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🇳🇱 AMSTERDAM SCIENTISTS CREATE “CHAMELEON SKIN” THAT CHANGES COLOR WITHOUT PIGMENT Scientists at the University of Amsterdam have developed a new nanomaterial that changes color like a chameleon, using no pigment, no paint, and no electricity. It is made from an extremely thin layer of silicon, about one thousandth...

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Thought experiment for people regarding the concept of Absolute Time. Absolute means NO EXCEPTIONS. We are NOT looking back in time when we see galaxies and stars. We are NOT looking back in time 1.25 seconds when we see the moon. We're Not looking back in time 3 minutes when we see Mars. We're Not looking back in time 8.33 minutes when we see the Sun. If an astronaut lit a matchstick on Mars, the distant observer would see predator heat waves at the top of the matchstick in real-time while the matchstick started to blacken towards the astronaut's fingers. But there would be no orange light from that chemical reaction or flame seen. If the matchstick burnt out before the packet of orange light from that particular chemical reaction made it to Earth… then the distant observer would just see a disembodied orange flash of light with a lag. But the Earth-bound observer would never actually see the flame associated with the orange wavelength it put out. The wavelength of color emitted by the flame is not a recording of reality. If the orange light is 650 Thz, that means there are 650 trillion individual and separate bursts of orange light pulsating in 1 second. NOT that "the same light" is "waving" 650 trillion times a second and that light is a recording of reality. There are 650 trillion brand-new lights flashing in 1 second. Each Hertz is a brand-new emission and packet unto itself. Time does not re-emit 650 trillion times a second, nor is a photon a particle or a packet of reality acting like the frame of a reel of footage. The orange light that already left the flame will continue to propagate out until it meets the electrons making up the distant observer. But remember, it is never the same light within that packet. And the electrons making up the observer will absorb all of those different lights within that packet and re-emit brand-new lights that produce the product of illumination. A photon is a massless packet of energy, spherically expanding at the rate of c from the source it comes from. Illumination is the result of that energy being absorbed and RE-emitted by any other electrons that did not output that primary packet. But time is not associated with the same light. It's never the same light and time does not re-emit between packets. Time is not relative. Do NOT allow your mind Carte Blanche to think along the lines of relative time. DROP IT for this thought experiment. We are thinking along the lines of ABSOLUTE TIME/ Galilean VARIANCE. What does absolute time mean? It means time is constant in ALL frames of reference. Any frequency shifts between atomic clocks IS a literal change in the speed of light. But relativity forbids the speed of light from Ever changing, so relativity (Lorentz INVARIANCE) invented the concept of the 4th dimension and space-time. Because Relativity doesn't allow light speed to shift.. they interpret the same frequency shift between atomic clocks as being conclusive, irrefutable evidence that time and reality itself shifts. Rather than say it's just that ONE clock being affected by Earth's gravity and the oscillation of that ONE cesium clock is being altered compared to other clocks. People don't realize that in relativity... time dilation is SYMMETRICAL! Not even most relativists know their own theory. If Clock A and Clock B are synchronized and together... and then they accelerate apart... Einstein said Clock A would see Clock B as being slower itself. And Clock B would view Clock A as slower than ITself. NOT that only one observer would see back in time and the other would see forward or not at all. No... BOTH observers are supposed to see each other BACK in time relative to each other according to Einstein and the consequence of the math. It doesn't make ANY sense!! But relativists toss that part of time dilation under their 4th dimensional rug. The rug is woven from threads of gold that only the smart people can see apparently. So... here's a thought experiment/ Gedankenexperiment for absolute time. NO paradoxes... no nonsense or confusion. What do you see in a club? You see disco lights changing and a color wheel effect. You see everyone in REAL-TIME. Not just because they are so close to the lights. Light is not a recording of reality. Light is simply color. Illuminating reality in a certain color. Just because you can't see something yet or the color hasn't reached you doesn't mean it isn't happening in real-time. Zoom out and look at the people in the club through binoculars a mile away. You are still looking at them in real-time. The colors are shifting with a delay in the club. Now look at the club through a telescope from the surface of the moon. You're still looking at the people in real-time. But now there is a lag of the colors shifting by 1.25 seconds because it takes light 1.25 seconds to travel from the Earth to the moon. Now look at the club through an even bigger telescope from the surface of Mars. You're still looking at the people in real-time, but now there is a lag of the colors shifting by 3 minutes because it takes light 3 minutes to travel from Earth to Mars. fr you are a third hypothetical observer zoomed out and watching the person from Mars AND seeing the club on Earth... you're still seeing everything happening in real-time as well. But you see the colored wavepackets traveling with a delay to the observer on Mars. And the disco color wheel effect is just lagging before it affects the observer from Mars and the observer on the Moon. It doesn't matter how far you zoom out! There is only now to observe. But there WILL be a lag and delay for a given color/wavepacket to reach distant observers. But all points in space are already illuminated by other starlight. So if you're too far away... you'll just see the club in real-time but without any disco lights. Just see them in white light because that's the source already illuminating the scene. This is where it gets the most difficult because people think light itself is a recording of reality that replays a scene from where it came from. But another punch in the gut of relativity is that in order to see REFLECTED light... that would require a TWO-WAY transit. Which means the light would have to be sent out... record the scene of a distant event and then RETURN in order to REplay the event. Which means it would take 6 minutes to see the club from Mars by that logic and 2.5 seconds to see the club from the moon by that logic. The difference in tick rates between clocks has NOTHING to do with time dilation. Wait.. what?! How can that be? Because a clock itself doesn't represent all of time and reality. The difference between clocks is a "Transverse relative time shift." If the only light in the universe was from the lighter… the only way a distant observer would be able to see the astronaut on Mars is if the astronaut held down the button of the lighter for longer than 3 minutes. It takes 3 minutes for the packet of light to travel from Mars to Earth. The distant observer would never be able to see Mars, unless the light stretched from Mars all the way to Earth, and illuminated the path between Mars and Earth. And that would take 3 minutes for the boundary and first part of that wave packet to reach Earth. But if the distant observer wanted to observe Mars in real-time… then that packet of light would have to be on for longer than 3 minutes. So if the astronaut on Mars flicked the lighter at 12:00, the distant observer on Earth wouldn't see anything until 12:03. If the light was on for 3 minutes and 10 seconds, and the distant observer is 3 light minutes away... the distant observer would be able to see Mars in real-time for 10 seconds starting at 12:03. In the 20 second video clip of the rotating planet with shifting colors... just imagine you're a couple light minutes or light seconds away. You're still seeing the planet spin in real-time. But there is simply a delay of switching colors. You are Not looking back in time. It's just a color wheel effect from a great distance away. That's it!! There are many major flaws which tarnish people's critical thinking on this thought experiment. 1. Light does NOT ricochet or bounce. Electrons absorb, emit and re-emit ALL electromagnetic radiation. The electrons, making up the glass of a mirror will absorb the incoming light and re-emit a brand-new light as an equal and opposite reaction. NOT that "the same light" bounced off the mirror and continued on within the same frame of reference.  2. Light is NOT a recording of reality. 3. It is NOT the same light being observed from a source. It's never the same light. Each Hertz is a new light. Think of half of a sine wave as being its own emission. On an oscilloscope, a stimulus generates a peak which initiates an equal and opposite trough. Or vice versa. That repeating process is not "the same light." If you cut and paste that sine wave to another sine wave, the boundary between the waves will always be in phase. (thus refraction) 4. The speed of light is NOT the same in ALL frames of reference, no matter what. 5. Light is NOT made of particles and waves that flip back-and-forth. 6. Time is NOT connected to the speed of light. Time remains constant regardless if you accelerate towards or away from a clock. The clocks themselves will indeed be off! But that's an affect on the electrons making up the atomic clock affecting the oscillation of the isotope which is ASSUMED to ALWAYS be the same. So ANY difference in oscillation is treated as a literal distortion in space-time. 7. Space and time are not linked at all. That is a mathematical artifice under Lorentz invariance. Time is relative under Lorentz invariance. But time is absolute under Galilean VARIANCE. When people hear or see the word GALILEAN... their brains switch to auto pilot to "aether theory" and "classical physics." What people don't realize is that aether theory used Galilean INVARIANCE. Rather than space-time being used as an excuse to explain the difference in frequencies between atomic clocks... it was originally aether being used as an excuse to keep the speed of light the same. But None of those things are valid! We are thinking under the framework of Galilean VARIANCE! Completely new revolutionary model returning to Isaac Newton and Classical physics but without the corpuscular theory (particle) theory for light... without a particle-wave duality... without an aether... without a 4th dimension. Just good ol elementary math within 3D Euclidean space. Everything happening in real-time, right now. This reformulation of Galilean transformations was offered by Dr. Edward Dowdye in 1991 called The Extinction Shift Principle. Effectivity as opposed to Relativity. If light required a two-way transit, in order to travel out… Record an event, and travel back to replay the recording…  then it would take 6 minutes to see the astronaut on Mars instead of 3.  Remember… They say the SAME light is a recording, and must travel there and travel back in order to REplay. Relativity says time is relative: t' ≠ t time is NOT the same from all frames of reference) and t = tₒ / √1 - v²/c² but Galilean Variance says time is not relative: t' = t (Time IS the same from all frames of reference) and τ_tr = τₒ / √1 - v²/c² Relativity says c' = c (The velocity of light is the same from all frames of reference) but Galilean variance says c' ≠ c (The velocity of light is NOT the same from all frames of reference) and that c' = c ± v (The velocity of light in one frame of reference is dependent upon the velocity of the light source relative to an observer in another frame of reference. Whether that light source is approaching or receding away from that observer) Relativity says E = mc² (Energy and mass are universally equivalent and literally interchangeable under All conditions.) but Galilean variance says E = Δmc² = mₒc² (Energy changes in a system are the result from changes in mass. mₒ represents the original mass. Mass and energy do not literally interchange. There is an equivalence, not an interchange.) The Rebirth of Classical Physics: Time, Light & Gravity Star light and illumination: Flicking a Lighter on Mars visual example:
0:21

