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During a recent Home Run Derby, Aaron Judge did something that no one thought was possible. He took a swing and hit a ball so hard that it collided with the ceiling at Marlins Park. The ball hit the ceiling about 170 feet above the ground. The height of the ceiling had been designed by engineers so that balls wouldn't hit it—but clearly, they can.

OK, I don't really want to talk about sports. I want to talk about physics. Just how would you even calculate the height of a baseball's trajectory? I'm not just going to show you how to do it, I'm going to let you do it too.

Force and Momentum

I'm going to start with the most important physics idea needed for the trajectory of a baseball: the momentum principle. This says that the total force on an object is equal to the time rate of change of the momentum. Momentum is the product of mass and velocity; both it and the force are vectors.

If you know the forces on an object, you can find its change in momentum. With the momentum, you get the velocity and then can find the new position. That's basically how it works.

Two Forces on a Baseball

After a baseball is hit by the bat, it only has two forces on it (OK, approximately two forces. The first is the gravitational force, a downward force that depends on the mass of the object and the value of the gravitational field (g = 9.8 N/kg). The second force on the ball is a little more complicated: It's the air resistance force.

Although you don't think about it much, you've felt this air resistance force before. When you stick your hand out of a moving window or when you ride on a bike you can feel the force as you move through the air. One of the simplest models for this force uses the following equation:

That might look complicated, but it's not too bad. The ρ is the density of air (about 1.2 kg/m3 in most cases). The cross sectional area of the object is A and C is the drag coefficient that depends on the shape of the object. Finally, there is the velocity. This model says that as the velocity increases, the air resistance also increases.

But you might notice one little problem with the above expression: It's not a vector. I left that part off for simplicity, but yes—air resistance is a vector. The direction of this force is always in the direction opposite of the velocity vector.

I can find the values of all of these parameters for air drag, and the mass and size of the ball are easily found online. For this calculation, I will use a drag coefficient of 0.3.

Calculating Trajectory

Isn't this a projectile motion problem? Couldn't you just use the kinematic equations to find the range of a ball after it was hit? Actually, no. This isn't projectile motion because we are including the drag force. Projectile motion problems have an object with the only force being the gravitational force—and this would be approximately true for baseballs at low speeds. We are clearly not dealing with low-speed balls.

You can't use the kinematic equations because those assume the acceleration is constant. However, as the ball slows down or changes direction the air resistance force also changes. With this non-constant acceleration, there is really only one option: Create a numerical solution.

In a numerical solution, we essentially cheat. Since the problem is that forces are not constant, we can pretend they are constant if we take just a tiny time interval (say 0.01 seconds). During this short time, the velocity and thus the air resistance won't change too much, so I could use the kinematic equations (for constant acceleration). This constant force approximation works—but it leaves us with another problem. If I want to calculate where the ball is after 1 second, I would need to do this calculation 100 times (100 x 0.01 = 1). And this is where the computer becomes useful (but not required).

If you want to go over the details of creating a numerical calculation, take a look at this post that models the motion of a spring. Otherwise, let's just jump right into the code. Notice that you can indeed change things in the code and run it again—that's the fun part. Just click the "play" to run it and the "pencil" to edit.

This code is written in Python. That means that the number sign (or as my kids call it, the hashtag) at the beginning of line makes it a comment that is ignored by the program. I added a bunch of comments to point out things that you might want to change (like the initial velocity and the launch angle). Go ahead, change something. You won't break it.

Homework

Since I gave you the numerical calculation, I also have to give you homework.

  • Find a launch speed and angle that would produce a home run. You will need to find the home run distance for a particular park. Yes, you should probably find a way to include the height of the wall.
  • What is the minimum launch speed that would hit the rafters for Marlins Park?
  • For a given speed, what angle gives the maximum range? No, it's not 45 degrees—that's only for motion with no air resistance.
  • What would happen if you increased the density of air by just a little bit? Does it make a huge difference?
  • My calculation uses a drag coefficient of 0.3—but this is just an approximation. In fact, the drag coefficient changes with the velocity of the ball. See if you can modify the code to include a better drag coefficient. This site might be a good place to start to figure out how to change that coefficient.
  • What about the Magnus force? This is another force due to the interaction between the air and a spinning object. See if you can add that force to the numerical calculation.

