Creepy stuff

Who runs http://www.vroomfondel.co.uk? Also, why do they keep scanning through my blog? They do so through this page and seem particularly interested in anything involving NatWest: the bank where I foolishly opened an international student account.

Is anyone else getting several hits a day from these people? I don’t know who they are, but their URL is registered at the following address:

c/o Net Rank
Suite 1c, Western Way,
Exeter,
Devon
EX1 2DE
GB

Suffice it to say, I do not appreciate their attentions, at least so long as I don’t know who they are or what they are doing. If you run your own server, it is easy enough to ban people referred directly from their strange login site. Just add this to your .htaccess file:

RewriteCond %{HTTP_REFERER} vroomfondel\.co.uk [NC]
RewriteRule .* – [F]

Depending how automated the system is, that might foil it. If it is run by a group of people working through that portal, they will be able to find another way to access your site, regardless of the above addition to your .htaccess file.

More trimethylxanthine considerations

While Foosh Mints maintain my energetic support, I feel rather differently about Boots’ ‘feel the difference’ caffeine strips. Each pack includes 28 strips and each strip contains 8mg of caffeine (8% of one Foosh mint). Despite the much lower caffeine content, they taste rather more bitter and generally nasty. They are also slimy and loaded with artificial sweeteners, gelling agents, bulking agents, and glazing agents. Even at the price at which Boots seems to be trying to get rid of them (£1 for three packs), they are not worth it.

I confess to being intrigued by the prospect of caffeinated hot sauce.

Orbital booster idea

I had an idea several years ago that I think is worth writing up. It is for a system to lift any kind of cargo from a low orbit around a planet into a higher one, with no expenditure of fuel.

Design

The system consists of two carriers: one shaped like a cylinder with a hole bored through it and the other shaped like a cigar. The cigar must be able to pass straight through the hole in the cylinder. The two must have the same mass, after being loaded with whatever cargo is to be carried. This could be achieved by making the cylinder fairly thin, by making the cigar longer than the cylinder, or by having the latter denser than the former. Within the cavity of the cylinder are a series of electromagnets. Likewise, under the skin of the cigar. Around the cylinder is an array of photovoltaic panels. Likewise, on the skin of the cigar. Each contains a system for storing electrical energy.

In addition to these main systems, each unit would require celestial navigation capability: the ability to determine its position in space using the observation of the starfield around it, as modern nuclear warheads do. This would allow it to act independently of ground-based tracking or the use of navigation satellites. It would also require small thrusters with fuel to be used for minor orbital course corrections.

Function

The two objects start off in low circular or elliptical orbits, along the same trajectory but in opposite directions. Imagine the cylinder transcribing a path due north from the equator to the north pole and onwards around the planet, while the cigar transcribes the same path except in the opposite direction: heading southwards after it crosses the north pole. The two objects will thus intersect each time they complete a half-orbit.

As each vehicle circles the planet, it gathers electrical power from solar radiation using the attached photovoltaic panels. When the two orbits intersect, the electromagnets in the cigar and the cylinder are used so as to repel one another and increase the velocity of each projective, in opposite directions, by taking advantage of Newton’s third law of motion. Think of it being like a magnetically levitated train with a bit of track that gets pushed in the opposite direction, flies around the planet, and meets up with the train again. I warn you not to mock not the diagram of the craft! Graphic design is not my area of expertise. Obviously, it is not to scale.

The orbits

Diagram of successive orbits - By Mark Cummins

The diagram above demonstrates the path that one of the craft would take (see the second update below for more explanation). The dotted circle indicates where the two craft will meet for the first time, following the initial impulse. At that point, you could either project up to a higher elliptical orbit or circularize the orbit at that point. This process can be repeated over and over. Here is a version showing both craft, one in red and the other in brown. See also, this diagram of the Hohmann transfer orbit for the sake of comparison. The Hohmann transfer orbit is a method of raising a payload into a higher orbit using conventional thrusters.

The basic principle according to which these higher orbits are being achieved is akin to one being a bullet and the other being the gun. Because they have equal mass, the recoil would cause the same acceleration on the gun as it did on the bullet; they would start moving apart at equal velocity, in opposite directions. Because they can pass through one another, the ‘gun’ can be fired over and over. Because the power to do so comes from the sun, this can happen theoretically take place an infinite number of times, with a higher orbit generated after each.

