentation/imaging above and below, the upper band could be described as  more discrete, regular  and concentrated than the lower.



This is the right hand side of that chin-level crease. Here the asymmetry is plain for all to see. Is the effect unique to this particular crease?



Here's a similar Type 2 crease from the dorsal side of the Shroud (inverted figure).  It's from the small of the back (note signature 'blood belt' for that location. While the imaging of the crease is primarily discontinuous - a series of blotches - note the asymmetry, with most blotches below the central crease line.




So far, the focus has been on Type 2 creases - which I consider 'tell a story' about the manner in which the Shroud image was imprinted by forcible application of a heated solid template to linen, sufficient to cause distortion of the fabric, and thus mechanical entrapment of invaginated folds. What about Type 1 - preexisting folds that were also baked-in by the thermal imprinting process.  This is a handy photograph, showing the intersection of Type 1 and Type 2, horizintal and vertical respectively.




It's a lot harder to discern a Type 1 midline fold on the dorsal view (see bloodbelt and that blotchy Type 2 crease at left). In fact, I'm inclined to the view that the midline baked-in crease is exclusively a feature of the frontal side of the Shroud only, disappearing in the region between the frontal and dorsal images of the head. Modelling provides an explanation for this added asymmetry that I don't recall having ever seen commented on before (which means little, given the vastness of Shroud literature, much in conference proceedings).


Modelling of the more important Type 2 creases. Look carefully at the upper half, and you will see how the fabric was folded to create an intucked fold, such that there were THREE layers of fabric above the crease. When the hot template was applied, there was more intense scorching of the three-layer sandwich than of the single layer (for reasons that merit further investigation). When opened out and flattened one sees an asymmetrical  twin track arrangement, i.e. VERY DARK- LIGHT- DARK which matches that of the transverse Type 2 creases on the TS, the ones I consider were acquired at the moment of imprinting.
The lower half was a control, with the the same triple sandwich folding, but in the opposite direction.  It is still the triple sandwich side that acquires the more intense scorch.



Here's a schematic diagram, hastily put together with MS Paint, to summarise what happens when a hot template is placed across a Type 2 crease.

Explanation for the asymmetry of the twin-track of a Type 2 baked-in crease.



OK, I've been a bit naughty. I have discussed Type 2 before Type 1. That's probably a give-away to my sense of priorities. It's those Type2 creases that have captured and retained for posterity the genesis of the Shroud image from Time Zero (ignoring the history of the Shroud linen prior to imprinting). But it did of course have a pre-imprinting history. A 4.4 x 1.1m length of linen needed to be folded compactly before being pressed (or unpressed) into service as burial shroud. Given there were pre-existing folds (unless rolled up)  and even creases how would they respond to having hot template pressed against them?

 Here we see what happens when one imprints across a simple opened-out fold, either as a concave furrow, ie. V-shaped in cross section, or as a convex ridge (inverted V). The creases were ironed-in, to increase the odds of getting a result. Well, as you see, we got a result, indeed a striking difference between the two types of crease, Type 1A and 1B (furrow v ridge).

Modelling of a Type 1A  baked-in crease,


 Note the  narrow region of linen at the base of the V that has escaped being scorched, due to imperfect flattening-out of the linen for the brief time (a second or so) that the hot template made contact with the fabric.  Late edit: This is a match for the long axis midline "fold" that one sees on the TS frontal side - a twin track, pale centre, left and right rails of the same intensity. But I say it's a baked-in fold, or in current jargon, a Type 1 crease. 

If folk wish to provide a different provenance, based on those other imaginative models (radiation, gaseous diffusion etc) then fine, let's be hearing it, but I'm the one right now who has the experimental  AND theoretical model that together "tell a story". What's more, scorching by contact produces an image, and it's a negative, and it's 3D-enhancible, and , given the nature of thermal energy, it can be as intense or as superficial as one wishes. One does not get a third  degree burn from brushing lightly against a hot iron, painful though it may be. I say he contact scorch theory (that would include Luigi Garlaschelli's contact acid/thermal scorch) are scientifically coherent, if not down to the very last detail (some of which could be age and/or technique-related). But I would go further: all other rival models LACK SCIENTIFIC COHERENCE, with huge chunks missing, like failure to generate an image.