Thought experiment for people regarding the concept of Absolute Time. Absolute means NO EXCEPTIONS. We are NOT looking back in time when we see galaxies and stars. We are NOT looking back in time 1.25 seconds when we see the moon. We're Not looking back in time 3 minutes when we see Mars. We're Not looking back in time 8.33 minutes when we see the Sun. If an astronaut lit a matchstick on Mars, the distant observer would see predator heat waves at the top of the matchstick in real-time while the matchstick started to blacken towards the astronaut's fingers. But there would be no orange light from that chemical reaction or flame seen. If the matchstick burnt out before the packet of orange light from that particular chemical reaction made it to Earth… then the distant observer would just see a disembodied orange flash of light with a lag. But the Earth-bound observer would never actually see the flame associated with the orange wavelength it put out. The wavelength of color emitted by the flame is not a recording of reality. If the orange light is 650 Thz, that means there are 650 trillion individual and separate bursts of orange light pulsating in 1 second. NOT that "the same light" is "waving" 650 trillion times a second and that light is a recording of reality. There are 650 trillion brand-new lights flashing in 1 second. Each Hertz is a brand-new emission and packet unto itself. Time does not re-emit 650 trillion times a second, nor is a photon a particle or a packet of reality acting like the frame of a reel of footage. The orange light that already left the flame will continue to propagate out until it meets the electrons making up the distant observer. But remember, it is never the same light within that packet. And the electrons making up the observer will absorb all of those different lights within that packet and re-emit brand-new lights that produce the product of illumination. A photon is a massless packet of energy, spherically expanding at the rate of c from the source it comes from. Illumination is the result of that energy being absorbed and RE-emitted by any other electrons that did not output that primary packet. But time is not associated with the same light. It's never the same light and time does not re-emit between packets. Time is not relative. Do NOT allow your mind Carte Blanche to think along the lines of relative time. DROP IT for this thought experiment. We are thinking along the lines of ABSOLUTE TIME/ Galilean VARIANCE. What does absolute time mean? It means time is constant in ALL frames of reference. Any frequency shifts between atomic clocks IS a literal change in the speed of light. But relativity forbids the speed of light from Ever changing, so relativity (Lorentz INVARIANCE) invented the concept of the 4th dimension and space-time. Because Relativity doesn't allow light speed to shift.. they interpret the same frequency shift between atomic clocks as being conclusive, irrefutable evidence that time and reality itself shifts. Rather than say it's just that ONE clock being affected by Earth's gravity and the oscillation of that ONE cesium clock is being altered compared to other clocks. People don't realize that in relativity... time dilation is SYMMETRICAL! Not even most relativists know their own theory. If Clock A and Clock B are synchronized and together... and then they accelerate apart... Einstein said Clock A would see Clock B as being slower itself. And Clock B would view Clock A as slower than ITself. NOT that only one observer would see back in time and the other would see forward or not at all. No... BOTH observers are supposed to see each other BACK in time relative to each other according to Einstein and the consequence of the math. It doesn't make ANY sense!! But relativists toss that part of time dilation under their 4th dimensional rug. The rug is woven from threads of gold that only the smart people can see apparently. So... here's a thought experiment/ Gedankenexperiment for absolute time. NO paradoxes... no nonsense or confusion. What do you see in a club? You see disco lights changing and a color wheel effect. You see everyone in REAL-TIME. Not just because they are so close to the lights. Light is not a recording of reality. Light is simply color. Illuminating reality in a certain color. Just because you can't see something yet or the color hasn't reached you doesn't mean it isn't happening in real-time. Zoom out and look at the people in the club through binoculars a mile away. You are still looking at them in real-time. The colors are shifting with a delay in the club. Now look at the club through a telescope from the surface of the moon. You're still looking at the people in real-time. But now there is a lag of the colors shifting by 1.25 seconds because it takes light 1.25 seconds to travel from the Earth to the moon. Now look at the club through an even bigger telescope from the surface of Mars. You're still looking at the people in real-time, but now there is a lag of the colors shifting by 3 minutes because it takes light 3 minutes to travel from Earth to Mars. fr you are a third hypothetical observer zoomed out and watching the person from Mars AND seeing the club on Earth... you're still seeing everything happening in real-time as well. But you see the colored wavepackets traveling with a delay to the observer on Mars. And the disco color wheel effect is just lagging before it affects the observer from Mars and the observer on the Moon. It doesn't matter how far you zoom out! There is only now to observe. But there WILL be a lag and delay for a given color/wavepacket to reach distant observers. But all points in space are already illuminated by other starlight. So if you're too far away... you'll just see the club in real-time but without any disco lights. Just see them in white light because that's the source already illuminating the scene. This is where it gets the most difficult because people think light itself is a recording of reality that replays a scene from where it came from. But another punch in the gut of relativity is that in order to see REFLECTED light... that would require a TWO-WAY transit. Which means the light would have to be sent out... record the scene of a distant event and then RETURN in order to REplay the event. Which means it would take 6 minutes to see the club from Mars by that logic and 2.5 seconds to see the club from the moon by that logic. The difference in tick rates between clocks has NOTHING to do with time dilation. Wait.. what?! How can that be? Because a clock itself doesn't represent all of time and reality. The difference between clocks is a "Transverse relative time shift." If the only light in the universe was from the lighter… the only way a distant observer would be able to see the astronaut on Mars is if the astronaut held down the button of the lighter for longer than 3 minutes. It takes 3 minutes for the packet of light to travel from Mars to Earth. The distant observer would never be able to see Mars, unless the light stretched from Mars all the way to Earth, and illuminated the path between Mars and Earth. And that would take 3 minutes for the boundary and first part of that wave packet to reach Earth. But if the distant observer wanted to observe Mars in real-time… then that packet of light would have to be on for longer than 3 minutes. So if the astronaut on Mars flicked the lighter at 12:00, the distant observer on Earth wouldn't see anything until 12:03. If the light was on for 3 minutes and 10 seconds, and the distant observer is 3 light minutes away... the distant observer would be able to see Mars in real-time for 10 seconds starting at 12:03. In the 20 second video clip of the rotating planet with shifting colors... just imagine you're a couple light minutes or light seconds away. You're still seeing the planet spin in real-time. But there is simply a delay of switching colors. You are Not looking back in time. It's just a color wheel effect from a great distance away. That's it!! There are many major flaws which tarnish people's critical thinking on this thought experiment. 1. Light does NOT ricochet or bounce. Electrons absorb, emit and re-emit ALL electromagnetic radiation. The electrons, making up the glass of a mirror will absorb the incoming light and re-emit a brand-new light as an equal and opposite reaction. NOT that "the same light" bounced off the mirror and continued on within the same frame of reference.  2. Light is NOT a recording of reality. 3. It is NOT the same light being observed from a source. It's never the same light. Each Hertz is a new light. Think of half of a sine wave as being its own emission. On an oscilloscope, a stimulus generates a peak which initiates an equal and opposite trough. Or vice versa. That repeating process is not "the same light." If you cut and paste that sine wave to another sine wave, the boundary between the waves will always be in phase. (thus refraction) 4. The speed of light is NOT the same in ALL frames of reference, no matter what. 5. Light is NOT made of particles and waves that flip back-and-forth. 6. Time is NOT connected to the speed of light. Time remains constant regardless if you accelerate towards or away from a clock. The clocks themselves will indeed be off! But that's an affect on the electrons making up the atomic clock affecting the oscillation of the isotope which is ASSUMED to ALWAYS be the same. So ANY difference in oscillation is treated as a literal distortion in space-time. 7. Space and time are not linked at all. That is a mathematical artifice under Lorentz invariance. Time is relative under Lorentz invariance. But time is absolute under Galilean VARIANCE. When people hear or see the word GALILEAN... their brains switch to auto pilot to "aether theory" and "classical physics." What people don't realize is that aether theory used Galilean INVARIANCE. Rather than space-time being used as an excuse to explain the difference in frequencies between atomic clocks... it was originally aether being used as an excuse to keep the speed of light the same. But None of those things are valid! We are thinking under the framework of Galilean VARIANCE! Completely new revolutionary model returning to Isaac Newton and Classical physics but without the corpuscular theory (particle) theory for light... without a particle-wave duality... without an aether... without a 4th dimension. Just good ol elementary math within 3D Euclidean space. Everything happening in real-time, right now. This reformulation of Galilean transformations was offered by Dr. Edward Dowdye in 1991 called The Extinction Shift Principle. Effectivity as opposed to Relativity. If light required a two-way transit, in order to travel out… Record an event, and travel back to replay the recording…  then it would take 6 minutes to see the astronaut on Mars instead of 3.  Remember… They say the SAME light is a recording, and must travel there and travel back in order to REplay. Relativity says time is relative: t' ≠ t time is NOT the same from all frames of reference) and t = tₒ / √1 - v²/c² but Galilean Variance says time is not relative: t' = t (Time IS the same from all frames of reference) and τ_tr = τₒ / √1 - v²/c² Relativity says c' = c (The velocity of light is the same from all frames of reference) but Galilean variance says c' ≠ c (The velocity of light is NOT the same from all frames of reference) and that c' = c ± v (The velocity of light in one frame of reference is dependent upon the velocity of the light source relative to an observer in another frame of reference. Whether that light source is approaching or receding away from that observer) Relativity says E = mc² (Energy and mass are universally equivalent and literally interchangeable under All conditions.) but Galilean variance says E = Δmc² = mₒc² (Energy changes in a system are the result from changes in mass. mₒ represents the original mass. Mass and energy do not literally interchange. There is an equivalence, not an interchange.) The Rebirth of Classical Physics: Time, Light & Gravity Star light and illumination: Flicking a Lighter on Mars visual example:

TheRealVerbz (Jason Verbelli)

24,471 görüntüleme • 2 yıl önce

Universities teach many erroneous models. One example of a misleading teaching is the Newtonian model of the prism. A man named Johann Goethe corrected and complimented Newton's model about 100 years after Newton. It is not the same light passing through the prism and distributing. It is a brand-new light with each beam of color. The primary light hitting the prism is extinguished by the electrons making up the glass of the prism itself. Those same electrons re-emit a brand new light from each angle. That process happens at the rate of c. Serving the illusion that the original white light came it... separated and exited to continue on. Most people rely on outdated text books or the Pink Floyd album cover "Dark Side of the Moon" to get their information about light and color and prisms. The depictions of light "splitting" and "bending" through a prism based on their color is false. (See first comments for attached images and substantiation) I filmed these videos playing around with prisms, lasers, magnifying glasses, mirrors, slits, and colored filters. I've gained my own perspectives on light and color over the years from real world, hands-on experimentation and observation. Most people have never held a real glass prism their own hands and done the tests to see for themselves. 2 prisms for $10 Harmonics of Light and Sound: This guy said his units were confiscated by the FBI and he was threatened not to pursue manufacturing them. The unit is simply a light with a magnifying glass and colored filters to isolate the light. Like burning an ant with a focal point... but with a specific color. The lens can spin and create a stroboscopic effect in an isolated band. The inventor claimed it healed stuff. Dinshah Spectro-Chrome Machine - Tour and Explanation Magenta monochromatic ray of shadow - Pehr Sahlstrom: Color and Physics, Newton versus Goethe - Pehr Sahlstrom: Thomas Joseph Brown Color Theory: Clay Taylor Color Theory: Testing the "Rightness" of relativity. The impossibility of proving something through experiments. Laser and Mirror observation: It's never the same light. Re-emission Example: I put this interactive page together going back and forth with ChatGPT to code using Javascript. Here is a video playing with the slide controls to show 3 different sinewaves (3 different lights/emissions). The packets are ALWAYS in phase from medium to medium. The frequency shifts BECAUSE the velocity of light shifts. NOT a Doppler shift of "the same light" distorting within the same frame of reference. It's a brand new light at each point. The incoming light is a different frame of reference. All the light you ever see is the re-emitted light from the electrons making up yourself. Propagation and Re-Emission of Light: Dr. Edward Dowdye Slides - LOTS of math and context. E.H. Dowdye, Can Stars BEND LIGHT? General Relativity and Gravity with Dr. Edward Dowdye Challenges to Gravitational Lensing and More: 71 Part Video Series (Each vid is 1 min - 1 and a hafl min) The Rebirth of Classical Physics - Time, Light & Gravity Classical Physics vs Relativity - History, Examples and Alternatives: Illusions of Relativity: Space-Time vs Real-Time The Rebirth of Classical Physics: Time, Light & Gravity - Article Packed with Info & Links Thought Experiment for Light and Absolute Time. (This scenario got me banned from talking on a Podcast.) "Too off the rails."
22:27

