#Kronos like that’s another key point!!! that’s HUGE

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So like,,, we’re not just going to ignore the fact that the hellhound getting into camp was a key point in the book, right?

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Devourer of planets? Princeton Astronomers dub star 'Kronos'

In mythology, the Titan Kronos devoured his children, including Poseidon (better known as the planet Neptune), Hades (Pluto) and three daughters.

So when a group of Princeton astronomers discovered twin stars, one of which showed signs of having ingested a dozen or more rocky planets, they named them after Kronos and his lesser-known brother Krios. Their official designations are HD 240430 and HD 240429, and they are both about 350 light years from Earth.

The keys to the discovery were first confirming that the widely separated pair are in fact a binary pair, and secondly observing Kronos' strikingly unusual chemical abundance pattern, explained Semyeong Oh, a graduate student in astrophysical sciences who is lead author on a new paper describing Kronos and Krios. Oh works with David Spergel, the Charles A. Young Professor of Astronomy on the Class of 1897 Foundation and director of the Flatiron Institute's Center for Computational Astrophysics.

Other co-moving star pairs have had different chemistries, Oh explained, but none as dramatic as Kronos and Krios.

Most stars that are as metal-rich as Kronos "have all the other elements enhanced at a similar level," she said, "whereas Kronos has volatile elements suppressed, which makes it really weird in the general context of stellar abundance patterns."

In other words, Kronos had an unusually high level of rock-forming minerals, including magnesium, aluminum, silicon, iron, chromium and yttrium, without an equally high level of volatile compounds -- those that are most often found in gas form, like oxygen, carbon, nitrogen and potassium.

Kronos is already outside the galactic norm, said Oh, and in addition, "because it has a stellar companion to compare it to, it makes the case a little stronger."

Kronos and Krios are far enough apart that some astronomers have questioned whether the two were in fact a binary pair. Both are about 4 billion years old, and like our own, slightly older sun, both are yellow G-type stars. They orbit each other infrequently, on the order of every 10,000 years or so. An earlier researcher, Jean-Louis Halbwachs of the Observatoire Astronomique of Strasbourg, had identified them as co-moving -- moving together -- in his 1986 survey, but Oh independently identified them as co-moving based on two-dimensional astrometric information from the European Space Agency's Gaia mission.

During a group research discussion at the Flatiron Institute, a colleague suggested pooling their data sets. John Brewer, a postdoctoral researcher from Yale University visiting at Columbia University, had been using data from the Keck Observatory on Mauna Kea, Hawaii, to calculate the spectrographic chemistries and radial velocities of stars.

"John suggested that maybe we should cross-match my co-moving catalogue with his chemical-abundance catalogue, because it's interesting to ask whether they have the same compositions," Oh said.

Binary stars should have matching radial velocities, but that information hadn't been available in the Gaia dataset, so seeing their matching velocities in Brewer's data supported the theory that Kronos and Krios, though two light years apart, were a binary set.

Then the researchers noticed the extreme chemical differences between them.

"I'm very easily excitable, so as soon as they had the same radial velocities and different chemistry, my mind already started racing," said Adrian Price-Whelan, a Lyman Spitzer, Jr. Postdoctoral Fellow in Astrophysical Sciences and a co-author on the paper.

Oh took more convincing, both scientists recalled. "Semyeong is careful and was skeptical," said Price-Whelan, so her first step was to double-check all the data. Once simple error had been ruled out, they began entertaining various theories. Maybe Kronos and Krios had accreted their planetary disks at different times during stellar formation. That one can't be tested, said Price-Whelan, but it seems unlikely.

Maybe they only started moving together more recently, after trading partners with another pair of binary stars, a process known as binary exchange. Oh ruled that out with "a simple calculation," she said. "She's very modest," Price-Whelan noted.

Oh's skepticism was finally overcome when she plotted the chemical abundance pattern as a function of condensation temperature -- the temperatures at which volatiles condense into solids. Condensation temperatures play a key role in planetary formation because rocky planets tend to form where it's warm -- closer to a star -- while gas giants form more easily in the colder regions far from their star.