Now repeat the experiment, but with the creased linen turned over so that the V is inverted in cross-section. One has a ridge instead of a furrow in the linen:

Modelling the reasons why a Type 1B crease does not leave a baked-in image.

Note that with this reverse configuration there is scarcely if any interruption of imprinted image along the fold line. I would expect to have attracted much scepticism had I  tried to claim otherwise,

Type 1A (concave furrow) above - allows a symmetrical twin-track baked-in crease.
         Type 1B (convex ridge) - does not allow twin-track imaging.
                    

Speaking of the 'eye of faith' which (if one's honest) can all too often be influenced by prior assumptions, including one's latest brainwaves, I said earlier that I could only see Type 1A twin-track on the frontal side of the Shroud. Having failed to see it on the dorsal side, or at best the tiniest hints thereof, I'm now going to stick my neck out (or place head on the block) and suggest that it's absent because the dorsal side is a Type 1B crease. In other words, it's a ridge, not furrow, and so has failed to capture the imprint from a heated template as in the experiment and diagram above.

If one takes a length of paper to represent a Shroud and its two images, it's easy to see how reversal of fold sense comes about. If one wants a midline furrow for the entire length, one fold along the long axis first, then across the short axis. But doing a long fold is awkward. It's more natural to fold across the midline short axis first, before folding along the long axis that is now half its original length. Do it that second way, and one finds, maybe with a little application of  a hot electric  iron to reinforce crease lines, that the sense of the  fold reverses at the midpoint. If the frontal side is a furrow crease, then the dorsal side is a ridge, The apparent loss of that frontal side midline crease, just above the head, is now entirely explicable. But let's not lose sight of the main point, that I'm certain will be contested by those who have no time for the  (contact) "scorch" hypothesis. While those folds were there originally, they are no longer simply ancient folds that are visible for mechanical reasons only (bending/kinking of threads). They are visible as part of the sepia Shroud image because they were baked in by the hot template at the time of image imprinting. Sorry to have to repeat myself, but this blogger/science bod does not wish to see two years of research and thinking about those crucial Type 2 creases being scuppered by inappropriate comparisons with the more mundane Type 1 variety. Indeed, far from weakening my case for Type 2 creases being template-inflicted, so to speak, they strengthen it by my discovery that Type 1A folds, while not template-inflicted, were template-boldened-up by acquisition of twin-track scorch marks. The fact that the Type 1A pattern is not visible (that I can see) on the dorsal side, consistent with modelling, inspired by theorizing AND  plain common sense, greatly strengthens in my view the credibility of the contact scorch hypothesis.


Methinks that is enough for now. I had originally intended to finish on a polemical note, deploring what I consider the pseudoscience that is deployed in so-called "sindonology". The best indicator for pseudoscience is the instant dismissal indeed contempt that can be elicited by mere reference to the word "scorch", even without the qualifying "contact".  One may be an enthusiast for all kinds of alternative hypotheses for image formation, based on exotic types of radiation (uv laser generated, corona discharges, neutron fluxes etc etc) or the so-called naturalistic hypotheses based on chemical emissions from a real corpse. But what one cannot do is dismiss contact scorching out of hand, or expect to fob off this 'enthusiast' for scorching with tired old checklists that substitute anecdotal hearsay for hard experimental data. I shall not mince my words. The rejection of the scorch hypothesis by almost the entire community of 'sindonological*' investigators, including those with fancy titles, puts almost all of them firmly within the realms of pseudoscience, and deserving of my favourite tag : Mickey Mouse scientists.

As I say, I'd better stop right here, before I'm tempted to name names, or especially egregious instances of so-called 'scientific research' displaying one or more blind spots for physical, chemical and biological principles, and all too often designed to grab media attention.


*Unfortunate choice of term one might think.

 "Sindonological research" = SIN. DO NO LOGICAL RESEARCH.

Late addition: Have just discovered a third posting I did on that chin crease a bit more than a year ago:

Title:  Could this be clinching evidence that the shroud image is a contact scorch?