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After much fanfare, Justice League is finally in theaters, complete with Wonder Woman, Batman, The Flash, Aquaman, and Cyborg. It’s a jam-packed two hours, but it can still leave people wanting more. For those looking to go—in the parlance of the tagline—"all in" with the film’s heroes, the DC Comics back catalogue is filled with stories that build out the mythology and ideas introduced in the movie, from Atlantis to Apokolips and beyond. With an entire comic book universe to explore, where should a new Justice League fan start? We have some suggestions.

Justice League Vol. 2 #1-6

Arguably the source material for the movie—albeit with an additional Green Lantern—the first six issues of DC's 2011 Justice League series had an impressive creative team (Geoff Johns and Jim Lee, aka DC's chief creative officer and co-publisher, respectively) and a daunting remit: Reboot the entire DC comic book universe and tell an all-new origin for the Justice League. That it manages to pull both off is more than slightly impressive.

How to read it: Available digitally and in the Justice League Vol. 1: Origin print collection.

Aquaman Vol. 8 #1-6

First, the bad news: Jason Momoa's Aquaman isn't really like any version of the Sea King from the comic books, so anyone looking for more of that guy will have to wait until next year's solo Aquaman movie. While you're waiting, however, check out the opening issues of the current Aquaman comic book series, which makes a convincing case for why Arthur Curry is a badass no matter what form he takes. (Yes, even this one.)

How to read it: Available digitally and in the Aquaman Vol. 1: The Drowning print collection.

New Gods #1-11

Wondering what Steppenwolf's whole deal is? Can’t decipher what those Mother Boxes are all about? Still can’t figure out what's going on with that teleport tube no one ever bothers to explain in the movie? Turn to the Source—that's a pun, which you'll realize once you crack open these comics. The 1970s output of Jack Kirby, the man behind the Fantastic Four, Thor, Captain America, Iron Man, Avengers, and X-Men (to name just a handful), is more stylized and out there than his Marvel work, but it's no less awesome. Also, if you read these books much, much more of Justice League will make sense. We promise.

How to read it: Available digitally, and in the upcoming Jack Kirby's Fourth World Omnibus print collection.

JLA #10-15

We won't spoil the post-credit sequence for those who haven't seen it, but those wondering where Justice League 2 might end up going would be well-served to read the "Rock of Ages" arc from the 1990s JLA series, in which the team faces two threats they didn't see coming. Spoiler alert: You'll have to deal with the fact that Superman was made out of electricity or something in this run, so get ready for a bright blue hero in a different costume than you’re used to. That said, if you can handle alternate futures, time travel, and the subjugation of the human race—all of which appear in this story—you can probably live with Kal-El looking a little weird.

How to read it: Available digitally, and in the JLA: Deluxe Edition Vol. 2 print collection.

The Flash Vol. 5 #25-32

Just as Ezra Miller's slightly nervous and lovable take on the fastest man alive, Barry Allen, is about to win new fans for the Flash, the regular DC comic featuring the character has—ahem—kicked into high gear, thanks to a showdown with his arch-nemesis that changes his powers for the worst. What happens when the Flash can no longer just run away from his problems? That's what you'll find out in these books.

How to read it: Available digitally and in print editions.


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This New Robot Will Help Keep Hearts Pumping

March 20, 2019 | Story | No Comments

You don’t want to be among the first human cyborgs. Because doctors won’t be replacing all your limbs with super-strong robotic ones, and they won’t be giving you cameras for eyes. More than likely, they’ll be saving your life by wrapping your heart in a robot.

Today in the journal Science Robotics, researchers introduced a new kind of device to keep a heart pumping: It cradles the organ and uses a probe to anchor to the wall that separates the heart’s lower chambers. The robot can precisely manipulate a particular chamber, and that could lead to devices that let doctors assist a heart in its normal function instead of relying on a transplant. (Another sort of robotic heart announced earlier this year envelops the organ like a sleeve, but this new robot can work on a single diseased chamber.)

These days, doctors keep a heart pumping blood with something called a ventricular assist device. This is a pump external to the body that helps ferry blood around when the heart just can’t manage on its own. Problem is, because blood is flowing through machinery, the patient has to take blood thinners to make sure the works don’t get gummed up. And doctors don’t like putting people on blood thinners if they can avoid it.