She immediately observed that all of the minerals that solidify below 1200 Kelvin were the ones Kronos was low in, while all the minerals that solidify at warmer temperatures were abundant.

"Other processes that change the abundance of elements generically throughout the galaxy don't give you a trend like that," said Price-Whelan. "They would selectively enhance certain elements, and it would appear random if you plotted it versus condensation temperatures. The fact that there's a trend there hinted towards something related to planet formation rather than galactic chemical evolution."

That was her "Aha!" moment, Oh said. "All of the elements that would make up a rocky planet are exactly the elements that are enhanced on Kronos, and the volatile elements are not enhanced, so that provides a strong argument for a planet engulfment scenario, instead of something else."

Oh and her colleagues calculated that gaining this many rock-forming minerals without many volatiles would require engulfing roughly 15 Earth-mass planets.

Eating a gas giant wouldn't give the same result, Price-Whelan explained. Jupiter, for example, has an inner rocky core that could easily have 15 Earth masses of rocky material, but "if you were to take Jupiter and throw it into a star, Jupiter also has this huge gaseous envelope, so you'd also enhance carbon, nitrogen -- the volatiles that Semyeong mentioned," he said. "To flip it around, you have to throw in a bunch of smaller planets."

While no known star has 15 Earth-sized planets in orbit around it, the Kepler space telescope has detected many multi-planet systems, said Jessie Christiansen, an astronomer at the NASA Exoplanet Science Institute at the California Institute of Technology, who was not involved in the research. "I see no problem with there being more than 15 Earth masses of accretable material around a solar-type star." She pointed to Kepler-11, which has more than 22 Earth masses of material in six planets with close orbits, or HD 219134, which has at least 15 Earth masses of material in its inner four planets.

"At the moment, we are still at the stage of piecing together different observations to determine how and when exoplanets form," said Christiansen. "It's difficult to directly observe planet formation around young stars -- they are typically shrouded in dust, and the stars themselves are very active, which makes it hard to disentangle any signals from the planets. So we have to infer what we can from the limited information we have. If borne out, this new window onto the masses and compositions of the material in the early stages of planetary systems may provide crucial constraints for planet formation theories."

The research also has implication for stellar formation models, noted Price-Whelan.

"One of the common assumptions -- well-motivated, but it is an assumption -- that's pervasive through galactic astronomy right now is that stars are born with [chemical] abundances, and they then keep those abundances," he said. "This is an indication that, at least in some cases, that is catastrophically false."

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Titanium dioxide Market to Witness Huge Growth by 2030

The latest industry intelligence research on the Titanium Dioxide Market offers a repository of valuable data on the size, share, and growth rate of the Titanium Dioxide market for the forecast period, 2019 – 2030. The study includes valuable data, including the breakdown of information of market by type, geography, product application and classification.

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Market Industry Reports (MIR) has published a new report titled “Titanium Dioxide Market – Global Industry Analysis, Size, Share, Growth, Trends, and Forecast, 2019–2030.” According to the report, the global titanium dioxide market was valued at over US$ 14.0 Bn in 2018 and is anticipated to grow at a healthy CAGR during the forecast period of 2019-2030.

Key Players

Kronos Worldwide, Inc., The Chemours Company, Tronox Limited, and Huntsman Corp., are the dominant players operating in this market. Evonik Industries, Cristal and E. I. du Pont de Nemours and Company are some of the other prominent players operating in the market. Partnerships and mergers and acquisitions are the two key strategies adopted by the players present in this market.

Growing Demand from the Cosmetics Industry  

Surging demand for cosmetics products is another factor driving the Titanium dioxide market growth. The cosmetic market is witnessing growth owing to rise in purchasing power of the consumers, and increasing awareness regarding self-grooming. Titanium dioxide is used as a pigment and thickener in face creams. Moreover, owing to its UV absorption characteristics it is also used in sunscreen products. With growing cosmetic industry, the demand for titanium dioxide is also expected to rise concomitantly.

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Market Restraint

Due to its carcinogenic effects titanium dioxide is highly regulated. Stringent government guidelines are one of the critical factors hindering the market growth. Income Recognition and Asset Classification (IRAC) has classified it under 2B carcinogens category. Furthermore, high cost of titanium dioxide is another major factor curbing the market growth across the globe.