Second addition:  Here's a comment (below) that appeared a few days ago from someone who signed himself off as representing a "Sindonology" institute (I've withheld his name, preferring to stick to the issues). The contempt I mentioned earlier is clear. Well, I take a pretty dim view of  his idea of science as well, especially the selective quotation of the bits that suit one's case, so that commentator's pitch will be the subject of my next posting on this site. (Yes, I now regard sciencebuzz as my main site, feeling this particular topic is now less about the Shroud of Turin in particular, and more about the generic issue of pseudoscience and the manner in which it is propagated in the media, with dissenting voices rarely getting heard - far less consulted - even when they set up blog sites!)

Oops.  The quoted comment has disappeared, maybe a glitch of copying/pasting from one site to another. I'll try again later.,

Update: 25th March

Here's an interesting comment that has appeared elsewhere from a newcomer. I'll respond to it in my next posting here, as well as the Shroud 2.0 pictures that have just been posted.

March 23, 2014 at 4:49 pm | #9



First post here from someone who has been fascinated for years by the shroud. I’ve been catching up on old posts here and on Colin’s blog. I am a physician (gastroenterologist) so no particular expertise regarding the shroud, but of course familiarity with science. I lean toward the shroud being authentic, but I applaud Colin’s probing endeavors and research and think it serves a valuable purpose.
That being said, I don’t yet buy that the creases he points out are “cooked in.” I see lots of creases on the Enrie and Durante images on Shroud Scope. Many of these are far from image areas and should be very different from the neck and head creases Colin points out as they should not be “cooked in”. (It would be interesting to see the enhanced images in these areas.) Also, I find it interesting that the neck crease crosses the lower edge of the non-image area lateral to the face, which is,according to Colin, an area of non-contact with the bas-relief. I find it hard to believe a crease could be “cooked in” in this location under Colin’s scenario.
Just some thoughts

Last time I cut-and-paste from that site, the item had disappeared by the time I next logged on. Let's see if Steve's comment sticks. While it's here, click on the blue hash 9 (comment number) to be taken to the (vexatious) thread in question with site proprietor in full interventionist club-wielding mode.

Update: New comment added to same site by Mike M, who posted the Shroud 2.0 pictures:

in response to Dan:
Mike M sent these along to go with Baked-In Creases. Really?  . They are from his iPad. I will leave it to him to explain them in comments. (You should be able to click on the pictures and get larger versions): Sorry, Mike, for the delays. #1 #2 #3 #4
Thanks Dan,
This is further to the previous post where it is claimed that the double track creases (with a clear centre is evidence for a scorch. Although, as you have indicated they can be caused by any image formation mechanism (natural or supernatural), checking them in Shroud 2.0 shows those double tracks off-image thus they can’t be produced by the hot statue as Colin has postulated (check the legend on the top right corner for the location of the crease). Furthermore, The crease below the chin shows the image continuous, so the colourless middle is not really that colourless.

See my next posting Mike. (Is he aware I wonder of my image re-invention hypothesis,that attempts to explain the curious testimony (April 14, 1503) from Antoine Lelaing, one that I have previously interpreted as an attempt to artificially-age the Mark 1 Shroud, not efface it as Lelaing supposed?).

I have responses prepared in rough outline for both Steve H and Mike M, but will hold off posting for a bit, maybe a day or two, while waiting to see what if any other points are raised.

Latest comment into this running archive:

in response to Mike M:
Thanks Dan, This is further to the previous post where it is claimed that the double track creases (with a clear centre is evidence for a scorch. Although, as you have indicated they can be caused by any image formation mechanism (natural or supernatural), checking them in Shroud 2.0 shows those double tracks off-image thus [...]
Colin, I realize you never claimed images # 3 & 4 were a double track creases. How could you when they are clearly off-image. # 3 sure looks like one though, lighting factors applies for all the creases not just the off-image ones. I included #4 because Hugh referred to it, IMHO it doesn’t look like a double track crease, there is an interesting double line to the right of it (at an angle) that looks like an imperfection in the weave, may be Mario was referring to that? The main point is; 1-the creases you mentioned extend off-image & 2- the middle line below the chin contains image information

Update: Some one (naming no names) has tried to question the validity of my contrast-enhanced images, It's odd he should choose to do so now, given I did over a dozen postings in 2012, showing the extra discrimination that could be achieved, e.g. between body image and bloodstains, without ever making claims that accompanying colour differences were real. In other words, the contrast control was used purely as a aid to visualization and discrimination within a particular image, not to make any extraordinary new generalist claims. It's what scientists do - we twiddle with the controls to see the subject more clearly, to make a better photograph.