Because each orbit is longer, the craft would intersect less and less frequently. This would be partially offset by the opportunity to collect more energy over the course of each orbit, for use during the boosting phase.

As such, orbit by orbit, the pair could climb farther and farther out of any gravity well in which it found itself: whether that of a planet, asteroid, or a star. Because the electromagnets could also be used in reverse, to slow the two projectiles equally, it could also ‘climb down’ into a lower orbit.

Applications

On planets like Earth, with thick atmospheres, such a system could only be used to lift payloads from low orbits achieved by other means to higher orbits. The benefit of that could be non-trivial, given that a low orbit takes place at about 700km and a geostationary orbit as used for communication and navigation satellites is at 35,790 km. Raising any mass to such an altitude requires formidable energy, despite the extent to which Earth’s gravity well becomes (exponentially) less powerful as the distance from the observer to the planet increases.

A system of such carriers could be used to shift materials from low to high orbit. The application here is especially exciting in airless or relatively airless environments. Ores mined from somewhere like the moon or an asteroid could be elevated in this way from a low starting point; with no atmosphere to get in the way, an orbit could be maintained at quite a low altitude above the surface.

Given a very long time period, such a device could even climb up through the gravity well that surrounds a star.

Problems

The first problem is one of accuracy. Making sure the two components would intersect with each orbit could be challenging. The magnets would have to be quite precisely aligned, and any small errors would need to be fixed so the craft would intersect properly. Because of sheer momentum, it would be an easier task with more massive craft. More massive vehicles would also take longer to rise in the gravity well through successive orbits, but would still require no fuel do so, beyond a minimal amount for correctional thrusters, which could be part of the payload.

Another problem could be that of time. I have done no calculations on how long it would take for such a device to climb from a low orbit to a high one. For raw ores, that might not matter very much. For satellite launches, it might matter rather more.

Can anyone see other problems?

[Update: 7:26pm] Based on my extremely limited knowledge of astrophysics, it seems possible the successive orbits might look like this. Is that correct? My friend Mark theorizes that it would look like this.

[Update: 11 August 2006] Many thanks to Mark Cummins for creating the orbital diagram I have added above. We are pretty confident that this one is correct. He describes it thus: “your first impulse sends you from the first circle into an elliptical orbit. When your two modules next meet, (half way round the ellipse), you can circularize your orbit and insert into the dotted circle, or you can keep “climbing”, an insert into a larger ellipse. Repeat ad infinitum until you are at the desired altitude, then circularize.”

Power conservation through geothermal temperature regulation

For those concerned about climate change or dependency on foreign energy, a home geothermal heating and cooling system may be just the ticket. Such systems take advantage of how the temperature is relatively constant underground, whether it is overly hot at the surface or overly cold. As such, it can be used to heat in the winter and cool in the summer, while using only a minimal amount of energy to carry out the heat exchange. While this is a pretty expensive thing to install in a single existing house after the fact, it seems plausible that it could be scaled in ways that make it economically viable in a good number of environments.

If electricity, oil, and gas really started to get expensive, you would start seeing a lot more such systems. Another example is the pipelines that draw cold water from the bottom of Lake Superior to cool office towers in Toronto during the summer.

Conservation may not be as technologically engrossing as genetically modified biofuels and hydrogen fuel cells, but it is definitely a proven approach.

The awesome power of exponential growth

This blog now has 1/5000th as many registered users as Wikipedia. That may sound trivial, but it should be noted that at the present rate of growth (12.5% per day – welcome Mark), we should have one million in just 99.5 days (by November 13th).

In just 174 days or so, all 6.5 billion human inhabitants of the Earth should have signed up. Don’t be the last!

On audio compression

In the last few days, I have been reading and thinking a lot about audio compression.