Universities teach many erroneous models. One example of a misleading teaching is the Newtonian model of the prism. A man named Johann Goethe corrected and complimented Newton's model about 100 years after Newton. It is not the same light passing through the prism and distributing. It is a brand-new light with each beam of color. The primary light hitting the prism is extinguished by the electrons making up the glass of the prism itself. Those same electrons re-emit a brand new light from each angle. That process happens at the rate of c. Serving the illusion that the original white light came it... separated and exited to continue on. Most people rely on outdated text books or the Pink Floyd album cover "Dark Side of the Moon" to get their information about light and color and prisms. The depictions of light "splitting" and "bending" through a prism based on their color is false. (See first comments for attached images and substantiation) I filmed these videos playing around with prisms, lasers, magnifying glasses, mirrors, slits, and colored filters. I've gained my own perspectives on light and color over the years from real world, hands-on experimentation and observation. Most people have never held a real glass prism their own hands and done the tests to see for themselves. 2 prisms for $10 Harmonics of Light and Sound: This guy said his units were confiscated by the FBI and he was threatened not to pursue manufacturing them. The unit is simply a light with a magnifying glass and colored filters to isolate the light. Like burning an ant with a focal point... but with a specific color. The lens can spin and create a stroboscopic effect in an isolated band. The inventor claimed it healed stuff. Dinshah Spectro-Chrome Machine - Tour and Explanation Magenta monochromatic ray of shadow - Pehr Sahlstrom: Color and Physics, Newton versus Goethe - Pehr Sahlstrom: Thomas Joseph Brown Color Theory: Clay Taylor Color Theory: Testing the "Rightness" of relativity. The impossibility of proving something through experiments. Laser and Mirror observation: It's never the same light. Re-emission Example: I put this interactive page together going back and forth with ChatGPT to code using Javascript. Here is a video playing with the slide controls to show 3 different sinewaves (3 different lights/emissions). The packets are ALWAYS in phase from medium to medium. The frequency shifts BECAUSE the velocity of light shifts. NOT a Doppler shift of "the same light" distorting within the same frame of reference. It's a brand new light at each point. The incoming light is a different frame of reference. All the light you ever see is the re-emitted light from the electrons making up yourself. Propagation and Re-Emission of Light: Dr. Edward Dowdye Slides - LOTS of math and context. E.H. Dowdye, Can Stars BEND LIGHT? General Relativity and Gravity with Dr. Edward Dowdye Challenges to Gravitational Lensing and More: 71 Part Video Series (Each vid is 1 min - 1 and a hafl min) The Rebirth of Classical Physics - Time, Light & Gravity Classical Physics vs Relativity - History, Examples and Alternatives: Illusions of Relativity: Space-Time vs Real-Time The Rebirth of Classical Physics: Time, Light & Gravity - Article Packed with Info & Links Thought Experiment for Light and Absolute Time. (This scenario got me banned from talking on a Podcast.) "Too off the rails."

TheRealVerbz (Jason Verbelli)

44,361 görüntüleme • 1 yıl önce

Proof that light changes everything in drawing. And not just the light, but the place from which it comes. By dexarts
0:29

Proof that light changes everything in drawing. And not just the light, but the place from which it comes. By dexarts

SKULLTYPS©

19,802 görüntüleme • 4 ay önce

The Patriarch Diodoros I of Jerusalem himself described what happens: “From the core of the very stone on which Jesus lay an indefinable light pours forth. It usually has a blue tint, but the color may change and take on many different hues. It cannot be described in human terms. The light rises out of the stone as mist may rise out of a lake — it almost looks as if the stone is covered by a moist cloud, but it is light. This light behaves differently each year. Sometimes it covers just the stone, while other times it gives light to the whole sepulchre, so that people who are standing outside the tomb and look into it see the tomb filled with light. The light does not burn — I have never had my beard burnt in all the sixteen years I have been Patriarch in Jerusalem and have received the Holy Fire.” Thousands of pilgrims hold their hands and faces in the flame and report the same thing. It does not burn.
0:26

The Patriarch Diodoros I of Jerusalem himself described what happens: “From the core of the very stone on which Jesus lay an indefinable light pours forth. It usually has a blue tint, but the color may change and take on many different hues. It cannot be described in human terms. The light rises out of the stone as mist may rise out of a lake — it almost looks as if the stone is covered by a moist cloud, but it is light. This light behaves differently each year. Sometimes it covers just the stone, while other times it gives light to the whole sepulchre, so that people who are standing outside the tomb and look into it see the tomb filled with light. The light does not burn — I have never had my beard burnt in all the sixteen years I have been Patriarch in Jerusalem and have received the Holy Fire.” Thousands of pilgrims hold their hands and faces in the flame and report the same thing. It does not burn.

sacredchad

18,596 görüntüleme • 6 ay önce

DIVINE MATHEMATICS Number One (1) is the Number of God. Everything is from Number. Number One (1) is the Number of Hydrogen. Your DNA is written in the Divine Mathematics of the Fibonacci Geometric Patterns/Sequences. Your DNA is written in Mathematical Number Patterns. That is why Science is filled with Calculations. Nature is written in the Fibonacci Geometric Patterns/Sequences. You do not need religion to know God. You need to understand the nature of existence from the angle of Science and Mathematics. Galileo Galilei, who deserves to be called the Father of Physics said thus how God created the Universe: "God created the Universe in the language of Mathematics" Everything in the Universe is Governed by Numbers. For this Purpose, Zero or Nothing or the Void is counted, not just as a Number, but as the Source of All Numbers. Zero or Nothing or the Void is mentioned in the Bible as early as Genesis because the Zero or the Void or Nothing is the Basis of All Numbers. In Genesis 1: 1-3 it is written thus: 1. In the Heaven and Earth. 2. And the Earth was without Form and Void; and Darkness was upon the Face of the Deep.... 3. And God said Let there be Light and there was Light. What follows are the 7 Days of Creation. Religion deceives and brainwashed the Masses that these are 7 literal Days. They're really about the Fibonacci Geometric Patterns/Sequences. Numbers govern the Chemical Elements that constitute the Universe, with Hydrogen being Number One to emerge from Zero and is the Same as the Zero with the Zero being the Darkness that was upon the Face of the Great Deep mentioned in Genesis 1:2. Number One became the Light which emerged from the Darkness. Without Darkness, there can be no Light. Everything is essentially a Mirror of the Same Thing. This is what is called Polarity. In other Words, Opposite Things depend on the each other in order to exist. Without Darkness, you cannot know what Light is. This is also represented by Gender, with the Female and the Male being diverse Forms of the Same Thing. The Hermetic Principles explain the relationship between everything in some details. In that regards, I suggest that you should look up the Hermetic Principles in the Kyballion. It is because the Numbers begins from Zero or Nothing or the Void that it is said that God made the Universe from Nothing. As already mentioned Number One is the Number of Hydrogen. The Hydrogen Atom permeates Everything in the Universe. It is because there is Hydrogen that there is a Material Universe. Hydrogen is Number One (1) on the Chemical Periodic Table. There is Nothing in the Material Universe that is not from Hydrogen. Hydrogen is the Basis of all Physical Existence. That is why Number One (1) is also the Number of God. The Sun and the Stars and Planets are All comprised of Hydrogen. Oxygen is constituted by the Thermonuclear Synthesis Hydrogen in the Nuclei of Stars. Hydrogen then COMBUSTS with Hydrogen to produce Dihydrogen Monoxide aka WATER. Your very being is literally powered by Hydrogen. As already indicated, Oxygen first came into Existence through Thermonuclear Fusion of Hydrogen Atoms in Stars. Stars are composed of the Hydrogen. Hydrogen is the Medium of Consciousness and Medium of the Material Universe of which we are an Intrinsic part. All of Nature is powered by Number One (1) aka Hydrogen. You're literally made of Hydrogen that has been transformed in Stars. The Sun, as a Star is composed of Hydrogen Atoms. The Circle which represents Zeros Nothing or the Void or the Darkness and also the Light represents the Hydrogen Atom. That is why the Sun and Moon are Circles. The Circle is the Basic Geometric Pattern. The multiplication of identical Circles create the Patterns and Sequences of the Flower of Life which is in All Indigenous Cultures. ✨🙌🏾💫
3:25

DIVINE MATHEMATICS Number One (1) is the Number of God. Everything is from Number. Number One (1) is the Number of Hydrogen. Your DNA is written in the Divine Mathematics of the Fibonacci Geometric Patterns/Sequences. Your DNA is written in Mathematical Number Patterns. That is why Science is filled with Calculations. Nature is written in the Fibonacci Geometric Patterns/Sequences. You do not need religion to know God. You need to understand the nature of existence from the angle of Science and Mathematics. Galileo Galilei, who deserves to be called the Father of Physics said thus how God created the Universe: "God created the Universe in the language of Mathematics" Everything in the Universe is Governed by Numbers. For this Purpose, Zero or Nothing or the Void is counted, not just as a Number, but as the Source of All Numbers. Zero or Nothing or the Void is mentioned in the Bible as early as Genesis because the Zero or the Void or Nothing is the Basis of All Numbers. In Genesis 1: 1-3 it is written thus: 1. In the Heaven and Earth. 2. And the Earth was without Form and Void; and Darkness was upon the Face of the Deep.... 3. And God said Let there be Light and there was Light. What follows are the 7 Days of Creation. Religion deceives and brainwashed the Masses that these are 7 literal Days. They're really about the Fibonacci Geometric Patterns/Sequences. Numbers govern the Chemical Elements that constitute the Universe, with Hydrogen being Number One to emerge from Zero and is the Same as the Zero with the Zero being the Darkness that was upon the Face of the Great Deep mentioned in Genesis 1:2. Number One became the Light which emerged from the Darkness. Without Darkness, there can be no Light. Everything is essentially a Mirror of the Same Thing. This is what is called Polarity. In other Words, Opposite Things depend on the each other in order to exist. Without Darkness, you cannot know what Light is. This is also represented by Gender, with the Female and the Male being diverse Forms of the Same Thing. The Hermetic Principles explain the relationship between everything in some details. In that regards, I suggest that you should look up the Hermetic Principles in the Kyballion. It is because the Numbers begins from Zero or Nothing or the Void that it is said that God made the Universe from Nothing. As already mentioned Number One is the Number of Hydrogen. The Hydrogen Atom permeates Everything in the Universe. It is because there is Hydrogen that there is a Material Universe. Hydrogen is Number One (1) on the Chemical Periodic Table. There is Nothing in the Material Universe that is not from Hydrogen. Hydrogen is the Basis of all Physical Existence. That is why Number One (1) is also the Number of God. The Sun and the Stars and Planets are All comprised of Hydrogen. Oxygen is constituted by the Thermonuclear Synthesis Hydrogen in the Nuclei of Stars. Hydrogen then COMBUSTS with Hydrogen to produce Dihydrogen Monoxide aka WATER. Your very being is literally powered by Hydrogen. As already indicated, Oxygen first came into Existence through Thermonuclear Fusion of Hydrogen Atoms in Stars. Stars are composed of the Hydrogen. Hydrogen is the Medium of Consciousness and Medium of the Material Universe of which we are an Intrinsic part. All of Nature is powered by Number One (1) aka Hydrogen. You're literally made of Hydrogen that has been transformed in Stars. The Sun, as a Star is composed of Hydrogen Atoms. The Circle which represents Zeros Nothing or the Void or the Darkness and also the Light represents the Hydrogen Atom. That is why the Sun and Moon are Circles. The Circle is the Basic Geometric Pattern. The multiplication of identical Circles create the Patterns and Sequences of the Flower of Life which is in All Indigenous Cultures. ✨🙌🏾💫