Anyway, here's a graphic I have just added to one of those 2012 postings to show the modest changes that accompany step-by-step increases in contrast, after first making a minor adjustment (downwards) to brightness.

Shroud Scope/Durante 2002 TS face with step wise increase in contrast.The accompanying colour changes are incidental.

Oh, and here are some new settings with the same maximum contrast, but decreased brightness, showing one end of the chin crease where it crosses the hair.

Click to enlarge

Update: here's a photo-edited picture of the TS chin crease from Shroud 2.0, copied/pasted from shroudstory.com, with altered contrast/brightness (done in two steps).


Shroud 2.0 photoedited



I say that the "baked-in" look is still there, and feel justified in homing in on this particular feature. One needs only one baked-in crease to sustain the case for a mechanical element in the imprinting process of the Shroud image to give enhanced imaging on a raised feature (like an S-shaped Type 2 crease!)

And here's my new high contrast/low brightness settings applied to the chin crease. Wow!

Click to enlarge


Update: new posting: "Dear critics. Please be on the lookout for a new Mark 3 model etc"



Friday, April 19, 2013

That devastating explosion at the Texas fertiliser plant - was it nitrous oxide assisted?



 Update: 11th May 2013:   Criminal probe opened into Texas fertilizer plant explosion
(This Independent article initially invited comments - to which I responded - but the article later appeared stripped of comments, presumably for legal reasons).

This is just a holding post. I'll insert the comments I've been posting on the Guardian and Independent later. They will show an evolution in my thinking, informed (or misinformed|) by the Indy quoting from an US inspector's report that the site DID have ammonium nitrate as well as anhydrous ammonia.

As the search and rescue operation continued, agents from the federal Bureau of Alcohol, Tobacco, Firearms and Explosives scoured the scene for clues to the cause of the blast, which officials said had destroyed about 50 homes. A recent report submitted to the Texas Department of State Health Services suggested the facility contained a stockpile of up to 270 tonnes of ammonium nitrate, and 100,000lb of liquid ammonia.
(ed: normally, when you link to a report in a newspaper, that report stays the same. The UK's Independent is a notable exception.  Articles are not only edited but can be completely rewritten - while still appearing under the same URL. Let the internet surfer - or in this case blogger - beware)

Here's the way my thoughts are going. First, one does not expect liquid ammonia (NH3) to behave like rocket fuel when tanks are ruptured by fire. Escape of ammonia gas yes. Fireball, no. Surely there would be well known precedents if that were the case, with regulations siting the tanks far from population centres. Secondly, one does on the other hand have precedents too numerous to mention of ammonium nitrate producing devastating explosions that have flattened entire communities and killed scores, sometimes hundreds. But there is scarcely any mention of ammonium nitrate as a causative agent in connection with West-comma- Texas near Waco.
(ed: the above sentence was true at the time of writing; we have since learned that some 270 tonnes (yes!) was stored on that site, in breach of National Homeland Security regs).

Here's my hunch. There was BOTH liquid ammonia AND ammonium nitrate on site, and the heat of the initial fire (wooden pallets?) was sufficient to melt the ammonium nitrate and then rupture the ammonia storage tanks.

When molten ammonium nitrate decomposes it produces nitrous oxide, N2O, a gas with similar oxidising properties to oxygen, able to support combustion ( even relights a glowing splint as I recall, the "standard" test for oxygen).

Ammonia gas is reluctant to burn in air, unless introduced into an existing flame, and raised to its air/ammonia ignition temperature of close on 1000 degrees C.

But suppose there had been a mixture of ammonia gas and nitrous oxide, the latter behaving like oxygen. Might that have not been the reason for ammonia behaving like rocket fuel?