Key points of Table of Content

INTRODUCTION

RESEARCH METHODOLOGY

ABSTRACT OF THE STUDY

MARKET DYNAMICS ASSESMENT

UNIQUE SELLING PROPOSITIONS (USPs)

MARKET – ANALYSIS & FORECAST, BY PRODUCT

MARKET – ANALYSIS & FORECAST, BY APPLICATION

MARKET – ANALYSIS & FORECAST, BY REGION

COMPETETIVE LANDSCAPE

COMPANY PROFILES (Business Overview, Products & Services Offered, Financial Performance, R&D Intensity, Marketing & Sales Intensity, Recent Developments, Analyst Corner)

It is generally realized that Titanium dioxide or titania has a wide scope of uses because of its novel properties like its enemy of destructive properties, high strength, and its high refractive file. It discovers its application in printing inks, substance strands bundling, elastic, development, and water tanks; it is likewise utilized in covering and painting applications. The widening use of titanium dioxide as a material in sunlight based photovoltaic (PV) is giving producers working in this market another chance.

Read full report on Titanium dioxide market @ https://www.marketindustryreports.com/checkout/59

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In the Frame: Five NFB Projects to Watch in 2019

2018 has ended on a high note for the NFB. Two NFB productions have made it onto TIFF’s prestigious Top Ten list — Patrick Bouchard’s masterful stop motion animation The Subject (Le Sujet) and Christy Garland’s Palestine-set coming-of-age story What Walaa Wants, a Murmur Media/Final Cut for Real/NFB co-production that’s set for theatrical run at the TIFF Bell LIghtbox.

Meanwhile 1999, Samara Chadwick’s meditation on collective grief, has been named one of the year’s best documentaries by POV Magazine, Elizabeth Hobb’s animated short I’m OK has nabbed a BAFTA nomination, and Animal Behaviour, the latest comic animation from David Fine and Alison Snowden, has been shortlisted for an Oscar.

In theatrical news, Jordan Tannahill’s experimental VR creation Draw Me Close is poised to open at the National Theatre’s Young Vic in the UK, and What is Democracy?, Astra Taylor’s red-hot film of the moment, has been named Movie of the Week by the Alliance of Women Film Journalists (AWFJ) as it kicks off its American run at New York City’s IFC Center.

2019 is shaping up to be another milestone year: on May 2 the NFB celebrates its 80th birthday. In the eight decades since it was established, Canada’s public producer has come to occupy a unique position within world cinema, distinguishing itself as a crucible for documentary and film animation — and more recently as a hub for creative experimentation in immersive/interactive media.

As the NFB enters its ninth decade, English Program studios are gearing up to release a slate of inspired and inventive new work — a line-up that includes a playful VR investigation of Artificial Intelligence; documentaries on food sovereignty and restorative justice; a lively movie essay on the state of contemporary journalism featuring Robert Fisk; and a record number of Indigenous-directed projects. Here are five to watch.

Throat: Tanya Tagaq Testifies

Tanya Tagaq is an inimitable force. Infusing the performance traditions of her people with startling new urgency, she cuts her own fierce and utterly distinct path through the world of contemporary music.

In a few short years, the Nunavut-born Tagaq has made searing solo albums like Animism and Retribution, collaborated with Bjork and the Kronos Quartet, won the Polaris Prize and other honours, authored a fictionalised coming-of-age-in-the-Arctic memoir called Split Tooth, and emerged as a passionate defender of Inuit culture.

Tagaq is now breathing life into a new project, a feature-doc called Throat that she’s creating in partnership with Chelsea McMullan, a filmmaker who turned heads at Sundance in 2014 with the NFB-produced My Prairie Home, a stylish profile of transgender performer Rae Spoon.

Sound will be key, and material captured at a 2017 concert at Toronto’s Trinity-St. Paul’s United Church provides the film with its spine. The shoot offered the NFB its first opportunity to work with Dolby Atmos, newly developed sound technology that can record as many as 128 separate tracks, offering a hugely expanded set of soundtrack options in post-production. The primary sound recordist on the shoot was Alex Unger, working with Marcus Matyas and Mark Wilson from the Ontario Studio, and a top-notch team from Tattersall Sound & Picture, the Toronto post-production house that created the soundtrack for My Prairie Home.