This new robot is incorporated right into the heart, and acts to encourage the organ’s normal function. The bit that rests on the heart is a soft robot made of polymers, meaning it’s, well, soft, so it better conforms to the organ and doesn’t irritate the flesh. But it’s also soft in its operation: Instead of using traditional motors that are complicated and bulky, it’s pneumatically activated, which is a gentler way to manipulate the heart.

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The second bit of the robot is a rod that actually enters the heart and anchors to the wall that separates one ventricle from the other, known as a septum. A needle pierces the septum and a delivery shaft opens up an anchor on the other side of the wall like an umbrella. Then an operator places a disk on the other side to complete the anchor.

So in addition to the soft robot on the outside pumping the free wall of the ventricle, the shaft pulls the septum toward the wall, squeezing the ventricle to get blood flowing. Without pulling on the septum, the device wouldn’t really be replicating the beating of a heart. “The septum is very actively engaged in the ventricular contraction,” says study coauthor Nikolay Vasilyev, a scientist in the Department of Cardiac Surgery at Boston Children's Hospital. “When the heart contracts, it's not only the free walls that move. The septum thickens during the contraction and moves inward into the respective ventricle.”

By manipulating both the outside of the organ with a soft robot and tugging on the septum with a rod, this device helps the heart pump blood much more precisely than other devices: The system reads either the electrical signals from the heart or pressure changes within the ventricle to time its movements in concert with the normal operation of the organ.

The researchers have already shown the robot working in a live pig. The next step could be to actually implant the thing in an animal and stitch it up, then watch the robot work over the course of months.

“In terms of technological development, I believe we are almost at the stage where a large company or a pool of investors take this technology to the next level and make a product out of it,” says University of Leeds roboticist Pietro Valdastri, who was not involved in the study. “I frankly hope this is going to happen, as this technology looks pretty ready to me for this type of jump.”

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Back in 2011, when Guillermo del Toro was first starting to hype his forthcoming movie Pacific Rim, he gleefully described it as “giant fucking monsters against giant fucking robots.” That’s how he always talked about it, with childlike glee. But he was also steeped in its antecedents: Toho monster films, Voltron, decades of sci-fi. The film he was planning was a playground toy battle writ large, imagined by a guy with the exuberance and resources necessary to build his own toys. Without that, it would’ve just been Transformers—all rock-‘em-sock-‘em, no heart.

Pacific Rim Uprising is what that movie would’ve been without Guillermo del Toro. Not to drag Steven S. DeKnight’s 10-years-later sequel—it could’ve been a much worse mecha-wreck than it is—but it’s clearly playing in someone else’s sandbox, tooling around with another kid’s toys. While it monster-robot fights are just as fun the second time around, it seems content simply to play the same notes as the original. And without the skill of del Toro and original screenwriter Travis Beacham, Uprising is nothing more than the wedding-band cover version of Pacific Rim.

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It’s funny that it would turn out this way. When the original Pacific Rim came out in the summer of 2013, it wasn’t exactly a critical darling. It barely cleared a 70 percent on Rotten Tomatoes; genre fans appreciated its charms, but it wasn’t embraced by the kind of people who would tell you at parties they loved films. There’s even an argument to be made that it was below the talents of the man who made Pan’s Labyrinth. But in retrospect, especially after seeing Uprising, it’s impossible not to notice del Toro's deftness. To have Idris Elba scream “We’re canceling the apocalypse!” is a gamble at best, but to pull it off so well the line briefly became a catchphrase—and even gets a shoutout in its sequel—is testament to GDT's mastery.

No, Pacific Rim wasn't deep. Yes, that ending was cornier than Iowa in the summertime. Frankly, it’s hard to pinpoint what exactly del Toro did to make it work—but those things become obvious when set next to *Uprising'*s shortcomings. Like, say, originality. Concepts like the “drift compatibility” and “neural handshakes” that let jaeger pilots sync to control their mechs seemed ludicrous the first time around, but they were forgivable because, hey man, cool story. But here? Not so much. Having Ron Perlman show up as a black market kaiju parts dealer in Pac Rim because Perlman makes a great bad guy. Having teenaged Amara Namani (Cailee Spaeny) introduced in the sequel as a potential hero who pilfers fallen jaegers doesn’t have the same impact, despite Spaeny's charisma. (Also, isn’t that Rey’s introduction in Star Wars: The Force Awakens?) The same goes for Uprising’s talk of the strange scientific properties of kaiju blood and the importance of banding together at the end of the world, which can feel like a strong case for un-canceling the apocalypse.