🧬Maxpein🧬

25,608 görüntüleme • 1 yıl önce

New 2025 - Chameleon Latex. Catsuit made of a new type of latex in Chameleon R0X2 color, changes color depending on the lighting. This catsuit is for sale:
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New 2025 - Chameleon Latex. Catsuit made of a new type of latex in Chameleon R0X2 color, changes color depending on the lighting. This catsuit is for sale:

Latex.Moscow

21,951 görüntüleme • 1 yıl önce

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
0:52

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 görüntüleme • 1 yıl önce

For #WIPWednesday, we’re launching a new mini-series: Science of the Strange. Where real science meets the worlds we build. First up: Chromatic Aberration. 🌈 Light isn’t just one thing. It’s a spectrum. When it bends through air, glass, or alien atmospheres, each color travels differently. Red drifts one way, blue another, creating faint halos or color shifts known as chromatic aberration. On Earth, it’s lens flaw. But on Strange Planets, it’s part of the physics. From orbit, you’ll notice a soft color drift: true chromatic aberration. But on the surface, the spectrum splits even further, spreading red, green, and blue differently across every rock and shadow. This surface effect is inspired by real chromatic aberration, but reimagined through the planet’s unstable atmosphere and materials. Because in PlanetQuest, even light can get lost. 💫 #PlanetQuest #WIPWednesday #ScienceOfTheStrange #GameDev #SciFi #StrangePlanet
0:46

For #WIPWednesday, we’re launching a new mini-series: Science of the Strange. Where real science meets the worlds we build. First up: Chromatic Aberration. 🌈 Light isn’t just one thing. It’s a spectrum. When it bends through air, glass, or alien atmospheres, each color travels differently. Red drifts one way, blue another, creating faint halos or color shifts known as chromatic aberration. On Earth, it’s lens flaw. But on Strange Planets, it’s part of the physics. From orbit, you’ll notice a soft color drift: true chromatic aberration. But on the surface, the spectrum splits even further, spreading red, green, and blue differently across every rock and shadow. This surface effect is inspired by real chromatic aberration, but reimagined through the planet’s unstable atmosphere and materials. Because in PlanetQuest, even light can get lost. 💫 #PlanetQuest #WIPWednesday #ScienceOfTheStrange #GameDev #SciFi #StrangePlanet

PlanetQuest

14,703 görüntüleme • 1 yıl önce

Is it just me, or is this oddly satisfying to watch? 🤔 Blue clay is a type of clay that is characterized by its distinctive blue-grey color. The color is caused by the presence of minerals such as iron, manganese, and magnesium in the clay.
0:28

Is it just me, or is this oddly satisfying to watch? 🤔 Blue clay is a type of clay that is characterized by its distinctive blue-grey color. The color is caused by the presence of minerals such as iron, manganese, and magnesium in the clay.

HOW THINGS WORK

3,126,571 görüntüleme • 2 yıl önce

Social Media Influencer Rahki Giovanni shared her journey getting Keratopigmentation. This is a surgical corneal tattooing procedure that changes the color of the eye by injecting specialized pigment into a micro-tunnel cut into the cornea.
3:14

Social Media Influencer Rahki Giovanni shared her journey getting Keratopigmentation. This is a surgical corneal tattooing procedure that changes the color of the eye by injecting specialized pigment into a micro-tunnel cut into the cornea.

The Cosmetic Lane

523,188 görüntüleme • 27 gün önce

American Cattle Rancher Exposing That Beef Sold In American Grocery Stores Doesn’t Look Like Natural Beef “They pump gases into the packaging that artificially create a red color — the color of the meat doesn't necessarily indicate it's fresh” “I get a lot of questions sometimes like when people buy our meat they're like, well, I opened it up and it's not red. Why isn't it red? And the reason is, is because the only way to keep it red is as they pump gases into the packaging that artificially create a red color. So the meat naturally is never that red. When you cut it and it's first exposed to oxygen momentarily, it will bloom. It's called, it'll redden up just a little bit and then it'll instantly start to brown out unless you pump gases into the packaging for about 10 minutes and artificially create this like red pinkish color. So we get that question a lot. And it's like, they're like, your meat's not fresh because it's brown. It's like, well, actually it's way fresher. Our meat is brown because five minutes later, it turns to that brown color and then we flash freeze it. So you're like eating meat that's like metabolic at five minutes old versus that red fresh meat in the grocery store might be a month old. And it sat like that, but they're using artificial gases in that packaging to crea completely unnatural. — If your packaged meat then it is it is filled w to create that. It doesn' look like that. But like believe it or not, it's been sitting out for 11 days. So how could it still look so fresh? It's because it's being packed and gassed in a special process that most people never heard about, using carbon monoxide, carbon dioxide, and nitrogen, which keeps the meat looking fresh and bright red. We left two cuts of lamb out at room temperature. One was gas packed, the other, no gas. After a few days, the untreated meat turns a dark, unappealing color. But the gas-packed meat stays red, even after being left out for eight days. The only visible sign of spoilage is the package puffing out and a bad odor when opened. We had the meat analyzed in a lab, and it's no surprise that both cuts are loaded with bacteria. The color of the meat doesn't necessarily indicate it's fresh”
2:18

American Cattle Rancher Exposing That Beef Sold In American Grocery Stores Doesn’t Look Like Natural Beef “They pump gases into the packaging that artificially create a red color — the color of the meat doesn't necessarily indicate it's fresh” “I get a lot of questions sometimes like when people buy our meat they're like, well, I opened it up and it's not red. Why isn't it red? And the reason is, is because the only way to keep it red is as they pump gases into the packaging that artificially create a red color. So the meat naturally is never that red. When you cut it and it's first exposed to oxygen momentarily, it will bloom. It's called, it'll redden up just a little bit and then it'll instantly start to brown out unless you pump gases into the packaging for about 10 minutes and artificially create this like red pinkish color. So we get that question a lot. And it's like, they're like, your meat's not fresh because it's brown. It's like, well, actually it's way fresher. Our meat is brown because five minutes later, it turns to that brown color and then we flash freeze it. So you're like eating meat that's like metabolic at five minutes old versus that red fresh meat in the grocery store might be a month old. And it sat like that, but they're using artificial gases in that packaging to crea completely unnatural. — If your packaged meat then it is it is filled w to create that. It doesn' look like that. But like believe it or not, it's been sitting out for 11 days. So how could it still look so fresh? It's because it's being packed and gassed in a special process that most people never heard about, using carbon monoxide, carbon dioxide, and nitrogen, which keeps the meat looking fresh and bright red. We left two cuts of lamb out at room temperature. One was gas packed, the other, no gas. After a few days, the untreated meat turns a dark, unappealing color. But the gas-packed meat stays red, even after being left out for eight days. The only visible sign of spoilage is the package puffing out and a bad odor when opened. We had the meat analyzed in a lab, and it's no surprise that both cuts are loaded with bacteria. The color of the meat doesn't necessarily indicate it's fresh”

Wall Street Apes

293,227 görüntüleme • 2 yıl önce

Waveform, 2019 A light & sound installation inspired by the famous physics experiment, The Double Slit Experiment, which was developed to demonstrate the wave-like properties of light. By analysing interference patterns that occur when infrared light passes through a body of water the complex perturbations of the surface is translated into sound and light.
1:39

Waveform, 2019 A light & sound installation inspired by the famous physics experiment, The Double Slit Experiment, which was developed to demonstrate the wave-like properties of light. By analysing interference patterns that occur when infrared light passes through a body of water the complex perturbations of the surface is translated into sound and light.

𝕭𝖏ø𝖗𝖓 𝕾𝖙𝖆𝖆𝖑

10,492 görüntüleme • 3 yıl önce

PHYSICS IS THE ART OF LISTENING TO LIGHT Light is silent only because we are deaf to its oscillations. If you raised the frequency of middle C by 55 octaves, you would find yourself not hearing a note, but seeing the color yellow. What we perceive as color-the absorption or reflection of light-is simply a dance of specific FREQUENCIES. The Universe hums a single spectrum, from audible vibration to visible illumination, all the way down to the resonant strings of the quantum field.
2:47

PHYSICS IS THE ART OF LISTENING TO LIGHT Light is silent only because we are deaf to its oscillations. If you raised the frequency of middle C by 55 octaves, you would find yourself not hearing a note, but seeing the color yellow. What we perceive as color-the absorption or reflection of light-is simply a dance of specific FREQUENCIES. The Universe hums a single spectrum, from audible vibration to visible illumination, all the way down to the resonant strings of the quantum field.