NH4NO3 ->  N2O  + 2H2O
ammonium nitrate -> nitrous oxide and steam

2N2O  -> 2N2 + O2
nitrous oxide -> nitrogen + oxygen

4NH3 + 3O2  ->  2N2 + 6H2O
ammonia + oxygen -> nitrogen + steam

Result - in gas phase - BANG! 

Overall word equation:

ammonium nitrate(solid)  + ammonia (gas) -> nitrogen(gas) and steam  (highly exothermic reaction, both products gaseous, to produce a vast fireball and powerful pressure wave)

Further reading: Firefighting and Anhydrous Ammonia

Sample comment from the Guardian:

@Daveinireland - All we know for certain is that liquified, pressurized anhydrous ammonia was on site.
Theoretically it could have produced the fireball if the ignition temperature of air/ammonia gas mixtures of close on 1000 degrees C had been reached. But if the accident investigators know their explosives chemistry, they will be looking for traces of solid ammonium nitrate and/or for any evidence that the solid was either shipped in, or made on site by reacting ammonia and nitric acid.
Methinks we would have had more precedents in the past for what happened at West, Texas if anhydrous liquid ammonia really were given to behaving like rocket fuel when there's a nearby fire.

Sample comment from the Independent

on Hundreds believed injured in Texas fertiliser plant blast 8 hours ago
 
The short science lesson would have been useful, had it been correct.
Ammonia is a gas at ordinary temperature and pressure. It does not form explosive mixtures with air, but will combust to nitrogen and steam if introduced into an existing flame, the latter being maintained. In other words, ammonia and air alone will not produce a conflagration and certainly not an explosion. Were that the case, there would have been hundreds of explosions from leaking refrigeration plants.
It can be liquified under pressure alone (normal temp and pressure). The only significance of that -33 degrees C is that any leak of liquid ammonia would result in the liquid boiling at the temperature, and quickly changing to highly toxic gas.
As for the fireball, it's hard to see how that could be due to liquid ammonia, even if the tanks ruptured, although the gas might have assisted an existing fire, as mentioned above. What is far more probable is that solid ammonium nitrate was also on site, and that as we know can be a very dangerous and unpredictable substance if exposed to heat alone. Leaving aside specialized detonation to produce instant decomposition with powerful shock wave ("fertilizer bomb") ammonium nitrate produces vast amounts of gas when it thermally decomposes to nitrous oxide and steam, both gaseous, and the only products. One imagines that it was a runaway decomposition that produced the vast fireball that was for all intents and purposes an explosion, even if the chemical purists prefer to describe it as a rapid decomposition rather than explosion.
It's bad enough that liquid ammonia was stored so close to a community - but if reports that ammonium nitrate was also there are correct, then words simply fail one. Have they not read their history books? Many, probably most, of the worst most devastating chemical disasters in history in which hundreds have lost their lives have involved harmless-looking, salt-like ammonium nitrate.
NH4NO3 (solid) -> N2O (gas) + 2H2O (steam)
That is the chemical equation for a potential time bomb - especially if fire breaks out in the vicinity. All that reaction needs is the right (wrong) kind of kick start.

newsjunkie aka sciencebod

Guardian (again)

sciencebod


"Officials at first suggested the explosion was caused by the anhydrous ammonia igniting, but it was revealed Thursday through Texas state records that the plant also possessed 270 tons of ammonium nitrate, a much more volatile, dry solid, at the end of 2012. Records also suggested that in 2006, the Environmental Protection Agency (EPA) issued a $2,300 fine for deficiencies in the plant's risk management plan."

If there had been even a modest amount of ammonium nitrate as well as anhydrous ammonia on site, and the two were pre-heated close to one another, there is an explanation for that massive fireball.
Ammonium nitrate decomposes to nitrous oxide, N2O, an oxidant that behaves almost like pure oxygen (relights a glowing splint). Ammonia, reluctant to burn in air except at high ignition temperatures (close on a 1000 degrees C) can burn in pure oxygen, so probably in nitrous oxide too, maybe at much lower temperatures than 1000 degrees.

Result: liquid ammonia becomes effectively rocket fuel if/when there is ammonium nitrate + fire nearby.

Postscript: have just this minute discovered a paper that backs up my hypothesis: nitrous oxide supports the combustion and flame propagation of ammonia, the main product being nitrogen gas.