“Tanya and Chelsea are breaking new ground, experimenting with new ways of depicting performance on film,” says producer Lea Marin, who also produced My Prairie Home. “Sound is of utmost importance, and Jane Tattersall, Graham Rogers and their team are bringing invaluable expertise and dedication to the whole project.” Throat is co-created by director Chelsea McMullan and Tanya Tagaq, produced by Lea Marin, associate produced by Kate Vollum and executive produced by Anita Lee at the Ontario Studio. Sound design is by Tattersall Sound & Picture.

We Will Stand Up: Tasha Hubbard Reflects on the Life & Death of Colten Boushie

On August 9, 2016, Colten Boushie, a young Cree man from the Red Pheasant First Nation died after being shot in the head at point blank range. On February 9, 2018, Gerald Stanley, the Saskatchewan farmer who fired the gun, was found not guilty of his death.

The story has captured national attention, symbolizing the inequity and injustice that so often colours the relationship between Indigenous and non-Indigenous communities on the Canadian Prairies. With We Will Stand Up, filmmaker and scholar Tasha Hubbard (pictured in banner) turns her attention to the case.

“This is a region with a complicated and painful history when it comes to the treatment of Indigenous people,” she says. “I wanted to examine how that history resonates in the current context, where a farmer who shoots a young Indigenous man is acquitted of all charges. And I’m drawn to Colten’s family, the way they’ve sought justice not only for their loved one but for other Indigenous people too, right from the very beginning.”

“My own story is intertwined in the film,” says Hubbard. “I’m an Indigenous person who was adopted into a farming family and I’m dealing with very personal challenge: how do I raise my son in our own homelands, amongst people who insist that a farmer’s property is worth more than his life?”

Hubbard won a Gemini for Two Worlds Colliding, her exposé of Saskatoon’s infamous ‘starlight tours,’ whereby local police were abandoning Indigenous men in deadly winter conditions on the city outskirts. Birth of a Family, her film about the Sixties Scoop, made in collaboration with journalist Betty Ann Adam, has been hailed as a remarkable exercise in reparative filmmaking. The film premiered at Hot Docs in 2017, going on to win the Special Jury Prize at imagineNative.

We Will Stand Up is co-produced by Downstream Documentary Productions (Tasha Hubbard and George Hupka, producers) and the NFB’s North West Studio (Jon Montes and Bonnie Thompson, producers). Executive producers are Janice Dawe and Kathy Avrich-Johnson for Bizable Media and David Christensen for the NFB.

Sisterhood is powerful

The famous rallying cry assumes pointed and literal new meaning in Baljit Sangra’s Because We Are Girls, a remarkable portrait of sibling solidarity scheduled for a 2019 release.

Having kept silent for decades about their common experience of childhood sexual abuse, three sisters from a conservative South Asian family, motivated by the suspicion that their abuser is still active, resolve to seek justice in the courts — and challenge patriarchy at home.

Herself the daughter of Punjabi immigrants, director Baljit Sangra brings both nuance and deep empathy to the project, juxtaposing scenes of searing confrontation, as the family comes to grips with the taboo and trauma of sexual abuse, with moments that speak to her subjects’ resilience and tenacious life-affirming bond.

“This is a universal story, one of survival and overcoming adversity,” says Sangra. “It touches on questions of patriarchy, gender inequality and shame — but it also celebrates these women, their power and creativity, and their sense of justice.”

The founder of Vancouver’s Vivamantra Films and a seasoned documentarian, Sangra has directed powerful social-issue films like the NFB/Vivamantra co-production Warrior Boyz, an unflinching and compassionate foray into youth gang culture. With Because We Are Girls, she explores a painful and complex issue with surprising uplift, bringing an articulate new set of voices into the #MeToo conversation. Because We Are Girls is produced by Selwyn Jacob and executive produced by Shirley Vercruysse at the BC & Yukon Studio. 