Lossy v. lossless compression

As most of you will know, there are two major types of compression: lossless and lossy. In the first case, we take a string of digital information and reduce the amount of space it takes to store without actually destroying any information at all. For example, we could take a string like:

1-2-1-7-3-5-5-5-5-5-5-5-5-5-5-5-5-5-2-2-2-3-4

And convert it into:

1-2-1-7-3-5(13)-2(3)-3-4

Depending on the character of the data and the kinds of rules we use to compress it, this will result in a greater or lesser amount of compression. The upshot is that we can always return the data to its original state. If the file in question is an executable (a computer program), this is obviously required. A file that closely resembles Doom, as a string of bits, will nonetheless probably not run like Doom (or at all).

Lossless compression is great. It allows us, for instance, to go back to the original data and then manipulate it with as much freedom as we had to begin with. The cost associated with that flexibility is that files compressed in lossless compression are larger than those treated with lossy compression. For data that is exposed to human senses (especially photos, music, and video), it is generally worthwhile to employ ‘lossy’ compression. A compact disc stores somewhere in the realm of 700MB of data. Uncompressed, that would take up an equivalent amount of space on an iPod or computer hard drive. There is almost certainly some level of lossy compression at which it would be impossible for a human being with good ears and the best audio equipment to tell if they were hearing the compressed or uncompressed version. This is especially true when the data source is CDs, which have considerable limitations of their own when it comes to storing audio information.

Lossy compression, therefore, discards bits of the information that are less noticeable in order to save space. Two bits of sky that are almost-but-not-quite the same colour of blue in an uncompressed image file might become actually the same colour of blue in a compressed image file. This happens to a greater and greater degree as the level of compression increases. As with music, there is some point where it is basically impossible to distinguish the original uncompressed data from a compressed file of high quality. With music, it might be that a tenth of a second of near silence followed by a tenth of a second of the slightest noise becomes a twentieth of a second of near silence.

MP3 and AAC are both very common kinds of music compression. Each can be done at different bit-rates, which determines how much data is used to represent a certain length of time. Higher bit rates contain more data (which one may or may not be able to hear), while lower bit rates contain less. The iTunes standard is to use 128-bit AAC. I have seen experts do everything from utterly condemn this as far too low to claim that at this level the sound is ‘transparent:’ meaning that it is impossible to tell that it was compressed.

But what sort to use, exactly?

Websites on which form of compression to use generally take the form of: “I have made twenty five different versions of the same three songs. I then listened to each using my superior audio equipment and finely tuned ear and have decided that X is the best sort of compression. Anyone who thinks you should use something more compressed than X obviously doesn’t have my fine ability to discern detail. Anyone who wants you to use more than X is an audiophile snob who is more concerned about equipment than music.”

This is not a very useful kind of judgment. Most problematically, the subject/experimenter knows which track is which, when listening to them. It has been well established that taking an audio expert and telling them that they are listening to a $50,000 audiophile quality stereo will lead to a good review of the sound, even if they are really listening to a $2,000 system. (There are famous pranks where people have put a $100 portable CD player inside the case for absurdly expensive audio gear and passed the former off as the latter to experts.) The trouble is both that those being asked to make the judgement feel pressured to demonstrate their expertise and that people actually do perceive things which they expect to be superior as actually being so.

Notoriously, people who are given Coke and Pepsi to taste are more likely to express a preference for the latter if they do not know which is which, but for the former when they do. Their pre-existing expectations affect the way they taste the drinks.

What is really necessary is a double-blinded study. We would make a large number of versions of a collection of tracks with different musical qualities. The files would then be assigned randomized names by a group that will not communicate with either the experimenters or the subjects. The subjects will then listen to two different versions of the same track and choose which they prefer. Each of these trials would produce what statisticians call a dyad. Once we have hundreds of dyads through which to compare versions, we can start to generate statistically valid conclusions about whether the two tracks can be distinguished, and which one is perceived as better. On the basis of hundreds of such tests, in differing orders, we would gain knowledge about whether a certain track is preferred on average to another.

We would then analyze those frequencies to determine whether the difference between one track (say, 128-bit AAC) and another (say, 192-bit AAC) is statistically significant. I would posit that we will eventually find a point where people are likely to pick one or the other at random, because they are essentially the same (640-bit AAC v. 1024-bit AAC, for instance). We therefore take the quality setting that is lowest, but still distinguishable from the one below based on, say, a 95% confidence level and use that to encode our music.