🧬Maxpein🧬

12,957 görüntüleme • 1 ay önce

That ugly grey rock in the river has been hiding something for millions of years. And the way it got there is stranger than anything you've seen today. Read this slowly. By the end, you will never walk past a boring rock again. 🧵 (This is long. It's worth it.) --- Let me start with a number. Roughly 4,500,000,000. That's the age of the Earth in years. Every rock in every river you've ever walked beside is a tiny piece of that timeline. And most of them are exactly what they look like: dull, rounded, forgettable. But some of them are lying to you. Some of them are vaults. --- THE ROCK THAT LOOKS LIKE NOTHING Here's the thing nobody tells you about river rocks. A river is the harshest quality-control department on the planet. It grabs rocks and tumbles them for centuries, sometimes millions of years. It sands off every corner, every flaw, every weak point. Whatever survives is, by definition, the toughest version of itself. Soft rock? Gone. Cracked rock? Gone. Hollow rock with a thin shell? Almost always gone. So when a rock survives the river and still has a secret inside, that secret came wrapped in armor. And the armor is usually the same material that made the secret in the first place. That's the part that breaks people's brains. Keep reading. --- THE HOLE THAT SHOULDN'T EXIST Rewind to a time before the river. Imagine lava. Molten rock, over 1,000 degrees Celsius, pouring across a landscape. Lava is full of dissolved gas, the same way a bottle of soda is full of dissolved carbon dioxide. As the lava cools and the pressure drops, those gases come out of solution and form bubbles. Most of the bubbles escape. Some don't. They get frozen in place as the rock hardens around them. Now you have a hollow chamber in solid stone. A sealed pocket. A tiny empty room, sometimes the size of a pea, sometimes the size of a watermelon, sometimes bigger than a person. That empty room is where the story actually begins. Because nothing in nature stays empty for long. --- THE LIQUID THAT SLIPS THROUGH STONE Here is something that sounds fake but is completely real. Solid rock is not solid. It's full of microscopic cracks, pores, and fractures. Water moves through them. Slowly, quietly, over timescales that make human history look like a blink. Rainwater soaks into the ground, sinks deep, picks up heat, and starts dissolving the rock it passes through. And the thing it dissolves the most, in a huge number of places on Earth, is silica. Silicon dioxide. SiO2. The same stuff as quartz. The same stuff as sand. The same stuff as the window you're probably looking through right now. Silica is the most abundant ingredient in the Earth's crust. About 59 percent of the crust by weight is silicon dioxide in some form. It is, quite literally, the raw material of the planet's surface. And water carries it around like a delivery truck. --- THE DELIVERY THAT TAKES A MILLION YEARS Picture that sealed hollow pocket in the rock. Now picture silica-rich water seeping into it. Drop by drop. Not a flood. Not a gush. A trickle so slow you could stare at it for a lifetime and never see it move. The water sits in the cavity. Conditions shift. Temperature drops a little. Chemistry changes a little. And the silica that was happily dissolved suddenly can't stay dissolved anymore. It has to come out. It deposits on the inner wall of the cavity, one microscopic layer at a time. One layer. Then another. Then another. Billions of layers, each thinner than anything you could measure with a ruler. This is not dramatic. It is the opposite of dramatic. It is patience at a scale the human mind was not built to hold. But patience, given enough time, builds cathedrals. --- THE FIRST SURPRISE: THE WALL IS NOT BORING The first thing that forms inside the cavity is usually a shell of fine-grained silica called chalcedony. Chalcedony is made of crystals so small that you cannot see them without serious magnification. They grow in tiny fibers, packed together like a bundle of needles. This is the same material that gives us agate, onyx, carnelian, and jasper. And here's where it gets wild. Agate has bands. Those concentric stripes you see in a cut agate are not paint, not dye, not a trick of the light. They are a record. Each band marks a pulse of different chemistry, a shift in temperature, a change in the water that was feeding the cavity. An agate is a diary written in stone. Every ring is a chapter. Every color shift is a mood swing of the Earth itself. And scientists are still arguing about exactly how the bands form. Still. In 2026. About a rock you can buy at a gift shop. --- THE SECOND SURPRISE: THE EMPTY SPACE KEEPS GROWING Now back to the cavity. After the chalcedony lines the wall, there's often a gap left in the middle. The water keeps coming. The conditions keep changing. And now something different can happen. Instead of microscopic fibers, the silica can start building larger, clear crystals. Quartz. Points of quartz, growing inward from the wall, each one aimed at the center of the hollow. Like a crowd of tiny glass towers leaning toward the same point. This is a geode. A plain, ugly, round rock on the outside. A glittering cave on the inside. And the universe didn't plan it. Nobody designed it. It's just what happens when gas, water, silica, and time are left alone together long enough. --- BUT THAT'S THE BORING VERSION Everything I just described is the geode story. It's beautiful and it's real. But there's a version of this story where the silica doesn't form crystals at all. Where something far stranger happens. Where the rock ends up holding a material that scientists couldn't explain for over 200 years, and that, when you tilt it in the light, throws out every color of the rainbow like it has a tiny fire trapped inside. Let me tell you about opal. --- OPAL IS NOT A CRYSTAL This is the sentence I want you to remember. Opal is not a crystal. Quartz is a crystal. Diamond is a crystal. Amethyst is a crystal. Their atoms are arranged in a rigid, repeating, perfectly ordered pattern, like soldiers on a parade ground. Opal has no such order at the atomic level. It is classified as a mineraloid. A solid with a structure that is, at the atomic scale, closer to glass than to a crystal. And yet opal produces the most spectacular colors of any gemstone on Earth. How? How does something with no crystal structure create a rainbow? The answer took scientists until the 1960s to figure out. And it's one of my favorite discoveries in the history of mineralogy. --- THE 200-YEAR MYSTERY For centuries, people looked at precious opal and asked the same question. Where does the color come from? Most gemstones get their color from chemistry. Ruby is red because of chromium. Emerald is green because of chromium and vanadium. Sapphire is blue because of iron and titanium. Put a tiny amount of the right impurity into the right crystal, and you get color. Opal doesn't work like that. The same opal can flash green, then blue, then orange, then violet, just by tilting it. The material itself isn't colored. The color moves. It appears and disappears depending on your angle. Early naturalists suspected some kind of internal reflection. In the 1800s, the physicist Sir David Brewster, one of the giants of optics, studied opal and noted that something about its structure must be bending light. But nobody could see the structure. Nobody had the tools. Until the electron microscope came along. --- THE MOMENT THEY FINALLY LOOKED INSIDE In the early 1960s, researchers in Australia, working at the CSIRO, pointed an electron microscope at a fragment of precious opal. What they saw changed the field forever. Opal was made of tiny spheres. Perfectly round spheres of silica, stacked in neat, orderly layers, like oranges arranged in a grocer's display. Each sphere was only a few hundred nanometers across. For comparison, a human hair is about 80,000 nanometers wide. You could fit hundreds of these spheres across the width of a single hair. And they were not stacked randomly. In precious opal, the spheres are nearly the same size and packed in a regular three-dimensional lattice. That arrangement is the secret. --- HOW A PILE OF GLASS BALLS BECOMES A RAINBOW When light enters the opal, it slips between the spheres and bounces off the layers. The gaps between the spheres are roughly the same size as the wavelengths of visible light. That's the coincidence that makes everything work. When light waves bounce off the stacked layers, some waves line up and reinforce each other. Others cancel each other out. This is called diffraction, and it's the same physics behind the shimmer on a soap bubble or a CD. Only certain wavelengths survive. Those are the colors you see. Now here is the beautiful part. The size of the spheres controls the color. Smaller spheres, around 150 nanometers, tend to produce blues and violets. Larger spheres, around 250 to 300 nanometers, push the color toward reds and oranges. When you tilt the stone, the angle changes, the geometry of the diffraction changes, and a different color wins. That's why opal seems to move. That's why opal seems alive. It's not pigment. It's architecture. You are looking at a structure made of billions of microscopic spheres, built by water, by gravity, and by time, and it is bending light into rainbows with no dyes, no chemistry, and no design. This is called structural color. It's the same trick used by butterfly wings and peacock feathers. Except the peacock needed evolution. The opal just needed a puddle and a very long wait. --- HOW DOES THE SPHERE FACTORY WORK? Let's go back inside the hollow rock. Silica-rich water is trickling in. But in this case, the conditions are slightly different. Instead of growing a crystal wall, the dissolved silica begins to form tiny particles in the water. They start microscopic. Then they grow. Slowly, steadily, uniformly. At some point, they get heavy enough to sink. And they settle. Layer after layer after layer, like sediment on the floor of a lake, except the sediment is made of near-perfect spheres. If the conditions stay stable long enough for the spheres to reach a uniform size, and if they settle gently enough to stack into an ordered pattern, then the cavity slowly fills with something that will one day flash fire. If the conditions are a little off, the spheres come out uneven, jumbled, and the result is common opal. Pretty, milky, sometimes lovely, but without the play of color. Precious opal is not rare because silica is rare. Silica is everywhere. Precious opal is rare because the sphere factory has to run perfectly, undisturbed, for an almost absurd amount of time. Nature has to get everything right at once. And then nobody can touch it for millions of years. --- THE NUMBER THAT SHOULD SCARE YOU Here's a question worth sitting with. How long does it take to make precious opal? Nobody knows for sure. And the honest scientific answer is: it depends. Some studies of Australian opal fields suggest that the host rocks formed during the Cretaceous period, roughly 100 million years ago, when a vast inland sea covered much of the continent. The weathering and chemistry that eventually fed silica into the rock came later, and some research puts opal formation in the range of tens of millions of years ago. Think about what that means. Dinosaurs walked on land that would one day hold opal. Entire species rose and vanished while the spheres were quietly stacking up. The ice ages came and went. And the spheres kept settling, one microscopic layer at a time. --- THE OPAL THAT ATE A DINOSAUR-ERA SEA CREATURE If you think that's strange, wait. In Australia, miners have found fossils that have been turned into opal. Not preserved in opal. Turned into opal. Shells. Bones. Teeth. Even the remains of marine reptiles from the age of the dinosaurs. The original material dissolved away and the cavity left behind was filled, atom by atom, with silica spheres. A creature that swam in a prehistoric sea became a rainbow. One of the most famous examples is a nearly complete skeleton of a marine reptile called a pliosaur, nicknamed Eric, found at Coober Pedy in South Australia and opalised. It now sits in the Australian Museum. Think about that. A predator that hunted in a Cretaceous ocean is today a gemstone. And to see it, you had to dig into the desert. --- WHY IT'S SO FRAGILE Now let's talk about the dark side of opal, because there is one. Opal contains water. Not on the surface. Inside the structure. Depending on the stone, anywhere from about 3 to 21 percent of opal's weight can be water, with many precious stones holding somewhere around 6 to 10 percent. That water is part of the material. And that creates a problem. If an opal dries out too quickly, or if it's stressed by sudden temperature changes, the structure can crack. This is called crazing. A network of fine fractures spreads through the stone, and the beautiful, shimmering color gets chopped into a web of lines. Entire collections have been ruined this way. So the stone that took millions of years to form can be destroyed by a bad week in the wrong climate. Beauty that old is also terrifyingly delicate. --- THE FIRST HUMAN WHO EVER SAW IT Let's zoom out for a moment. Who found the first piece of precious opal? We will never know. But the evidence suggests that humans have been picking up and prizing opal for a very long time. Opal artifacts have been found in archaeological contexts going back thousands of years, and Indigenous Australian traditions include stories about opal that stretch back far further than written history. One widely told story says the creator came down to Earth on a rainbow, and where his foot touched the ground, the stones began to glow with every color. Whether you read that as myth or metaphor, it's a remarkably good description. Because that's exactly what it looks like. A rainbow that fell into the ground and got stuck. --- THE MARS TWIST You think this story is just about Earth? It isn't. In 2007, NASA's Spirit rover, rolling across the surface of Mars, churned up soil in a region called Home Plate and uncovered something strange. The soil was nearly pure silica. Scientists realized it was likely opaline silica, formed in the presence of water, possibly in hot springs or steam vents. Later, orbiting spacecraft detected hydrated silica in many places across Mars. Which means that the same basic chemistry that fills a hollow rock in an Australian desert may have been operating on another planet. Water, silica, time. Mars may have had it too. When scientists look for signs of ancient habitable environments on Mars, silica deposits are on the shortlist. Not because they are pretty. Because on Earth, places where hot water deposits silica are exactly the kinds of places where microbial life thrives and where traces of life can be preserved. That ugly little rock in a river? It's a cousin of a mineral that could help answer one of the biggest questions in science. --- NOW BACK TO THE RIVER Let's return to where we started. A rock in a river. Tumbled for ages. Rounded. Plain. Weathered on the outside until it looks like every other stone in the water. But inside, depending on its history, there might be anything from empty space to chalcedony to quartz points to a sheet of banded agate to a pocket of something that flashes with fire. And the astonishing thing is that you can't tell from the outside. Here is the humbling part of mineralogy. The surface of a rock tells you almost nothing about its heart. --- HOW COLLECTORS TRY TO GUESS People who hunt rocks for a living develop tricks. They pick up a stone and feel its weight. Geodes with large hollow cavities often feel lighter than a solid rock of the same size. They tap and listen. They look for bumpy, botryoidal textures on the outside, little rounded blobs that sometimes hint at a banded interior. Some use a light. Silica-rich stones can be translucent. Hold a thin edge against a bright source, and sometimes you see a glow where you expected darkness. And some people, the real obsessives, just cut. A diamond-edged saw. Water running over the blade to keep it cool. And that quiet, nervous pause before the two halves come apart. Because once you cut it, you can't uncut