Here's the title and authors of the 1964 paper:


Combustion of ammonia supported by oxygen, nitrous oxide or nitric oxide: Laminar flame propagation at low pressures in binary mixtures


  • Department of Physical Chemistry, University of Leeds, Leeds 2 UK

 

Postscript: Virgin Galactic's SS2 uses a solid rubber compound as fuel, which is burned in liquid NITROUS OXIDE.  Never undersestimate the oxidising power of nitrous oxide.





Saturday, May 19, 2012

A new unified theory for Stonehenge. Britain’s first community recycling centre – designed for winter survival?



Stonehenge (Brrrr... Neolithic food distribution point - grilled pork a speciality - at least in the dead of winter?)



Summary


 Stonehenge was the focal point of a largely settled agrarian Neolithic culture that devised a novel means of surviving the winter months. It involved communal feasting on spit-roasted pork – but with a difference. The pigs were fed on the flesh of the deceased, who may have died of natural causes, after removal of the heart and other organs, the latter perhaps being buried with due ceremony at a particular spot some 25 miles away that gradually, over the course of some 100 years became Silbury Hill. This winter survival strategy involving what might be called ‘secondary necrophagy’  was a phase in the transition from hunter-gatherer to homesteader lifestyle. Stonehenge lent some ritual and solemnity to this unconventional strategy, helping to legitimise it and overcome inevitable feelings of revulsion. The uprights and pillars, a reprising in durable stone of Woodhenge, may have had a dual purpose – to overawe while serving a utilitarian purpose too, possibly to do with hanging and air- or smoke-curing of carcases and/or comminution to animal feed. The alignment was probably  intended to get a highly visible fix  on the day of the winter solstice – one that the entire community could see with their own eyes, signalling the permitted ‘open-season- when hitherto ‘unclean meat’ would be sanctified as ‘clean’ for the duration of the short  winter days and long nights while awaiting the return of Spring, light and new growth.



INTRODUCTION

 Why was Stonehenge built ? (taken from the current Stonehenge visitor guide)

"This is the most difficult question for archaeology to answer. Stonehenge does not appear to have any obvious practical purposes. It was not lived in and could not have been defended, so it is thought there must have been a spiritual reason why Neolithic and Bronze-Age people put so much effort into building it.

These people were farmers, their survival dependent on the success of their crops and animals, and for them winter would have been a time of fear – dark months when days grew shorter and colder and when food supplies grew low. There would have been a longing for the return of the light and warmth that meant crops would grow and animals would feed and thrive. Light meant life. This may be a reason why Stonehenge was built and aligned so carefully to mark not the longest day of the year but the shortest. This, the winter solstice, was the turning of the year, after which light and life would return to the world."

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The ideas that I, sciencebod, express here, dear reader, are a development of the ones you read above. In proposing the theory that follows (that may require a strong stomach) I freely acknowledge to have been influenced  at least in part by the suggestion that 'winter  survival' was at the top of Neolithic priorities, which may have overridden a lot of other considerations, aesthetic ones included. Our ancestors were first and foremost 'survivors'.

However, there was a separate and earlier departure point for my ideas. That was through thinking through what it might have been like to eke out a living, nay existence, as a Neolithic homesteader on Salisbury Plain some 4500 years ago - see my last but one post). Salisbury Plain may have had several attractions to Neolithic farmers, but by no stretch of the imagination can it be considered as a prime fertile area in Britain with its thin soil overlying a chalk base. Probably the main attraction was so much in what it was, but what it was not : it was not dense woodland with at best a few clearings, with little protection from enemies, human or wild life. But whereas the woods offered a year-round larder for the hunter-gatherer (indigenous UK mammals like deer, wild boar etc do not hibernate)  the safer more open Plain was a challenge for Neolithic farmers in the winter months with dwindling perishable food stores.

Here's a bare bones summary (no pun intended). I'll flesh out later ...