Sequels are never going to be truly original—canonical consistency is the entire point—but any subsequent installments in a franchise should at least try to further the lore, and I’m fairly certain the only new thing I learned in Uprising was that tapping into kaiju brains can get you so high you’ll want to marry a kaiju brain. (Don’t ask.) And what Pacific Rim Uprising does get right—its epic final third, wherein everyone shuts the hell up and lets the giant robots fight the giant monsters—it does in daylight so broad it renders everything just a little too shiny. Most of del Toro’s Rim took place at night, an aesthetic choice that gave every fight a neon-hued Blade Runner edge. Uprising is the opposite, an aesthetic choice that reveals too many details. Sunlight isn't only a disinfectant; it makes jaegers look even more like Transformers in a Michael Bay movie, and kaiju appear a lot less menacing. (Not for nothing, but the gaping blue hellmouth of the movie’s final Big Bad looks more like a Georgia O’Keeffe painting than anything else.)

None of this is to say that Pacific Rim Uprising doesn’t have redeeming factors. Again, the fights are fun. And John Boyega, who plays Jake, the son of Elba's character Stacker Pentecost, continues to exude the same charisma that has made him a Star Wars fan favorite. The movie passes the Bechdel Test, still a relative rarity in genre and sci-fi films. Charlie Day will probably never not be funny. But there’s no heart, no soul—and that was what Guillermo del Toro brought to Pacific Rim. Where del Toro imbued his movie with a sense of “Can you believe I’m getting away with this?” Uprising opts for “Oh yeah, we’re trying to get away with this! EXTREME!”

Guillermo Del Toro has always been a master of finding the joy and emotional center in surreal, even unbelievable situations. He made a movie about sexing a fish-man and won an Oscar for it. His is a special gift. He wants to give people worlds steeped in the creatures of his imagination. Pacific Rim Uprising, though, just gives them giant monsters and robots—nothing more.

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"Netflixing in Public"—the act of watching Netflix out in the world, not to be confused with "Netflix and chill"—is officially a thing. Ever since smartphones got fast enough to stream on-the-go, folks have gotten more and more used to watching TV and movies almost anywhere. Don’t believe us? Go watch the line at Whole Foods for an hour, or ride the New York City subway. Or check out the latest data from Netflix itself.

Yes, Netflix is paying attention to when, where, and how people consume TV and movies, and has actually started studying how their habits are changing. And in their latest data set, released today, the streaming service says it discovered that 67 percent of Americans now watch Netflix out in the world, a figure that, according to Eddy Wu, Netflix’s director of product innovation, shows that "Netflixing in Public has become a social norm."

Not that looking at stuff on your phone was ever really frowned upon. Even back in 2015, when Pew Research Center released its study on the matter, 77 percent of adults thought it was fine for someone to use their cellphone while walking down the street, and 75 percent thought it was acceptable for people to use them on public transit. In the intervening years, connectivity has only become more prevalent and watching streaming video more common (see: AT&T giving out free HBO Go with its unlimited data plans and T-Mobile letting users watch video without eating up their data allotment). Moreover, Netflix itself launched a feature a year ago that allowed folks to download video for when they're out of range, something that's no doubt upped the amount of video people are watching in the mall or at the airport.

“The introduction of the Netflix download feature has given users the freedom to watch their favorite movies and shows wherever they want,” Wu said in a statement, “like during their commute or waiting in line, or for some … that means at work or even in a public restroom.” (Um, that last one is oddly specific, Ed.)

Streaming while flushing aside, Netflix’s data—which comes from more than 37,000 responses to a worldwide survey conducted this past summer, rather than some sort of creepy tracking mechanism—found some fascinating bits of information. For one, 44 percent of the respondents reported that they’d caught someone snooping on their screen, and 22 percent were embarrassed by what they were watching. (Was it Gossip Girl? It was Gossip Girl, wasn’t it? Don’t lie.) Netflix also found that 11 percent of those surveyed had a movie or TV show spoiled because they peeked at someone else’s screen in public.

The snooping aspect of Netflix's study is compelling because it shows just how much rabid phone usage has completely eroded the line between public and private. Don't think so? Go back to that Whole Foods line and see how many people are talking to their significant other on an earpiece. The fact that almost everyone is on their phone now has lead to people being much more brazen about what they'll have up on their screens—screens that are likely to attract the attention of folks nearby.