it. You are making a decision that nature spent millions of years preparing. And in that second, the rock either confirms its secret or it doesn't. Sometimes it's nothing. Sometimes it's the best thing you have ever held. --- THE SCIENCE OF WHY IT LOOKS WET Here's another thing most people never learn. When you cut and polish a piece of silica-rich stone, it often suddenly looks richer, deeper, almost wet. That's not an illusion. A polished surface reflects light in an organized way instead of scattering it in every direction. A rough surface bounces light chaotically. A smooth one sends it coherently back to your eye. The color seems to jump out. In translucent silica, polishing also lets light travel into the stone and come back out from within. You aren't just seeing the surface. You are seeing depth. This is why a dull, chalky chunk can turn into something that looks like a jewel with nothing more than patience, water, and a spinning wheel. The beauty was always there. It was just waiting for the surface to stop lying. --- THE UGLY TRUTH ABOUT VALUE Now the question everybody asks. How much is it worth? Honest answer: anywhere from almost nothing to a staggering amount. Common opal, the milky, colorless kind without play of color, can be inexpensive. Precious opal, the kind that flashes, can range widely. The value depends on color, brightness, pattern, body tone, and the size of the stone. Red flashes on a dark background, often called black opal, are generally the most prized. Bright, vivid, broad patterns beat dull, narrow ones. A stone that shows every color of the spectrum is more desirable than one that shows a single shade. The most valuable opals in the world have been valued at prices that rival fine diamonds. But here's what fascinates me more than the price. Value is invented by humans. The physics of the spheres doesn't care about money. The silica doesn't know it's expensive. The stone was just as beautiful in the dark, ten million years before anyone looked at it. --- OPAL FROM AN UNEXPECTED PLACE For a long time, most of the world's precious opal came from one continent. Australia. Today, it is widely cited that Australia produces the great majority of the world's precious opal, with figures often quoted around 95 percent. Places like Lightning Ridge, Coober Pedy, and Andamooka became legendary. At Coober Pedy, the heat of the desert is so brutal that many residents live underground in homes carved into the rock. Entire communities exist beneath a landscape that looks like the surface of another planet, all because of a stone made of tiny spheres. Then, in 2008, something happened that shook the opal world. Miners in the Welo region of Ethiopia began finding opal in volcanic rocks, and the material they found was unusual. It was a hydrophane, a type of opal that absorbs water so readily that it can change appearance when wet. Some of it is nearly transparent when soaked and chalky when dry. Suddenly, there was a second great source of precious opal. And it came from rocks that formed through a volcanic story much closer to the one I told you at the beginning. Gas bubbles in cooled lava. Silica-rich water. Cavities slowly filling. Africa's version of the same miracle. --- CAN HUMANS MAKE IT? Yes. And the story of how is almost as impressive as the story of the stone. In the 1960s, a researcher named Pierre Gilson in France developed methods to grow synthetic opal by creating uniform silica spheres and letting them settle and stack under controlled conditions. It worked. The result: stones with the same ordered architecture and the same play of color as natural opal, produced in a lab in a fraction of the time. Think about that. What nature needed millions of years to accomplish, a human with the right chemistry managed in months. And yet the natural stones are still prized. Because a lab can recreate the structure, but it cannot recreate the story. --- WHY THIS MATTERS BEYOND JEWELRY Here's where it gets bigger than gemstones. Once scientists understood that opal's color comes from ordered microscopic spheres, a new idea emerged. What if we could build those structures on purpose? Engineers now study materials called photonic crystals, structures whose repeating patterns control how light travels through them. They are being explored for use in optical devices, sensors, and technologies that manipulate light in ways ordinary materials cannot. The basic concept? Arrange tiny spheres in an ordered lattice, and you can decide which wavelengths pass and which are blocked. That is exactly what opal does naturally. Nature has been running a photonic experiment in desert rocks for tens of millions of years. We just found out about it in the last sixty. And an artificial version of the same architecture, called an inverse opal, is now a serious topic in materials research. A piece of ancient desert stone gave us a blueprint for technology. --- THE REAL SECRET OF THE RIVER ROCK So let's return, one last time, to that grey stone in the water. You can see now why I told you it was lying. Inside it, there could be a record of a volcano, a chronicle of ancient water, a library of silica layers, or a vault of light. All made by the same three ingredients. Gas. Water. Time. No intelligence. No plan. No hands. Just physics, running quietly in the dark, for longer than any human civilization has existed. --- THE PART THAT STAYS WITH ME Here's what I keep thinking about. Every one of those microscopic spheres settled into place at some moment. One drop of water, one tiny particle, one barely perceptible shift. There was no audience. No one watching. No one knowing. No one even capable of knowing. For millions of years, a hidden room in the earth was filling with light-bending architecture, and the universe did it for nobody. And then one day, a river wore down the rock. Or a saw blade touched the stone. Or a pair of hands reached down and picked up the right pebble. And for the first time in its entire existence, the thing inside got to be seen. That's the moment. That's the moment I think about. Not the price. Not the rarity. Not even the beauty. The moment where something that waited in the dark for millions of years finally meets a pair of eyes. --- FIVE THINGS TO REMEMBER 1. Opal is not a crystal. It is an arrangement of microscopic silica spheres, and its color comes from structure, not pigment. 2. The size of the spheres sets the color. Smaller spheres lean toward blue and violet. Larger ones lean toward red and orange. 3. Opal contains water, often several percent of its weight, which is why it can crack if it dries out or is stressed. 4. Silica deposits similar to those that make opal have been found on Mars, which makes them interesting to scientists searching for signs of ancient habitable environments. 5. You cannot judge a rock by its outside. Some of the most extraordinary things on Earth look like nothing at all. --- THE LESSON NOBODY ASKED FOR I'll end with something that isn't science. We spend so much of our lives judging things by the surface. People. Opportunities. Ideas. Ourselves. The rock in the river taught geologists the oldest lesson in the book: the outside is a story told by the weather, and the inside is a story told by time. Most of what's valuable is hidden. Most of what's hidden is waiting. And most of what's waiting has been waiting far longer than you think. --- If you made it this far, you're the kind of person who looks at an ordinary thing and asks what's actually going on in there. Those are the best people on the internet. Follow for more posts that make the world feel bigger than it did five minutes ago. And the next time you're near a river, a beach, a trail, or a gravel path, pick up one rock. Just one. Hold it. Feel the weight. And ask yourself the question that every great discovery in history began with: "What are you hiding?" --- Watch the video above. Then tell me you can still look at a rock the same way. 🔁 Repost if you learned something. 💬 Comment with the strangest rock or mineral you've ever found. 🔔 Turn on notifications. There's a lot more where this came from.
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That ugly grey rock in the river has been hiding something for millions of years. And the way it got there is stranger than anything you've seen today. Read this slowly. By the end, you will never walk past a boring rock again. 🧵 (This is long. It's worth it.) --- Let me start with a number. Roughly 4,500,000,000. That's the age of the Earth in years. Every rock in every river you've ever walked beside is a tiny piece of that timeline. And most of them are exactly what they look like: dull, rounded, forgettable. But some of them are lying to you. Some of them are vaults. --- THE ROCK THAT LOOKS LIKE NOTHING Here's the thing nobody tells you about river rocks. A river is the harshest quality-control department on the planet. It grabs rocks and tumbles them for centuries, sometimes millions of years. It sands off every corner, every flaw, every weak point. Whatever survives is, by definition, the toughest version of itself. Soft rock? Gone. Cracked rock? Gone. Hollow rock with a thin shell? Almost always gone. So when a rock survives the river and still has a secret inside, that secret came wrapped in armor. And the armor is usually the same material that made the secret in the first place. That's the part that breaks people's brains. Keep reading. --- THE HOLE THAT SHOULDN'T EXIST Rewind to a time before the river. Imagine lava. Molten rock, over 1,000 degrees Celsius, pouring across a landscape. Lava is full of dissolved gas, the same way a bottle of soda is full of dissolved carbon dioxide. As the lava cools and the pressure drops, those gases come out of solution and form bubbles. Most of the bubbles escape. Some don't. They get frozen in place as the rock hardens around them. Now you have a hollow chamber in solid stone. A sealed pocket. A tiny empty room, sometimes the size of a pea, sometimes the size of a watermelon, sometimes bigger than a person. That empty room is where the story actually begins. Because nothing in nature stays empty for long. --- THE LIQUID THAT SLIPS THROUGH STONE Here is something that sounds fake but is completely real. Solid rock is not solid. It's full of microscopic cracks, pores, and fractures. Water moves through them. Slowly, quietly, over timescales that make human history look like a blink. Rainwater soaks into the ground, sinks deep, picks up heat, and starts dissolving the rock it passes through. And the thing it dissolves the most, in a huge number of places on Earth, is silica. Silicon dioxide. SiO2. The same stuff as quartz. The same stuff as sand. The same stuff as the window you're probably looking through right now. Silica is the most abundant ingredient in the Earth's crust. About 59 percent of the crust by weight is silicon dioxide in some form. It is, quite literally, the raw material of the planet's surface. And water carries it around like a delivery truck. --- THE DELIVERY THAT TAKES A MILLION YEARS Picture that sealed hollow pocket in the rock. Now picture silica-rich water seeping into it. Drop by drop. Not a flood. Not a gush. A trickle so slow you could stare at it for a lifetime and never see it move. The water sits in the cavity. Conditions shift. Temperature drops a little. Chemistry changes a little. And the silica that was happily dissolved suddenly can't stay dissolved anymore. It has to come out. It deposits on the inner wall of the cavity, one microscopic layer at a time. One layer. Then another. Then another. Billions of layers, each thinner than anything you could measure with a ruler. This is not dramatic. It is the opposite of dramatic. It is patience at a scale the human mind was not built to hold. But patience, given enough time, builds cathedrals. --- THE FIRST SURPRISE: THE WALL IS NOT BORING The first thing that forms inside the cavity is usually a shell of fine-grained silica called chalcedony. Chalcedony is made of crystals so small that you cannot see them without serious magnification. They grow in tiny fibers, packed together like a bundle of needles. This is the same material that gives us agate, onyx, carnelian, and jasper. And here's where it gets wild. Agate has bands. Those concentric stripes you see in a cut agate are not paint, not dye, not a trick of the light. They are a record. Each band marks a pulse of different chemistry, a shift in temperature, a change in the water that was feeding the cavity. An agate is a diary written in stone. Every ring is a chapter. Every color shift is a mood swing of the Earth itself. And scientists are still arguing about exactly how the bands form. Still. In 2026. About a rock you can buy at a gift shop. --- THE SECOND SURPRISE: THE EMPTY SPACE KEEPS GROWING Now back to the cavity. After the chalcedony lines the wall, there's often a gap left in the middle. The water keeps coming. The conditions keep changing. And now something different can happen. Instead of microscopic fibers, the silica can start building larger, clear crystals. Quartz. Points of quartz, growing inward from the wall, each one aimed at the center of the hollow. Like a crowd of tiny glass towers leaning toward the same point. This is a geode. A plain, ugly, round rock on the outside. A glittering cave on the inside. And the universe didn't plan it. Nobody designed it. It's just what happens when gas, water, silica, and time are left alone together long enough. --- BUT THAT'S THE BORING VERSION Everything I just described is the geode story. It's beautiful and it's real. But there's a version of this story where the silica doesn't form crystals at all. Where something far stranger happens. Where the rock ends up holding a material that scientists couldn't explain for over 200 years, and that, when you tilt it in the light, throws out every color of the rainbow like it has a tiny fire trapped inside. Let me tell you about opal. --- OPAL IS NOT A CRYSTAL This is the sentence I want you to remember. Opal is not a crystal. Quartz is a crystal. Diamond is a crystal. Amethyst is a crystal. Their atoms are arranged in a rigid, repeating, perfectly ordered pattern, like soldiers on a parade ground. Opal has no such order at the atomic level. It is classified as a mineraloid. A solid with a structure that is, at the atomic scale, closer to glass than to a crystal. And yet opal produces the most spectacular colors of any gemstone on Earth. How? How does something with no crystal structure create a rainbow? The answer took scientists until the 1960s to figure out. And it's one of my favorite discoveries in the history of mineralogy. --- THE 200-YEAR MYSTERY For centuries, people looked at precious opal and asked the same question. Where does the color come from? Most gemstones get their color from chemistry. Ruby is red because of chromium. Emerald is green because of chromium and vanadium. Sapphire is blue because of iron and titanium. Put a tiny amount of the right impurity into the right crystal, and you get color. Opal doesn't work like that. The same opal can flash green, then blue, then orange, then violet, just by tilting it. The material itself isn't colored. The color moves. It appears and disappears depending on your angle. Early naturalists suspected some kind of internal reflection. In the 1800s, the physicist Sir David Brewster, one of the giants of optics, studied opal and noted that something about its structure must be bending light. But nobody could see the structure. Nobody had the tools. Until the electron microscope came along. --- THE MOMENT THEY FINALLY LOOKED INSIDE In the early 1960s, researchers in Australia, working at the CSIRO, pointed an electron microscope at a fragment of precious opal. What they saw changed the field forever. Opal was made of tiny spheres. Perfectly round spheres of silica, stacked in neat, orderly layers, like oranges arranged in a grocer's display. Each sphere was only a few hundred nanometers across. For comparison, a human hair is about 80,000 nanometers wide. You could fit hundreds of these spheres across the width of a single hair. And they were not stacked randomly. In precious opal, the spheres are nearly the same size and packed in a regular