Main points

1     1.  Neolithic farmers on, or in the vicinity of Salisbury Plain and adjacent chalk uplands switched at the winter solstice (approx Dec 21st)  to a religiously-sanctioned diet - one that might be described uncompromisingly as  one based on ‘secondary cannibalism necrophagy'. However, the latter did not involve direct consumption of human flesh, but of domesticated livestock, notably pigs, that had been fed comminuted human flesh, probably well admixed with vegetable matter. Secondary cannibalism  necrophagy (aka anthropophagy) was a compromise between survival and aesthetics. The British are no strangers to the art of compromise...

2.       2. The nearby Durrington Walls site provides some corroborating evidence, with the discovery of “huge quantities of animal bone, mostly young pig, suggesting large scale feasting, particularly in mid-winter” (from Stonehenge visitor guide). See also this link for some disturbing detail on the cruel and wanton manner in which pigs were slaughtered  with arrows (almost as if the aim was to have the animal lose as much blood as possible while still alive, suggesting some dietary concerns re necrophagy), plus the fact that Durrington was used as temporary winter quarters for a sizeable number of folk seemingly engaged in a non-stop pig-fest.




"Animal bones and artifacts from Durrington Walls testify to ceremonial feasting. At Stonehenge such finds are scarce, implying separate ritual areas for the living and dead" (quote from Mike Pitts, Sheffield University)

3.       3. The resort to secondary cannibalism necrophagy was a survival aid that developed during the critical and often fraught transition over 2 or more millennia from hunter-gatherer to settled agrarian existence (fraught because initial crop yields were not sufficient to guarantee survival through the winter months).

      4. The function of Stonehenge,  and before that its predecessor Woodhenge and nearby sites, was to provide a sanctified site at which the recently deceased were given a solemn sending-off ceremony before the practical business of (partial) recycling began- the latter on  a temple-like site that lent dignity to the proceedings, and invested them with an aura of mystery and majesty.

5    5. The purpose of the initial ditch and bank (the latter made from excavated chalk) was to provide screening, with access restricted to one or two ‘causeway’ points.

6    6. The NE-SW alignment of the site entrance and diametrically-opposite opening was designed to pinpoint the winter solstice precisely,  signalling the approved date in the calendar when it became open-season for a winter-mode diet. The closed-season would have resumed perhaps in Spring, or even as late as the summer solstice (longest day, June 21st) when crops were ripening.

6.    7. For religious and practical reasons, or merely for showing respect to the departed, the recycling of mortal remains was not total.  The internal organs – heart etc- were first removed and given a separate burial marked by ceremony and ritual.

 

     'Butter-textured' material? Did anyone think of testing for fat? Fat can be remarkably-resistant to biodegradation (it's those hydrocarbon side chains in the fatty acids, especially the saturated ones without the double bonds)

 I I have suggested that was the purpose of SilburyHill – a place for disposal of those vital organs – which probably were seen as having the soul of the deceased, the remainder being seen as a mere husk -  once the body was stripped of it vital organs and their perceived spiritual significance.

8   8. The initial Stonehenge, and perhaps its Woodhenge predecessor too, had those mysterious bluestones, thought to have come all the way from the Preseli Hills in west Wales, either by human agency(!) or carried and then deposited by ancient glaciers. No practical explanation has been offered for those much-prized bluestones. Practical note: comminution with initial separation of flesh from bone would make heavy demands on pre-Bronze age flints which would quickly chip or lose their sharp edges. Reminder: the major, but not exclusive rock type, bluestone not being a recognized geological term, is dolerite with its feldspar inclusions, which is harder than granite. I suggest that some may have been used for superior “flints” (there being much bluestone debris aka 'debitage' on site, or maybe pillars of dolerite were used to keep a keen edge of the flints used to reduce the deceased to comminuted form.

9   9.   Some means of flesh preservation would have been needed.
     This image  accompanies an article that mentions Neolithic pig husbandry (in Spain) with references to the problem of keeping pigs fed in winter, and an interesting, perhaps relevant mention of "air-cured ham".

     The design of Woodhenge and Stonehenge with uprights and lintels may have been to create shelves and racks for hanging and drying in an age before salting/curing/smoking had been developed (?) Early precursors of the henges may even have been "Towers of Silence" relying on carrion feeding birds, as per Zoroastrian culture to provide what was considered an alternative to burial.