And people who watch in public probably don't care if someone is looking over their shoulder. In addition to that fairly low embarrassment statistic above, Netflix also found 35 percent of those who binge in public say they've been interrupted by someone who wanted to talk about what they were watching. (Was it Gossip Girl? It was Gossip Girl wasn’t it?) The report didn't indicate whether any of them was bothered by the interruption, but chances are if they had been streaming in public for a while they were probably used to it. Fans still think of watching their favorite thing as a group event, whether consumed at home or elsewhere, it's just that smartphones have evolved our ideas where public spaces end and personal spaces begin.

Oh, and speaking of personal time, 22 percent of public streamers reported they have cried while viewing. Folks in Mexico, Colombia, and Chile were the most emotional, but—as Netflix’s data release notes—"it’s unlikely to see a German bawling while they binge." OK, that’s oddly specific, too.


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Knead To Know: The Secrets of Gluten, Revealed

March 20, 2019 | Story | No Comments

If your homemade country loaf comes out of the oven shrunken and unfluffy, you may have neglected a central tenet of breadmaking: Hydrate the flour. When you knead the dough, you are massaging moisture into the wheat’s proteins, creating a matrix of gluten that traps gases so the bread can inflate from the inside. “The gluten structure is stretchy but impermeable,” says Nathan Myhrvold, the tech millionaire, chef, and creator of 2011’s six-volume science-of-cooking megawork, Modernist Cuisine. Now, Myhrvold and his team of food scientists and photographers are back with five more volumes, focused exclusively on bread.

The photos in the $625 labor of loaves, ­Modernist Bread, range from cross-sections of rising sourdough to artful, side-lit layers of injera. But so much about baking, as any practitioner worth their pinch of salt will tell you, takes place at the invisible-to-the-eye chemical level, and Myhrvold wanted to expose that hidden process.

For the image above, his crew rinsed a small ball of dough with water to wash away starch granules and water-soluble proteins, leaving behind a blob of near-pure gluten. Then, using a scanning electron microscope borrowed from Myhrvold’s company, Intellectual Ventures, they captured a slice of the gluten magnified to 734X, tweaking the contrast of the black-and-white image to give maximum visibility to the webby network at the heart of every perfectly quenched, ready-to-bake gob of pre-bread. As Myhrvold puts it, “That web makes wheat breads what they are.” Meaning: chewy, delicious, and upsetting to gluten-sensitive stomachs everywhere.

The first thing you notice when you walk into the theater is the smell of soap, followed by a faint stickiness on the carpeted floors, and a tacky coating on the armrests of the seats.

When the lights come up at the Gazillion Bubbles Show, it quickly becomes clear what's going on. Powerful fans blow tiny soap bubbles into the audience by the thousands. Little kids giggle; bigger kids scream. And like a magician, 27-year-old Melody Yang pulls out her wands.

She uses water-based vapor (she calls it "smoke") to create bubbles that erupt like volcanoes, and some that launch into the air like rockets. She brings kids on stage and makes huge, tubular bubbles that can encase five of them inside.

"People love it. It's just something that is so universal," she says. "It's something that takes you back to your childhood because a lot of the times when we see a bubble we see it when we're very young, and we're just like 'what is that?' You know, it puts us back in the moment."

Yang grew up on this stage. Her parents, Fan and Ana, have been performing together for decades, and over the years they brought Melody and her brother, Deni, into the act as well.

"Me and my brother would walk on stage and he'd put us in a bubble," Melody says of her father, "and then he would slowly teach me and my brother the routine."

Now, the Yangs take turns performing in New York, where they share a space with the Tony Award-winning musicals Avenue Q and Jersey Boys, and in venues around the world.

The family has set more than a dozen world records, for everything from Encasing the Largest Land Mammal in a Bubble (an elephant) to fitting the Most People Inside a Bubble (181 was their record) to making the world's Longest Soap Bubble Wall (a 166-foot, 11-inch bubble), a record that still stands. Their records not only prove that the Yangs are bubble experts, but also that there's a record for just about everything.

Watch the video above to see the incredible bubbles Melody makes—and to learn some of her tricks for making them at home.

Satellites do an incredible job of mapping algal blooms, the green mats that spread over lakes and oceans during warm, nutrient-rich summers. But the hypnotic, swirling images from space can't tell if toxins are lurking in a carpet of cyanobacteria, threatening the safety of water.