three-dimensional lattice. That arrangement is the secret. --- HOW A PILE OF GLASS BALLS BECOMES A RAINBOW When light enters the opal, it slips between the spheres and bounces off the layers. The gaps between the spheres are roughly the same size as the wavelengths of visible light. That's the coincidence that makes everything work. When light waves bounce off the stacked layers, some waves line up and reinforce each other. Others cancel each other out. This is called diffraction, and it's the same physics behind the shimmer on a soap bubble or a CD. Only certain wavelengths survive. Those are the colors you see. Now here is the beautiful part. The size of the spheres controls the color. Smaller spheres, around 150 nanometers, tend to produce blues and violets. Larger spheres, around 250 to 300 nanometers, push the color toward reds and oranges. When you tilt the stone, the angle changes, the geometry of the diffraction changes, and a different color wins. That's why opal seems to move. That's why opal seems alive. It's not pigment. It's architecture. You are looking at a structure made of billions of microscopic spheres, built by water, by gravity, and by time, and it is bending light into rainbows with no dyes, no chemistry, and no design. This is called structural color. It's the same trick used by butterfly wings and peacock feathers. Except the peacock needed evolution. The opal just needed a puddle and a very long wait. --- HOW DOES THE SPHERE FACTORY WORK? Let's go back inside the hollow rock. Silica-rich water is trickling in. But in this case, the conditions are slightly different. Instead of growing a crystal wall, the dissolved silica begins to form tiny particles in the water. They start microscopic. Then they grow. Slowly, steadily, uniformly. At some point, they get heavy enough to sink. And they settle. Layer after layer after layer, like sediment on the floor of a lake, except the sediment is made of near-perfect spheres. If the conditions stay stable long enough for the spheres to reach a uniform size, and if they settle gently enough to stack into an ordered pattern, then the cavity slowly fills with something that will one day flash fire. If the conditions are a little off, the spheres come out uneven, jumbled, and the result is common opal. Pretty, milky, sometimes lovely, but without the play of color. Precious opal is not rare because silica is rare. Silica is everywhere. Precious opal is rare because the sphere factory has to run perfectly, undisturbed, for an almost absurd amount of time. Nature has to get everything right at once. And then nobody can touch it for millions of years. --- THE NUMBER THAT SHOULD SCARE YOU Here's a question worth sitting with. How long does it take to make precious opal? Nobody knows for sure. And the honest scientific answer is: it depends. Some studies of Australian opal fields suggest that the host rocks formed during the Cretaceous period, roughly 100 million years ago, when a vast inland sea covered much of the continent. The weathering and chemistry that eventually fed silica into the rock came later, and some research puts opal formation in the range of tens of millions of years ago. Think about what that means. Dinosaurs walked on land that would one day hold opal. Entire species rose and vanished while the spheres were quietly stacking up. The ice ages came and went. And the spheres kept settling, one microscopic layer at a time. --- THE OPAL THAT ATE A DINOSAUR-ERA SEA CREATURE If you think that's strange, wait. In Australia, miners have found fossils that have been turned into opal. Not preserved in opal. Turned into opal. Shells. Bones. Teeth. Even the remains of marine reptiles from the age of the dinosaurs. The original material dissolved away and the cavity left behind was filled, atom by atom, with silica spheres. A creature that swam in a prehistoric sea became a rainbow. One of the most famous examples is a nearly complete skeleton of a marine reptile called a pliosaur, nicknamed Eric, found at Coober Pedy in South Australia and opalised. It now sits in the Australian Museum. Think about that. A predator that hunted in a Cretaceous ocean is today a gemstone. And to see it, you had to dig into the desert. --- WHY IT'S SO FRAGILE Now let's talk about the dark side of opal, because there is one. Opal contains water. Not on the surface. Inside the structure. Depending on the stone, anywhere from about 3 to 21 percent of opal's weight can be water, with many precious stones holding somewhere around 6 to 10 percent. That water is part of the material. And that creates a problem. If an opal dries out too quickly, or if it's stressed by sudden temperature changes, the structure can crack. This is called crazing. A network of fine fractures spreads through the stone, and the beautiful, shimmering color gets chopped into a web of lines. Entire collections have been ruined this way. So the stone that took millions of years to form can be destroyed by a bad week in the wrong climate. Beauty that old is also terrifyingly delicate. --- THE FIRST HUMAN WHO EVER SAW IT Let's zoom out for a moment. Who found the first piece of precious opal? We will never know. But the evidence suggests that humans have been picking up and prizing opal for a very long time. Opal artifacts have been found in archaeological contexts going back thousands of years, and Indigenous Australian traditions include stories about opal that stretch back far further than written history. One widely told story says the creator came down to Earth on a rainbow, and where his foot touched the ground, the stones began to glow with every color. Whether you read that as myth or metaphor, it's a remarkably good description. Because that's exactly what it looks like. A rainbow that fell into the ground and got stuck. --- THE MARS TWIST You think this story is just about Earth? It isn't. In 2007, NASA's Spirit rover, rolling across the surface of Mars, churned up soil in a region called Home Plate and uncovered something strange. The soil was nearly pure silica. Scientists realized it was likely opaline silica, formed in the presence of water, possibly in hot springs or steam vents. Later, orbiting spacecraft detected hydrated silica in many places across Mars. Which means that the same basic chemistry that fills a hollow rock in an Australian desert may have been operating on another planet. Water, silica, time. Mars may have had it too. When scientists look for signs of ancient habitable environments on Mars, silica deposits are on the shortlist. Not because they are pretty. Because on Earth, places where hot water deposits silica are exactly the kinds of places where microbial life thrives and where traces of life can be preserved. That ugly little rock in a river? It's a cousin of a mineral that could help answer one of the biggest questions in science. --- NOW BACK TO THE RIVER Let's return to where we started. A rock in a river. Tumbled for ages. Rounded. Plain. Weathered on the outside until it looks like every other stone in the water. But inside, depending on its history, there might be anything from empty space to chalcedony to quartz points to a sheet of banded agate to a pocket of something that flashes with fire. And the astonishing thing is that you can't tell from the outside. Here is the humbling part of mineralogy. The surface of a rock tells you almost nothing about its heart. --- HOW COLLECTORS TRY TO GUESS People who hunt rocks for a living develop tricks. They pick up a stone and feel its weight. Geodes with large hollow cavities often feel lighter than a solid rock of the same size. They tap and listen. They look for bumpy, botryoidal textures on the outside, little rounded blobs that sometimes hint at a banded interior. Some use a light. Silica-rich stones can be translucent. Hold a thin edge against a bright source, and sometimes you see a glow where you expected darkness. And some people, the real obsessives, just cut. A diamond-edged saw. Water running over the blade to keep it cool. And that quiet, nervous pause before the two halves come apart. Because once you cut it, you can't uncut it. You are making a decision that nature spent millions of years preparing. And in that second, the rock either confirms its secret or it doesn't. Sometimes it's nothing. Sometimes it's the best thing you have ever held. --- THE SCIENCE OF WHY IT LOOKS WET Here's another thing most people never learn. When you cut and polish a piece of silica-rich stone, it often suddenly looks richer, deeper, almost wet. That's not an illusion. A polished surface reflects light in an organized way instead of scattering it in every direction. A rough surface bounces light chaotically. A smooth one sends it coherently back to your eye. The color seems to jump out. In translucent silica, polishing also lets light travel into the stone and come back out from within. You aren't just seeing the surface. You are seeing depth. This is why a dull, chalky chunk can turn into something that looks like a jewel with nothing more than patience, water, and a spinning wheel. The beauty was always there. It was just waiting for the surface to stop lying. --- THE UGLY TRUTH ABOUT VALUE Now the question everybody asks. How much is it worth? Honest answer: anywhere from almost nothing to a staggering amount. Common opal, the milky, colorless kind without play of color, can be inexpensive. Precious opal, the kind that flashes, can range widely. The value depends on color, brightness, pattern, body tone, and the size of the stone. Red flashes on a dark background, often called black opal, are generally the most prized. Bright, vivid, broad patterns beat dull, narrow ones. A stone that shows every color of the spectrum is more desirable than one that shows a single shade. The most valuable opals in the world have been valued at prices that rival fine diamonds. But here's what fascinates me more than the price. Value is invented by humans. The physics of the spheres doesn't care about money. The silica doesn't know it's expensive. The stone was just as beautiful in the dark, ten million years before anyone looked at it. --- OPAL FROM AN UNEXPECTED PLACE For a long time, most of the world's precious opal came from one continent. Australia. Today, it is widely cited that Australia produces the great majority of the world's precious opal, with figures often quoted around 95 percent. Places like Lightning Ridge, Coober Pedy, and Andamooka became legendary. At Coober Pedy, the heat of the desert is so brutal that many residents live underground in homes carved into the rock. Entire communities exist beneath a landscape that looks like the surface of another planet, all because of a stone made of tiny spheres. Then, in 2008, something happened that shook the opal world. Miners in the Welo region of Ethiopia began finding opal in volcanic rocks, and the material they found was unusual. It was a hydrophane, a type of opal that absorbs water so readily that it can change appearance when wet. Some of it is nearly transparent when soaked and chalky when dry. Suddenly, there was a second great source of precious opal. And it came from rocks that formed through a volcanic story much closer to the one I told you at the beginning. Gas bubbles in cooled lava. Silica-rich water. Cavities slowly filling. Africa's version of the same miracle. --- CAN HUMANS MAKE IT? Yes. And the story of how is almost as impressive as the story of the stone. In the 1960s, a researcher named Pierre Gilson in France developed methods to grow synthetic opal by creating uniform silica spheres and letting them settle and stack under controlled conditions. It worked. The result: stones with the same ordered architecture and the same play of color as natural opal, produced in a lab in a fraction of the time. Think about that. What nature needed millions of years to accomplish, a human with the right chemistry managed in months. And yet the natural stones are still prized. Because a lab can recreate the structure, but it cannot recreate the story. --- WHY THIS MATTERS BEYOND JEWELRY Here's where it gets bigger than gemstones. Once scientists understood that opal's color comes from ordered microscopic spheres, a new idea emerged. What if we could build those structures on purpose? Engineers now study materials called photonic crystals, structures whose repeating patterns control how light travels through them. They are being explored for use in optical devices, sensors, and technologies that manipulate light in ways ordinary materials cannot. The basic concept? Arrange tiny spheres in an ordered lattice, and you can decide which wavelengths pass and which are blocked. That is exactly what opal does naturally. Nature has been running a photonic experiment in desert rocks for tens of millions of years. We just found out about it in the last sixty. And an artificial version of the same architecture, called an inverse opal, is now a serious topic in materials research. A piece of ancient desert stone gave us a blueprint for technology. --- THE REAL SECRET OF THE RIVER ROCK So let's return, one last time, to that grey stone in the water. You can see now why I told you it was lying. Inside it, there could be a record of a volcano, a chronicle of ancient water, a library of silica layers, or a vault of light. All made by the same three ingredients. Gas. Water. Time. No intelligence. No plan. No hands. Just physics, running quietly in the dark, for longer than any human civilization has existed. --- THE PART THAT STAYS WITH ME Here's what I keep thinking about. Every one of those microscopic spheres settled into place at some moment. One drop of water, one tiny particle, one barely perceptible shift. There was no audience. No one watching. No one knowing. No one even capable of knowing. For millions of years, a hidden room in the earth was filling with light-bending architecture, and the universe did it for nobody. And then one day, a river wore down the rock. Or a saw blade touched the stone. Or a pair of hands reached down and picked up the right pebble. And for the first time in its entire existence, the thing inside got to be seen. That's the moment. That's the moment I think about. Not the price. Not the rarity. Not even the beauty. The moment where something that waited in the dark for millions of years finally meets a pair of eyes. --- FIVE THINGS TO REMEMBER 1. Opal is not a crystal. It is an arrangement of microscopic silica spheres, and its color comes from structure, not pigment. 2. The size of the spheres sets the color. Smaller spheres lean toward blue and violet. Larger ones lean toward red and orange. 3. Opal contains water, often several percent of its weight, which is why it can crack if it dries out or is stressed. 4. Silica deposits similar to those that make opal have been found on Mars, which makes them interesting to scientists searching for signs of ancient habitable environments. 5. You cannot judge a rock by its outside. Some of the most extraordinary things on Earth look like nothing at all. --- THE LESSON NOBODY ASKED FOR I'll end with something that isn't science. We spend so much of our lives judging things by the surface. People. Opportunities. Ideas. Ourselves. The rock in the river taught geologists the oldest lesson in the book: the outside is a story told by the weather, and the inside is a story told by time. Most of what's valuable is hidden. Most of what's hidden is waiting. And most of what's waiting has been waiting far longer than you think. --- If you made it this far, you're the kind of person who looks at an ordinary thing and asks what's actually going on in there. Those are the best people on the internet. Follow for more posts that make the world feel bigger than it did five minutes ago. And the next time you're near a river, a beach, a trail, or a gravel path, pick up one rock. Just one. Hold it. Feel the weight. And ask yourself the question that every great discovery in history began with: "What are you hiding?" --- Watch the video above. Then tell me you can still look at a rock the same way. 🔁 Repost if you learned something. 💬 Comment with the strangest rock or mineral you've ever found. 🔔 Turn on notifications. There's a lot more where this came from.

