A Hole in the Atmosphere


“Obviously, something […] big hitting the Earth is going to hit with a lot of energy. […] This is the energy one million tons of dynamite would release if it was exploded and is the energy unit used for nuclear explosions. The largest yield of a thermonuclear warhead is around 50–100 megatons. The kinetic energy of the falling object is converted to the explosion when it hits. The 10-kilometer object produces an explosion of 6 × 107 megatons of TNT (equivalent to an earthquake of magnitude 12.4 on the Richter scale). The 1-kilometer object produces a milder explosion of “only” 6 × 104 megatons (equivalent to an earthquake of magnitude 9.4 on the Richter scale).

“On its way to the impact, the asteroid pushes aside the air in front of it creating a hole in the atmosphere. The atmosphere above the impact site is removed for several tens of seconds. Before the surrounding air can rush back in to fill the gap, material from the impact: vaporized asteroid, crustal material, and ocean water (if it lands in the ocean), escapes through the hole and follows a ballistic flight back down. Within two minutes after impact, about 105 cubic kilometers of ejecta (1013 tons) is lofted to about 100 kilometers. If the asteroid hits the ocean, the surrounding water returning over the the hot crater floor is vaporized (a large enough impact will break through to the hot lithosphere and maybe the even hotter asthenosphere), sending more water vapor into the air as well as causing huge steam explosions that greatly compound the effect of the initial impact explosion.

“There will be a crater regardless of where it lands. The diameter of the crater in kilometers is = 0.765 × (energy of impact in megatons TNT). Plugging in the typical impact values, you get a 150-kilometer diameter crater for the 10-kilometer asteroid and a 20-kilometer diameter crater for the 1-kilometer asteroid. The initial blast would also produce shifting of the crust along fault lines.

The oceans cover about 75% of the Earth’s surface, so it is likely the asteroid will hit an ocean. The amount of water in the ocean is nowhere near large enough to “cushion” the asteroid. The asteroid will push the water aside and hit the ocean floor to create a large crater. The water pushed aside will form a huge tidal wave, a tsunami. […] What this means is that a 10-km asteroid hitting any deep point in the Pacific (the largest ocean) produces a megatsunami along the entire Pacific Rim.

“Some values for the height of the tsunami at different distances from the impact site are given in the following table. The heights are given for the two typical asteroids, a 10-kilometer and a 1-kilometer asteroid.

Distance (in km) 10 km asteroid 1 km asteroid
300 1.3 km 42 m
1000 540 m 18 m
3000 250 m 8 m
10000 100 m 3 m

“The steam blasts from the water at the crater site rushing back over the hot crater floor will also produce tsunamis following the initial impact tsunami and crustal shifting as a result of the initial impact would produce other tsunamis—a complex train of tsunamis would be created from the initial impact (something not usually shown in disaster movies).”

Text: Nick Strobel, Effects of an Asteroid Impact on Earth, Astronomynotes.com

Image: “The Chelyabinsk event of 15 Feb. 2013, having an energy equivalent to 500 kilotons of TNT, was the largest well-documented meteor event since the Tunguska event of 1908. Analysis of the Chelyabinsk object’s in-atmosphere trajectory from video records has found that its orbit was similar to the orbit of the 2-km-diameter Near-Earth Asteroid 86039 (1999 NC43).There is a possibility that the Chelyabinsk object was created through a collision between asteroid 86039 and another asteroid. It is also very interesting that the Cheyabinsk Asteroid approached from the Sun’s direction, making it essentially undetectable in telescopes” – Analysis of Chelyabinsk meteor and resultant air burst appears in Nature

“It’s up to you what matters…”

Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.Learn to change what you are to create worlds within worlds within worlds, or let go any time to allow Everything to take over and produce a never ending documentary about the world you live in.”