Ecologists and hydrologists can test water's drinkability by boating through the blooms—though collecting samples off the side of a power boat is tricky and inconvenient. So this year, scientists are monitoring Lake Erie with a robot, 18 feet below the water’s surface.

The so-called Environmental Sample Processor, ESPniagara, sits on the floor of Lake Erie’s western basin. It collects algae from the surrounding water, analyzes microcystin (a small, circular liver-toxic protein), and uploads results for researchers at the end of every test. They're watching this toxin closely, because elevated levels of it could swiftly poison the water supply for humans and wildlife in the surrounding area.

A no-frills charm dominates the ESPniagara's aesthetic. “It kind of looks like a trash can,” says Tim Davis, a molecular ecologist at NOAA in Ann Arbor. Tentacles of clear plastic tubing for sample processing swirl around the lab-in-a-can’s lower half, while circuits and wiring snake between the components above. Those electronics and the machine’s batteries—400 D cell batteries power the unit—understandably need some protection to sit at the bottom of the lake. “The metal trashcan is essentially a pressure case that can withstand very, very high pressures, and essentially keeps it dry,” Davis says.

Staying dry isn’t the only requirement for the lab capsule. ESPniagara also needs to stay put, remain upright, and avoid sinking too deeply into the gunky mud. So NOAA recruited applied physicists at the University of Washington to design the 1,000-pound frame encasing the unit. By their calculations, even if Hurricane Sandy-level winds hit Michigan, the water sampling could continue. And at the lake’s surface, a round orange data buoy relays information from its tests via a cellular modem, like the one in your phone.

So far ESPniagara has been testing the water every other day. But as of August 1, with the risk of harmful blooms steadily rising, it began testing on a daily schedule. It pulls lake water in, concentrating algae cells onto a filter. When the filter is clogged with plenty of algae to measure, the biology begins.

While full-scale labs use temperature-controlled water baths, freezers, and centrifuges to run these kinds of experiments, the ESPniagara accomplishes the same tests with a few carefully formulated protocols. Each toxicity measurement happens within a quarter-sized puck that’s about an inch and a half tall.

To measure the algae’s microcystins, it’s important to know that the cyanobacteria hold most of their toxins inside their cells. “So in order to get accurate concentrations, you need to be able to break the cells open,” Davis says. A bit of methanol-Tween-20 (basically dish detergent) does the trick, along with some heat and pressure. And once the cells are cracked open to reveal all the toxins, the ESPniagara dots samples into a four-by-five grid for quantification.

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The toxin detection relies on antibodies that fluoresce when they’ve bound a specific substance. In this case, the antibodies that don’t bind a toxin light up, so brighter dots mean safer water. An internal camera photographs the test array, and at the end of this whole process—it takes roughly four hours—the data buoy sends off that photo. The results end up with collaborators all the way across the country, at the Monterey Bay Aquarium Research Institute servers. Then Davis and his team download them for their own analysis.

Once they've got toxicity data, they combine it with satellite measurements for algal biomass and hydrodynamic models of windspeed and current. That full picture tells them how toxic the bloom is, and where the toxins will end up next. Knowing that strong winds are about to send more toxins into the water supply, for example, helps treatment plants decide how to act. When more microcystins arrive, they’ll know to roll out extra filtration steps—like particle activated charcoal neutralization—to keep drinking water safe. It’s almost like the ESPniagara gives water treatment plants … extrasensory perception.

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Let's get this out of the way: You've seen the first trailer (and, before that, the TV spot) for Solo: A Star Wars Story, right? If not, go ahead and do that. OK, now that we have your undivided attention, we can get on with all the other Star Wars news of the last few weeks. And there's a lot. Can you say "a whole new series of movies, and even more"?

The Solo Han Solo Film Had Two Han Solos Behind the Scenes (Got All That?)

The Source: Lucasfilm president Kathleen Kennedy

Probability of Accuracy: If Kennedy is saying it, it’s legit.

