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...famed Michelson-Morley experiment of 1887, in which perpendicular beams of light were raced against each other, seemed to show that a light-carrying ether pervading all space did not exist. Fitzgerald, Larmor and Lorentz shored up the collapsing ether-concept by showing-theoretically-that a moving body must contract slightly in the direction of motion, that a moving clock would therefore slow down. Though imperceptible except at speeds approaching light's velocity (186,000 mi. per sec.), these changes would affect a Michelson-Morley apparatus just enough to cancel any possible observation of the ether-drift-by altering...

Author: /time Magazine | Title: Science: Atomic Clocks | 5/9/1938 | See Source »

...Einstein's Relativity (1905-15) the ether was discarded as an unnecessary hypothesis. The Fitzgerald-Larmor-Lorentz effects were incorporated into Relativity theory, not as a consequence of absolute motion through a stagnant ether but as an effect of relative motion. If two observers are moving relative to each other, each one would find, checking by his own timepiece, that the other's clock was running slow...

Author: /time Magazine | Title: Science: Atomic Clocks | 5/9/1938 | See Source »

...thrives on U. S. excursionists who have fun sending home Hell-marked postcards.† Situated on hilly ground, Hell (the Norwegian word for luck or slope) maintains two churches but no fire department, has cool summers, bitterly cold winters, sometimes freezes over completely. Last week mild-mannered, blue-eyed Lorentz Stenvig, mayor of Hell, arrived in Manhattan as the guest of publicity-wise Robert ("Believe It or Not") Ripley, gave the press a chance to make free use of naughty expressions. Sample: chided by Host Ripley for bringing Manhattan a heat wave, Mayor Stenvig replied: "Why, it's hotter...

Author: /time Magazine | Title: People, Apr. 25, 1938 | 4/25/1938 | See Source »

What Artist Earle crossed the U. S. to see was not city life but countryside. Result: a sheaf of landscapes remarkable for their suggestion of distances, land masses and weather moods, a soft poem of U. S. mountains as Pare Lorentz' documentary movie, The River (TIME, Nov. 8), is a hard poem of U. S. rivers. In Desert Near Santa Fe he caught with a series of fine washes, quickly dried with the brush, the 90-mile, lucent light of the Southwest; in Color Splendor he framed the broad Shenandoah Valley. Critics who doubt the permanency of soft poems...

Author: /time Magazine | Title: Art: Water-Colorists | 3/7/1938 | See Source »

Brother Stacy Woodard, recently head photographer for Pare Lorentz' The River (TIME, Nov. 8), became interested in motion pictures while studying zoology at the University of Arizona, has since filmed animals from amoebas to whales. He and Brother Horace spent a year in Mexico filming Chico, his peon father, innumerable animal actors: tanklike armadillos, ridiculously funny honey bears, a lion making a kill, deer Walt Disney might have drawn. The film has a hybrid dramatic content: It is a touching, entertaining mixture of the most sentimental Silly Symphonies, the most thumping Westerns...

Author: /time Magazine | Title: Animals: Feathered Matador | 3/7/1938 | See Source »

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