Targeting Jupiter’s Icy Moon

“Targeting Jupiter’s icy moon, Europa, this expansive sculpture exhibition offers an unprecedented view into Tom Sachs’ extraordinary artistic output and advances his quest to find extraterrestrial life with bricolaged sculptures. The exhibition will fill YBCA with everything his astronauts need to successfully complete their voyage—including the Mobile Quarantine Facility, Mission Control, the Apollo-era Landing Excursion Module (LEM), and special equipment for conducting scientific experiments—immersing the audience in a universe of sculpture occupying the entire downstairs galleries in addition to YBCA’s public spaces. Space Program: Europa will feature live activations of the Europa flight plan by Sachs’ astronauts during the opening and closing weekends. In these demonstrations, the astronauts will showcase the rituals and procedures of their mission, including the cultural export of chanoyu, the ancient art of the tea ceremony.

“Tom Sachs (b. 1966, New York) is a New York–based sculptor known for his work inspired by icons of modernism and design. Using modest studio materials, Sachs creates parallel universes incorporating semi-functional sculpture, sometimes deployed by the artist and his studio assistants for interactive projects, as in Nutsy’s (2001-3) and Space Program (2007 and 2012). YBCA, San Francisco

Terratic Animism

“Terratic Animism is a project focusing on relationships between animation, animism, technology and how these influence our relationship to our surroundings. The work combines performance with video recordings of explorations of past-Utopian infrastructures in USA, combined with photography and virtual renderings of landscapes. The work was developed with support from MASS MoCA Asset for Artist program and the Danish Arts Council.”

Jakob Kudsk Steensen
Terratic Animism, 2016
Costume, spotlights, mylar, wood and video
Duration, 13min07sec
Format: 4K and 2K versions available.

Control Threats

“People’s desire to make sense of the social world is closely coupled with the extent to which they experience control over their environment. Various complementary theoretical perspectives, on meaning-making (Heine, Proulx, & Vohs, 2006; Park, 2010; Van den Bos, 2009), paranoia (Kramer, 1998), and compensatory control (Kay, Whitson, Gaucher, & Galinsky, 2009; Rutjens, van Harreveld, & van der Pligt, 2013), assume that threats to control increase people’s mental efforts to make sense of the social world, imbuing the world with meaning, purpose, and order. These insights may explain why conspiracy theories seem to gain momentum particularly following impactful societal events that are likely experienced as control threats by citizens (e.g., a terrorist strike, a war, or a natural disaster; see Pipes, 1997; Robins & Post, 1997; Shermer, 2011). Indeed, research reveals that people are more likely to attribute impactful, harmful societal events (e.g., a politician is assas- sinated) to conspiracies than societal events that are less impactful or harmful (e.g., someone tries to assassinate a politician but fails; see McCauley & Jacques, 1979), a finding that is attributable to people’s sense-making motiva- tion (Van Prooijen & Van Dijk, 2014).


“In a similar vein, various operationalizations of control threats have been found to predict conspiracy beliefs. For in- stance, an external locus of control—that is, a dispositional tendency to believe that one’s outcomes are controlled by external forces—is correlated with interpersonal mistrust and paranoia (Mirowsky & Ross, 1983) and belief in conspiracy theories (Hamsher, Geller, & Rotter, 1968).

“Furthermore, a seminal study by Whitson and Galinsky (2008) reveals that experimentally induced control threats increases the extent to which participants perceive patterns, such as images in random noise, patterns in stock market information, and conspiracies. Complementary findings indicate that control threats elicit responses that are widely associated with conspiracy belief, such as attributing increased power to one’s enemies (Sullivan, Landau, & Rothschild, 2010), and scapegoating (Rothschild, Landau, Sullivan, & Keefer, 2012). Furthermore, constructs that are closely associated with control threats, such as death anxiety (Newheiser, Farias, & Tausch, 2011), uncertainty (Van Prooijen & Jostmann, 2013), and attitudinal ambivalence (van Harreveld, Rutjens, Schneider, Nohlen, & Keskinis, 2014), have been found to similarly influence conspiracy beliefs. In the following, we discuss how the present contribution is designed to expand on these insights.”