The Real Deal: While the new trailers didn’t show much in terms of Alden Ehrenreich’s Han Solo, it was revealed via Entertainment Weekly that the original Han Solo, Harrison Ford, was involved in the making of Solo: A Star Wars Story, acting as an advisor to his successor. “What [Ford] did so beautifully for Alden was he talked a lot about what he remembered when he first read Star Wars, and what George had done with Han,” Lucasfilm president Kathleen Kennedy explained. “Who the character was and the conversations he had for so many years with George about how that character developed… He gave Alden that kind of insight which was invaluable. There were several times in the course of making the movie where Alden would actually recount some of the things that Harrison had pointed out. I think that was really, really helpful to him.” How much of this will come across onscreen, of course, no one will know until May.

Fans Won’t See the Seams In Solo

The Source: Director Ron Howard

Probability of Accuracy: The proof will be in the pudding when the movie’s out, but he seems very sincere, if nothing else.

The Real Deal: EW also talked to director Ron Howard about stepping in and taking over Solo after the dismissal of original directors Phil Lord and Chris Miller. When asked about how much of the finished movie is his, versus Lord and Miller’s, he demurred. “I don’t really want to explain it. I don’t really want to be specific about that because, again, I don’t even want that to matter to fans,” he said. “I could understand why you’d ask, and some might even be curious, but look, everybody who has been involved in this has done nothing but love what this movie could be, and that’s been the vibe around it. I think audiences are gonna feel that love and excitement.” Well, that’s the hope, at least…

Winter Is Coming. Kind Of

The Source: An official Lucasfilm announcement

Probability of Accuracy: It’s an official announcement; this is as accurate as it gets.

The Real Deal: In a surprising move, Lucasfilm announced last week that Game of Thrones executive producers David Benioff and D.B. Weiss are going to be heading to the galaxy far, far away once their time in Westeros is up, signing on to create a new series of Star Wars movies for the studio. Lucasfilm didn't provide any details beyond that—but that didn’t stop people from speculating that they could be working on a Knights of the Old Republic movie, just like they did when it was announced that Rian Johnson would be working on a new Star Wars movie series. At this point, someone needs to make a real Old Republic movie just so fans won't have to speculate about it anymore.

Are There Secret Star Wars Movies in the Works?

The Source: Mysterious, vague rumors on Twitter

Probability of Accuracy: Who can even tell…?

The Real Deal: The hiring of Weiss and Benioff also launched a conversation online about the fact that Lucasfilm seems unable to hire anyone to make a Star Wars movie who isn’t a white man, at a time when the movies themselves are making efforts to branch out in terms of the diversity of their leads. This piece by Marc Bernardin is a fine example of why this is a problem, and what it means for the future of Star Wars movies and the fandom as a whole. Which is what made these tweets particularly interesting…

…Are there secret Star Wars movies in the works that no one knows about, being made by people that no one knows is working on them? It sounds unlikely and deeply paranoid … but also not entirely impossible, despite that.

A Galaxy Streaming Very Close to You Indeed

The Source: Disney CEO Bob Iger

Probability of Accuracy: It’s a vague announcement, but it's something that Iger has no reason to fib about, so let’s call it accurate.

The Real Deal: Star Wars: Rebels is coming to an end, but that doesn’t mean that there won’t be any more Star Wars on the small screen. Indeed, just the opposite; speaking to investors recently, Disney CEO Bob Iger revealed, “We are developing not just one, but a few Star Wars series specifically for the Disney direct-to-consumer app. We've mentioned that and we are close to being able to reveal at least one of the entities that is developing that for us. Because the deal isn't completely closed, we can't be specific about that.” Multiple series? Start your speculation engines.

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This App Maps Opioid Overdoses in Real Time

March 20, 2019 | Story | No Comments

The opioid epidemic is ripping through America like a fire untamed. Blame big pharma, if you want. Blame cheap pain pills and cheaper heroin. Blame the mesolimbic reward system. Just don't wallow in it—the blame. Wallowing takes time, and with opioid abuse killing close to 100 Americans a day, time is in exceedingly short supply. “The number one question is, how do we get a better sense of what's going on in our communities in real-time," says Jeff Beeson, deputy director of the Washington/Baltimore High Intensity Drug Trafficking Area. Not a year from now. Not a month from now. Today.

So last year, the Washington/Baltimore HIDTA set out to create a tool that would give law enforcement and health officials the data they need to respond to the public health crisis as swiftly as possible. The result was a web app called ODMAP that combines street-level data with tools from Esri, the digital mapping company, to help public health officials, police departments, and first responders track and respond to overdoses in real time.