This methodology isn’t perfect, but it would be dramatically more rigorous than the expertly-driven approach described above.

Geekiest joke ever

A group of functions are having a party: everyone dancing and having a good time, with the sole exception of a single f(x)=ex who is standing off in the corner by himself. Another function approaches him, hoping to help him enjoy himself more, and asks: “Why don’t you try to integrate?”

In response, the f(x)=ex says dejectedly: “I know it won’t make any difference.”

-100 points to Kathleen for providing the joke that effectively won the geeky joke contest that extended across the whole Scotland trip.

You think you’re so clever, but you forget about the VAT

So much for saving money by using price differences between the US and UK version of Amazon. Today, I received not my headphones, but the duty bill for them:

Cost of headphones from Amazon.com: US$75 (C$85) (£40)
Shipping from USA to UK: US$26 (C$29)
UK Value Added Tax: £12 (C$25)
UK Parcelforce Clearance Fee: £14 (C$30)
Total: C$169 (Ack! Ack!)
Delivery time: about five weeks

Cost on Amazon.co.uk (with all taxes and shipping): £74 (C$156)
Delivery time: 4-6 days

In any case, I suppose I will cycle the five miles or so out to Kidlington (where the depot is) to pick them up either after my tutorials today or tomorrow. Many thanks to Jessica for her help with the ungainly trans-shipment process above.

The moral of the story: ye who think you can get $160 headphones for $85 are probably mistaken.

[Update: 9:01pm] I rode the six and a half miles to the pickup depot. I paid the $100 in taxes. I put in the headphones with the flanged eartips… and was disappointed. It sounded more precise than the default iPod earphones, but not enormously better. An hour later, I tried the foam eartips and I understood. Tori has never sounded more astounding. If it keeps up for a few years, the Etymotic ER6i headphones will have been worth every cent.

[Update: 2 August] It should be further noted that the Etymotic customer service people are unusually polite and helpful. I wanted to order the larger flanged tips to see if they work as well as the medium foam tips. There was no time spent on hold at all, and I was immediately put in touch with someone who is going to send me the large flanged eartips internationally for free. Such things are always pleasant surprises.

[Update: 8 August] I got the larger and smaller alternative eartips for the Etymotics today. The large flanged ones work much better than the normal flanged ones, but don’t sound quite as good as the normal foam eartips. That said, the normal foam ones get somewhat gross quite quickly and are hard to clean. I think I will mostly stick with the large flanged eartips.

[Update: 30 January 2007] I had a few minutes of abject panic today, when it seemed that the right earbud in my pair of excellent but expensive Etymotic ER6i headphones had dropped to 10% of its original volume. I had been listening for a few straight hours, working on a paper, and found myself wondering why the song I was listening to was so biased to the left. Thankfully, when I called their very helpful tech support people, we realized that it was just a clogged filter. I replaced it with one of the replacements included in the original set and all is well. (Actually, the right side is a bit louder now, but the filters are $2.50 each and I should wait until the other is more clogged).

Something to try over the weekend: cryptography by hand

For about three and a half hours tonight, I awaited essays from next month’s tutorial students in the MCR. Having exhausted what scaps of newspaper were available, I fell back to reading a copy of Dan Brown’s Da Vinci Code, abandoned by some departed grad student.

Two hundred and sixty pages in, and unlikely to proceed enormously further, I note somewhat pedantically that there have been no codes presented. At best, there have been a series of riddles. The book would be interesting for its historical asides, if I could consider them credible.

Rather than go on about that, I thought I would write an incredibly brief primer on how to actually encrypt a message:

Crypto by hand

In the next few paragraphs, I will show you how to use a simple cryptographic device called a transposition cipher. If you really want to learn it, follow along with a pen and paper. As ciphers go, it is very weak – but it is easy to understand and learn. For starters, we need a secret message. The following is hardly secret, but it will do for a demonstration:

“DAN BROWN IS A DUBIOUS HISTORIAN”

Next, we need an encryption key. For this type of cipher, we need two or more English words that do not use any letter more than once. It is quicker if they have the same number of letters, but I will use two with different numbers of letters to demonstrate the process:

