“Hoy, Johnny, still got that particle inna box?”
“Sure do, Jessie.”
“So where’s hit in there?”
“Me Pap says hit’s spread-out like but hit’s mostly inna middle.”
“Why’s hit spread then?”
“The more I taps the box, the wider hit spreads. Sommat to do wiff energy.”

Newton would have answered Jessie’s question by saying, sort of, “Pick a point anywhere in the box. The probability that the particle is at that point is equal to the probability that it’s at any other point.” 
Quantum physicists take a different approach. They start by saying, “We know there’s zero probability that the particle is anywhere outside of the box, so there must be zero probability that it’s exactly at any wall.”
Now for a trick that we’re actually quite used to. When you listen to an orchestra, you can usually pick out the notes being played by a particular instrument. Someone blessed/cursed with perfect pitch can tell when a note is just a leetle bit flat, say an A being played at 438 cycles instead of 440. You can create any sound by mixing together the right frequencies in the right proportion. That’s how an MP3 recorder does it.
QM solutions use that strategy the other way round. They calculate probabilities by adding together sets of symmetric elementary shapes, all of which are zero at certain places, like the box walls. For instance, on average Johnnie’s particle will be near the middle of his box, so we start a set with an orange mound of probability right there. That mound is like our base frequency — it has no nodes, no non-wall places where the probability is zero.
Then we add a first overtone, the one-node yellow shape that represents equal probability on either side of a plane of zero probability.
Two nodal planes at right angles give us the four-peaked green shape. Further steps up have more and more nodal planes (cyan then blue, and so on). The video shows the running total up to 46 nodes.
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As we add more nodes, the cumulative shape gets smoother and broader. After a huge number of steps, the sum will look pretty much like Newton’s (except for right at the walls, of course).
So if the classical and QM boxes wind up looking the same, why go to all that trouble? Because those nodes don’t come for free.
Suppose you’re playing goalie in an inverse tennis game. There’s a player in each service box. Your job is to run the net line using your rackets to prevent either player from getting a ball into the opposing half-court. Basically, you want the ball’s locations to look like the single-node yellow shape up above. You’ll have to work hard to do that.
Now suppose they give you a second, crosswise net (the green shape). You’re going to have to work twice as hard. Now add a third net, and so on … each additional nodal plane is going to be harder (cost more energy) to keep empty. Not a problem if you have an infinite amount of energy.
Enter Planck and Einstein. They showed there’s a limit for small systems like atoms and molecules. Electrons dash about in atom- or molecule-shaped boxes, but the principle is the same. The total probability distribution is still the sum of bounded elementary shapes. However, you can’t use an infinite number of them. Rather, you start with the cheapest shapes (the fewest nodes) and build upward.
Tally two electrons for each shape you use. Why two? Because that’s the rule, no arguments.
It’s important to realize that QM does NOT say that two specific electrons occupy one shape. All the charge is spread out over all the shapes — we’re just keeping count.
When you run out of electrons the accumulated model shows everything we can know about the electronic configuration. You won’t know where any particular electron is, but you’ll know where some electron spends some time. For a chemist that’s the important thing — the peaks and nodes, the centers of negative and positive charge, are the most likely regions for chemical reactions to happen.
Johnnie’s energetic taps make his particle boldly go where no particle has gone before.
~~ Rich Olcott









I was only 10 years old but already had Space Fever thanks to Chesley Bonestell’s artwork in Collier’s and Life magazines. I eagerly joined the the movie theater ticket line to see George Pal’s Destination Moon. I loved the Woody Woodpecker cartoon (it’s 12 minutes into the 



Their common experimental strategy sounds simple enough — compare two beams of light that had traveled along different paths





Of all the wave varieties we’re familiar with, gravitational waves are most similar to (NOT identical with!!) sound waves. A sound wave consists of cycles of compression and expansion like you see in this graphic. Those dots could be particles in a gas (classic “sound waves”) or in a liquid (sonar) or neighboring atoms in a solid (a xylophone or marimba).
Einstein noticed that implication of his Theory of General Relativity and in 1916 predicted that the path of starlight would be bent when it passed close to a heavy object like the Sun. The graphic shows a wave front passing through a static gravitational structure. Two points on the front each progress at one graph-paper increment per step. But the increments don’t match so the front as a whole changes direction. Sure enough, three years after Einstein’s prediction, Eddington observed just that effect while watching a total solar eclipse in the South Atlantic.
We’re being dynamic here, so the simulation has to include the fact that changes in the mass configuration aren’t felt everywhere instantaneously. Einstein showed that space transmits gravitational waves at the speed of light, so I used a scaled “speed of light” in the calculation. You can see how each of the new features expands outward at a steady rate.
A wave happens in a system when a driving force and a restoring force take turns overshooting an equilibrium point AND the away-from-equilibrium-ness gets communicated around the system. The system could be a bunch of springs tied together in a squeaky old bedframe, or labor and capital in an economic system, or the network of water molecules forming the ocean surface, or the fibers in the fabric of space (whatever those turn out to be).
An isolated black hole is surrounded by an intense gravitational field and a corresponding compression of spacetime. A pair of black holes orbiting each other sends out an alternating series of tensions, first high, then extremely high, then high…
Almost a century later, James Clerk Maxwell (the bearded fellow at left) wrote down his electromagnetism equations that explain how light works. Half a century later, Einstein did the same for gravity.
Gravitodynamics is completely unlike electrodynamics. Gravity’s transverse “force” doesn’t act to move a whole mass up and down like Maxwell’s picture at left. Instead, as shown by Einstein’s picture, gravitational waves stretch and compress while leaving the center of mass in place. I put “force” in quotes because what’s being stretched and compressed is space itself. See 
The experiment consists of shooting laser beams out along both arms, then comparing the returned beams.