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Cinema’s original canons were based on a small number of works most highly esteemed by archivists and historians. But access to the history of film has been dramatically expanded by digital media, as have debates between those arguing from different premises.
Highly energetic particles from outer space travelling at the speed of light, known as cosmic rays, originate from the sites of extreme particle acceleration in the Universe.
Canons of taste and value in other media, such as literature, art and music, have been challenged in recent decades by proponents of sexual and ethnic equality.
When light is dispersed into its constituent colours, it can become possible to discern rich dynamical information about an evolving system in space, for example cosmic explosions, collisions or accelerations.
In 1930, the great physicist Wolfgang Pauli invented a new particle to save the principle of energy conservation in certain radioactive decays he was studying.
For nearly seventy years, what might be called ‘the canon’ of greatest films has been arbitrated by an international poll of critics delivering a ‘ten best’ list every decade, published in the BFI’s Sight & Sound.
China’s media provide a window into the Chinese mind, as the country asserts itself in the world as a great power. What do Chinese people think is the purpose of life? What matters most to them? In what do they believe? How do officials and journalists explain their responsibilities?
Over the last 30 years, digital technology produced an exponential increase in astronomical data. Within our lifetime, the entirety of the visible universe will have been mapped out: we will have seen everything there is to see. The question will then be: what does it all mean?
Accounts of occasional celestial spectacular events in past centuries have provided crucial information for modern-day astrophysicists. One such example is the so-called Great Eruption of Eta Carinae which was for a time in the mid 19th century the third brightest object in the night sky.