“DUBLIN PINT”

Write the first word of the key onto a piece of paper, with a bit of space between each letter and plenty of space below:

“D U B L I N”

Now, add numbers above the letters, corresponding to their order in the alphabet:

“2 6 1 4 3 5
D U B L I N”

Now, add your message (hereafter called the plaintext) in a block under. If necessary, fill out the box with garble or the alphabet in order:

“2 6 1 4 3 5
D U B L I N
D A N B R O
W N I S A D
U B I O U S
H I S T O R
I A N A B C”

Note how each word of the first keyword now has a column of text underneath it. Starting with the first column in the alphabetical ordering (B, in this case) copy out the column, starting at the top, as a string of text. Make sure you understand what is happening here before you go on. The first column, read downwards is:

NIISN

Now, add to that string the other columns, read from top to bottom, in alphabetical order. You can leave spaces to make it easier to check:

NIISN DWUHI RAUOB BSOTA ODSRC ANBIA

Clearly, each column section should have the same number of letters in it. Make sure you’ve got the transcription right before going on. Note that the string above is the same letters as are in the original message, just jumbled. As such, this system isn’t smart to use for very short messages. People will realize fairly quickly that “MKLLINAIL” could mean “KILL MILAN.”

Moving right along…

Take the strong you generated a moment ago, and put it into a block just like the one you made with the first keyword, except with the second keyword. This time, if you need letters to fill out the rectangle, make sure to use the alphabet in order. You will need to remove the excess letters when working backwards to decrypt, so you may as well make it easier.

“3 1 2 4
P I N T
N I I S
N D W U
H I R A
U O B B
S O T A
O D S R
C A N B
I A A B”

Now we have the message even more jumbled. The final encryption step is simply to copy each column in that grid out, from top to bottom, in alphabetical order according to the second keyword:

IDIOODAA IWRBTSNA NNHUSOCI SUABARBB

Note: the shorter the key, the longer each column will be. The above string is your encrypted text (called cyphertext). This final version is a jumble of the letters in the original message. Remove the spaces to make it harder to work out how long the last keyword is. If you like, you can use that put that string through a grid with another word. Each time you do that, you make the message somewhat harder to crack, though it obviously takes longer to either encode or decode.

To pass on the message, you need to give someone both the cyphertext and the key. This should be done by separate means, because anyone who has both can work out what kind of cipher you used and break your code. The mechanisms of key exchange and key security are critical parts of designing cryptographic systems – the weakest components of which are rarely the algorithms used to encrypt and decrypt.

To decode it, just make grids based on your keywords and fill them in by reversing the transcription process described above. I am not going to go through it step by step, because it is exactly the same, only backwards.

If anyone finds out about the credibility of Mr. Brown’s historical credentials, it won’t be my fault.

One word of warning: this system will not keep your secrets secure from the CIA, Mossad, or even Audrey Tautou. This cipher is more about teaching the basics of cryptography. If you want something enormously more durable that can still be done by hand, have a look at the Vignere Cipher.

PS. It is rumored that this very blog may contain a tool that automates one form of Vignere encryption and decryption. Not that it is linked in the sidebar or anything…

[Update: 27 July] Those who think they have learned the above ciper can try decrypting the following message:

BNTAFREEHOOI-LTOSIRISOTWD-FTNWAOEYSOXT-ERASEAAAKGVE

The segment breaks should make it a bit easier. The key is:

SCOTLAND HIKE

Good luck, and please don’t post the plaintext as a comment. Let others who want to figure it out do so.

Strange and annoying WordPress bug

I am abandoning the What You See is What You Get (WYSIWYG) editor that is built into WordPress (they call it the ‘visual rich editor’). It has the extremely nasty habit of randomly inserting literally hundreds of [em] tags and [/em] tags into pages with complex formatting, such as my academic C.V. Usually, it closes every tag that it randomly opens, so the formatting isn’t visibly affected. As soon as you try to change some small thing, however, everything goes insane. Going back through and fixing all of these mangled pages is a big pain.

WordPress also has serious trouble dealing with [p] tags and line breaks.

I hope the cause behind this was identified in the recent bug hunt and will not trouble people after the next major release.