1   10.   Early forms of Stonehenge may have been used for human sacrifice (as per conventional explanations)  or even execution  of captured enemies, based on the finding of cremated remains of some 60 or so young adult males at the base of the Aubrey post holes, the latter being thought  to be an initial Mark 1 henge before the stones arrived. Indeed, the domesticated form of disposal/recycling of human remains may have evolved from an earlier military/punitive version.

      Secondary cannibalism  necrophagy was the 'smart technology' of 2500 BC. (It meant that you and your family did not starve, and you probably didn't catch horrible diseases either)
II
     More to come later. (As I say, a work in progress).

      Addendum 1: We tend to think  - or assume- that the transition from hunter-gather to settled agrarian existence was a smooth one. In fact it was probably anything but. As the first agrarians cleared trees to make a settlement, they made life more difficult for the hunters, and in so doing would have reduced their ability to supplement their agriculture with some hunting on the side. In other words the two life-styles came into conflict since each was encroaching on the territory of the other. So the transition was a difficult and risky one, especially in northern latitudes with winters and short days. So 'secondary necrophagy' may well have been an essential stage in the transition.One likes to think that natural mortality may have sufficed to provide enough of those unconventionally-fed pigs in winter, but there would have been no guarantees. One suspects that during lean periods, there may well have been pretexts created, no doubt backed by ad hoc  justification - to generate more turnover so to speak, which we would tend to pass off, 4500 years later, as religion-inspired "sacrifice" without perhaps appreciating an underlying utilitarian, i.e. survival  motive. Even in the modern world, we read of parts of the world where execution of criminals feeds a growing demand for transplant organs. Spare part surgery is a wonderful innovation, and not difficult to justify, but might the abuses of that innovation not provide a clue to the mindset that may have existed 4500 years ago ... a means can always be found to balance supply and demand...

     Addendum 2: From wiki, under the 'scavenger'  entry: 

I     In humans, necrophagy is taboo in most societies. There have been many instances in history, especially in war times, where necrophagy was a survival behavior.
     In the 1950s Louis Binford suggested that early humans were obtaining meat via scavenging, not hunting.[2] In 2010, Dennis Bramble and Daniel Lieberman also proposed that early humans were scavengers that used stone tools to harvest meat off carcasses and to open bones. They proposed that humans specialized in long-distance running to compete with other scavengers in reaching carcasses. It has been suggested that such an adaptation ensured a food supply that made large brains possible.
       The eating ating of human meat, a practice known as anthropophagy (and known more commonly as cannibalism), is extremely taboo in almost every culture.

     Addendum 3 : from National Geographic( for kids!) regarding that scary Neolithic Center Parc  aka Durrington Walls:

"    "The village was shown to be about 4,600 years old, the same age as Stonehenge and as old as the pyramids in Egypt. The village is less than 2 miles (3.2 kilometers) from Stonehenge and lies inside a massive manmade circular earthwork, or “henge,” known as Durrington Walls.

Remains found at the site included jewelry, stone arrowheads, tools made of deer antlers, and huge amounts of animal bones and broken pottery. These finds suggest Stone Age people went to the village at special times of the year “to feast and party,” says Mike Parker Pearson from Sheffield University in England.


He said many of the pig bones they found had been thrown away half-eaten. He also said the partygoers appeared to have shot some of the farm pigs with arrows, possibly as a kind of sport before barbecuing them.

 
      An ancient road which led from the village to a river called the Avon was also unearthed. Here, the experts think, people came after their parties to throw dead relatives in the water so the bodies would be washed downstream to Stonehenge."

      I'm starting to regret this project. Maybe I should have stuck with the Shroud of Turin.

    Colin Berry aka sciencebod

     Update: May 27th

      Have just discovered through googling that Silbury has previously been described as a tomb for the "souls" of Neolithic folk.  The link is to a 2007 article in the Mail. No mention of mortal remains though. As I say, I think the internal organs of folk were consigned to Silbury over a longish period (say a century), such that the mound grew like topsy - with no preconceived plan to create so dominant a feature on the landscape.

Final word here: I try not to overload this generalist science site with any one topic. For that reason future postings will now appear on my new site called "Sussing out Stonehenge - and Silbury Hill too".  

    Suggestions for new science-based topics always welcome, especially if topical.