Earth Unveiled

635,797 görüntüleme • 8 gün önce

CanPatriot1 Right. And here's why Tiffany blue (FEMA/NATO blue) is the magic color that doesn't light up. The frequency of blue doesn't conflict with the laser (or saser).
0:37

CanPatriot1 Right. And here's why Tiffany blue (FEMA/NATO blue) is the magic color that doesn't light up. The frequency of blue doesn't conflict with the laser (or saser).

W.R. Schock, QBD

185,776 görüntüleme • 1 yıl önce

With Rev8, color is perceived in the right place, at the right distance, at the right moment. Ouster L4 silicon captures color and depth in the same photon event, with Fujifilm color science embedded directly on the chip. This is a Rev8 OS1 Max driving the Embarcadero in San Francisco. Every traffic signal, brake light, and bike lane resolved in 48-bit native color, perfectly aligned with depth at the silicon level.
0:42

With Rev8, color is perceived in the right place, at the right distance, at the right moment. Ouster L4 silicon captures color and depth in the same photon event, with Fujifilm color science embedded directly on the chip. This is a Rev8 OS1 Max driving the Embarcadero in San Francisco. Every traffic signal, brake light, and bike lane resolved in 48-bit native color, perfectly aligned with depth at the silicon level.

Ouster

29,617 görüntüleme • 5 ay önce

We are used to seeing the 1920s in black and white. This is what London actually looked like, in full color, more than a hundred years ago. What you are watching comes from The Open Road, filmed in the summer of 1924 by a British cinematographer named Claude Friese-Greene. It is some of the earliest colour film of London ever made. What I love about this film is that the color collapses the distance between us and them. The black-and-white footage we are used to is beautiful, but it makes the past feel like another world. Colour changes that. Red buses, a blue sky, the green of the trees, and suddenly 1924 does not feel like history at all... What most people don't know is that this footage was one man's attempt to finish his father's life's work: Claude was the son of William Friese-Greene, one of the pioneers of early cinema. Together they had spent years developing a way to capture true color on film, using a system of spinning red and blue-green filters in front of the camera. The process was flawed. It flickered, it produced strange color fringes around anything that moved too fast, and it was soon overtaken by better systems and forgotten. Claude set out on a journey by car from Land's End to the north of Scotland, filming the whole country in his imperfect color, trying to prove that his father's dream could work. For decades the footage sat largely unseen, its flaws making it almost unwatchable. Then, in our own century, the British Film Institute used digital technology to clean away the flicker and the fringing, revealing what Friese-Greene had actually captured: a lost world, brought back to life in color.
0:59

We are used to seeing the 1920s in black and white. This is what London actually looked like, in full color, more than a hundred years ago. What you are watching comes from The Open Road, filmed in the summer of 1924 by a British cinematographer named Claude Friese-Greene. It is some of the earliest colour film of London ever made. What I love about this film is that the color collapses the distance between us and them. The black-and-white footage we are used to is beautiful, but it makes the past feel like another world. Colour changes that. Red buses, a blue sky, the green of the trees, and suddenly 1924 does not feel like history at all... What most people don't know is that this footage was one man's attempt to finish his father's life's work: Claude was the son of William Friese-Greene, one of the pioneers of early cinema. Together they had spent years developing a way to capture true color on film, using a system of spinning red and blue-green filters in front of the camera. The process was flawed. It flickered, it produced strange color fringes around anything that moved too fast, and it was soon overtaken by better systems and forgotten. Claude set out on a journey by car from Land's End to the north of Scotland, filming the whole country in his imperfect color, trying to prove that his father's dream could work. For decades the footage sat largely unseen, its flaws making it almost unwatchable. Then, in our own century, the British Film Institute used digital technology to clean away the flicker and the fringing, revealing what Friese-Greene had actually captured: a lost world, brought back to life in color.

James Lucas

171,877 görüntüleme • 3 ay önce

☝️“The struggle for equality and against discrimination is turning into an aggressive dogmatism that borders on the absurd. Great authors of the past, like Shakespeare, are no longer taught in schools and universities; they are declared backward for failing to foreground issues of gender or race. Hollywood now produces guidelines—memos on how a movie should be made, what it should be about, and how many characters of which color or gender it must include. This is even more restrictive than the work of the Soviet Union's Central Committee Agitation and Propaganda Department. Opposing racism is a necessary and noble endeavor. However, within the new "culture of cancellation," it often transforms into reverse discrimination. This obsessive emphasis on race divides people even further. The dream of true civil rights activists was precisely to erase such divisions and to stop judging people by their skin color. I am reminded of Martin Luther King's words: "I dream the day will come when my four little children will one day live in a country where they will not be judged by the color of their skin but by the content of their character." That is the true value. By the way, in Russia, the vast majority of people do not care about a person's skin color or gender; what matters is that each of us is human. That is the main thing. Those who dare to state that the terms "man" and "woman" exist as biological facts are subjected to near-total ostracism. We see "Parent number one," "Parent number two," "birth parent" instead of "mother," and the phrase "breast milk" being replaced with "human milk" to avoid upsetting those unsure of their gender. I am not even speaking of the absolutely monstrous practice of indoctrinating children from a young age—telling them that a boy can easily become a girl and vice versa. This imposes a so-called "choice" on them, often excluding parents and pushing children to make life-altering decisions. Is anyone asking whether a child at that age is even capable of such choices? To call things by their proper names, this is a crime against humanity, and it is all done under the banner of progress.” - President Putin
3:37

☝️“The struggle for equality and against discrimination is turning into an aggressive dogmatism that borders on the absurd. Great authors of the past, like Shakespeare, are no longer taught in schools and universities; they are declared backward for failing to foreground issues of gender or race. Hollywood now produces guidelines—memos on how a movie should be made, what it should be about, and how many characters of which color or gender it must include. This is even more restrictive than the work of the Soviet Union's Central Committee Agitation and Propaganda Department. Opposing racism is a necessary and noble endeavor. However, within the new "culture of cancellation," it often transforms into reverse discrimination. This obsessive emphasis on race divides people even further. The dream of true civil rights activists was precisely to erase such divisions and to stop judging people by their skin color. I am reminded of Martin Luther King's words: "I dream the day will come when my four little children will one day live in a country where they will not be judged by the color of their skin but by the content of their character." That is the true value. By the way, in Russia, the vast majority of people do not care about a person's skin color or gender; what matters is that each of us is human. That is the main thing. Those who dare to state that the terms "man" and "woman" exist as biological facts are subjected to near-total ostracism. We see "Parent number one," "Parent number two," "birth parent" instead of "mother," and the phrase "breast milk" being replaced with "human milk" to avoid upsetting those unsure of their gender. I am not even speaking of the absolutely monstrous practice of indoctrinating children from a young age—telling them that a boy can easily become a girl and vice versa. This imposes a so-called "choice" on them, often excluding parents and pushing children to make life-altering decisions. Is anyone asking whether a child at that age is even capable of such choices? To call things by their proper names, this is a crime against humanity, and it is all done under the banner of progress.” - President Putin

🇷🇺Russia is not Enemy

16,128 görüntüleme • 11 ay önce