ODMAP's national scope distinguishes it from similar opioid-tracking apps. States across the US are racing to develop tools for managing the country's opioid crisis, and Indiana in particular has successfully tracked trends, collecting data from local agencies to build a statewide database of things like drug arrests, seizures, and administrations of the overdose-reversing drug naloxone. ODMAP takes a similar approach, but focuses on mapping overdoses, specifically—whether they're happening locally, two towns over, or several states away.

That's the kind of geospatial data that can help communities brace for overdoses before they happen. "You've seen those epidemiology maps where a disease spreads outward from an initial set of dots? We're seeing similar patterns on a daily basis with ODMAP," says Beeson. If ODMAP registers a spike in overdoses in Anne Arundel County, Maryland, the app immediately notifies public health officials in Berkeley County, West Virginia, 120 miles away. Why? Because in 8 to 10 hours, West Virginia's eastern panhandle is going to start seeing overdoses, too.

"A lot of these geographic correlations, we didn't know they existed until we started tracking overdoses with the app," Beeson says. By anticipating a ripple effect of overdoses, regional officials can warn their communities, notify hospitals, and ensure first responders have the naloxone they need to administer to overdose victims.

Meanwhile, the same data helps law enforcement officials double-check theories about the way drugs travel into and out of their jurisdictions. Take the relationship between Berkeley and Anne Arundel. Washington/Baltimore HIDTA had suspected a link for years, Beeson says, based on arrest data. "But if we pick someone up for trafficking in Baltimore, it's not like we know where that person's drugs are going. Now, we're basically tracking the drug. We're able to see it in black and white, as it spreads throughout a region." And the more data ODMAP collects, the more regional relationships health and law enforcement officials can confirm. "We've never had overdose data like this before—and we've never shared it with each other," Beeson says.

Health and law enforcement officials I spoke with about the tool say they like it because it's simple, powerful, and free. First responders at the scene of an overdose (Beeson says there are currently close to 1,000 registered nationwide) log in to ODMAP via a password-protected web portal. The interface lets these so-called Level I users specify whether the overdose was fatal, whether they administered naloxone, and, if they did, how much. That information, along with the time and location of the overdose, goes to ODMAP's central database. For first responders, that's all there is to it; the process takes seconds to complete and requires no personal information about the victim.

Police have additional, password-protected access to a form that lets them enter information like the victim's date of birth and overdose history; witness information; whether the victim overdosed on fentanyl, oxycodone, or some other narcotic; whether any drugs were found at the scene; even a photograph of the drugs' packaging. That information is stored on a separate database, to keep everything HIPAA compliant. If any of the data matches a previous overdose report, ODMAP will connect the reporting officers so they can coordinate.

Things get more interesting on ODMAP's backend, which is accessible to Level II user like sheriffs and public health chiefs. It requires a separate username and password and provides a bird's-eye view of overdose incidents at the national level. Every overdose appears on the map in the form of a color-coded blip. Accessing data for a state, county, or neighborhood is as simple as panning and zooming.

"It's like having real-time traffic data on Google Maps," says Aaron Kustermann, chief of intelligence for Illinois State Police, one of several organizations in the state that recently began using ODMAP. "Being able to monitor trends and see what's happening and compare with other areas? That's where the power is." Understanding where and how people are overdosing can take local health and law enforcement months to suss out. "With this tool, we can react in real time to a spike in fentanyl-related deaths, or purity-related deaths."

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Adoption will make or break this tool. "From a surveillance perspective, the more data you have on a given health issue the better," says Harvard University's John Brownstein, a computational epidemiologist who uses digital tools to map disease and drug abuse across populations. "Having direct data on overdoses is super exciting, but it's a crowdsourcing tool, so you want as much engagement as possible."

From the looks of it, ODMAP is spreading quickly. It launched on January 18th in just two West Virginia counties. Today, 70 counties across 19 states are actively contributing data to the system. Last week there were 16 states on board, and in the past few days, the number of health and law enforcement agencies using the program jumped from 168 to 186. The opioid crisis might be sweeping the country, but so, too, are the tools that could curb its spread.

“Ask any health or law enforcement agency in the country: We don’t have the time, and we don’t have the resources to sufficiently deal with the opioid crisis,” Beeson says. “We can’t throw money at it, and we can’t arrest our way out of it. But what we can do is use data and technology as a tool, to maximize what limited resources we have.”

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