Text: The Influence of Control on Belief in Conspiracy Theories: Conceptual and Applied Extensions, Jan-Willem Van Prooijen and Michelle Accker, Applied Cognitive Psychology, Appl. Cognit. Psychol. 29: 753–761 (2015).

Image: Adolph Gottlieb, Green Dream, 1969, Serigraph, 24.13 x 19.13 inches

Big Box Office

“Beneath a tempestuous sky, the army of the heathen Amorites seethes like a swarm of ants about to be exterminated. The Israelite leader Joshua stands on a jaggedly upthrust rock – the first of many such violently shaped peaks and crags to be found in the agitated geology of Martin’s imagination – surveying the scene with triumphant complacency.

“With a single raised hand, spot-lit against glooms of immense depth, he urges the conquering hordes of his own army to go for the kill. Exhibited at the Royal Academy in 1816, just a year after Waterloo, this depiction of God’s chosen people defeating the forces of evil may have been patriotically intended to evoke parallels with the present, and Britain’s defeat of France. Perhaps for that reason, it proved extremely popular.

“Martin followed up with The Fall of Babylon (1819), another apocalyptic crowd scene, painted with a theatrical scene-painter’s relish in archaeological fantasy. Vast crowds of Londoners flocked to see it, drawn by Martin’s spectacular vision of a great city’s sudden destruction, much as audiences are drawn to the latest disaster movie.

Belshazzar’s Feast was an even bigger hit. The astonished tyrant is shown at the moment of his demise, together with his fellow-decadents and the cautionary figure of Daniel, in a pink palace of inordinate size painted in rushingly vertiginous linear perspective. John Constable’s biographer, CR Leslie, noted rather sniffily that Belshazzar’s Feast “made more noise among the mass of people than any picture that has been exhibited. The artists, however, and connoisseurs did not like it much.”

“The ambivalent response to Martin’s work – loved by the public, mostly hated by the critics – was also an index of his disconcerting originality. His closest contemporary was Turner and Martin himself could be seen as a coarser version, an artist who took Turner’s philosophical melancholy, his fatalistic belief that all civilisations inevitably end badly, and made it big box office…”

Text: John Martin: Andrew Graham-Dixon, Apocalypse, at Tate Britain, Seven magazine review, The Telegraph, September 23, 2011.

Revelation Space


“The depiction of filmic space in recent years is marked by the possibilities of digital technology to create new worlds and new visions, and yet this creation is accomplished in a predetermined way. While sometimes taking a leap into space, we do so in a way that is both breathtaking and familiar. Consider the remarkable opening shot of Contact [1997], a film that is somewhere between 2001 and Star Wars in its combination of metaphysics and childhood fantasy.

“Digital technology can change the actual in ways impossible for earlier technologies: Whether building upon images of objects from our own reality or starting from scratch, computer graphics and animation have the capacity to bring us into space that resemble the interior spaces of the mind. This realization informs the opening shot of Contact: Begining with discordant and random radio noises, giving us a brief history lesson of recent years, the camera pulls away from an image of the Earth to recede into the space and silence of our solar system, the Milky Way, and other galaxies – only to conclude in the eye of a young girl, Ellie Arroway, who will grow up to be an astronomer and the film’s heroine.

“As Ron Mangid notes, the images of the journey through space are poetic recreations of the digitized images from the Hubble Space Telescope. Unlike other space journeys […] which visualise a forward movement and penetration into space, this one gives us the perspective of receding itno space, of viewing the universe as it rushes past us, ultimately to create the sense of the universe terminating in the girl’s mind. These 5,000 frames create a prolonged three-minute shot that appears to verify [the] thesis that in the midst of new technology and new spatial visions on the screen, filmic space is still under the control of the eyes and the mind of the viewer, a point underscored by the recognisable quattrocentro perspectives that structures the entire shot.”

Space and Beyond: The Frontier Theme in Science Fiction, by Gary Westfahl, Published by Greenwood Publishing Group, 2000. P 74.