Assholes: A Theory

Bad behaviour is something we will all encounter at some point — whether at home, online, in the workplace, or the corridors of power. And the phenomenon only seems to be amplified in an age of authoritarian politics and frenzied social media.

With rampant narcissism threatening to trash civilization as we know it, the time has come for Assholes: A Theory.

A tonic and entertaining new film from acclaimed director John Walker (above), built around a lively encounter with philosopher Aaron James, author of the best-selling treatise of the same title, the feature doc sets out to investigate the breeding grounds of ‘asshole culture.’

Moving from the frat clubs of elite universities to the princedoms of Silicon Valley and boardrooms of international finance, Walker explores the roots of bullying and entitled behavior, inviting input from observers like comedian/author John Cleese; IT engineer Leslie Miley, once the only African-American executive at Twitter; and former police officer Sherry Lee Benson-Podolchuk, who punctured the cliché of the nice Canadian Mountie with Women Not Wanted, her exposé of RCMP workplace bullying.

Other featured interviews include law professor Robert Hockett, who consulted for both Occupy Wall Street and the Federal Reserve in the wake of the Great Recession of 2008, and Italian LGBTQ activist Vladimir Luxuria, a former parliamentarian who has locked horns with the great pathological narcissist himself, Silvio Berlusconi, a forerunner of the current crop of demagogic leaders.

A seasoned director and one of Canada’s most celebrated cinematographers, Walker is the author of acclaimed work like Men of the Deeps and Quebec My Country Mon Pays. Honoured at the 2018 edition of Hot Docs with a career retrospective, he has collaborated frequently with the NFB.

Assholes: A Theory is a co-production between John Walker Productions ((Ann Bernier, producer) and the Quebec-Atlantic Studio (Annette Clarke, producer), in association with the Documentary Channel and Canada Media Fund, with assistance from the Government of Nova Scotia, Nova Scotia Film & Television Production Incentive Fund, Telefilm Canada and the Rogers Group of Funds, through the Theatrical Documentary Program, Rogers Telefund and Canadian Film or Video Film Tax Credit.

VR Animation: Frances in the Anthropocene

With The Orchid and The Bee, artist Frances Adair Mckenzie works with cutting edge VR and classic plasticine to craft a sublime and unsettling meditation on evolution, genetic modification and our tenuous position within the natural world.

“We’re at a crucial historical juncture right now, stepping into a brave new world of genetic manipulation, hyper-industrialized farming and environmental degradation — and I’m interested in the monsters, as well as the angels, that get summoned into existence by all of that. I believe in the positive potential of matter and I’d like to create an optimistic vision about our evolutionary future.”

Casting viewers into the swirling double helix of a simulated DNA strand, she proceeds to immerse us in a perversely seductive stereoscopic universe — a realm inhabited by gorgeous primordial jellyfish, GMO humanoid pigs and a mystifying interspecies love affair.

Drawing inspiration from contemporary thinkers Jane Bennett and Donna Haraway and artists like Mika Rottenberg and Hito Steyerl, she explores political ecology with an appreciation for dystopian futurism and mischievous sense of play. “I like using digital tech to create tactile experiences — worlds that are abject and weird, but also beautiful and colourful, and kind of sexy. I like to make people feel, as an impetus to investigate.”

The project features plasticine-moulded puppets animated with stop motion over and around 3D Plexiglas sets, shot stereoscopically on a Sony A7r II, with all elements integrated into VR with Nuke software. Designed for headset and conceived for viewing on handheld devices as well as in larger VR settings, The Orchid and the Bee will be exhibited at festivals and museums later this year.

Adair Mckenzie’s team includes animators Brandon Blommaert and Elise Simard, stereo and compositing whiz Fred Casia, and NFB’s in-house technical director Eloi Champagne. The Orchid and the Bee is produced by Jelena Popović and executive produced by Michael Fukushima at the NFB’s Animation Studio.

Working across a range of genre and technologies, Adair Mckenzie has exhibited in Canada and Europe. Her Augmented Reality book Glossed Over & Tucked Up was published in 2016 by Montreal’s Anteism Press. Her association with the NFB began with the 10th edition of Hothouse, when she created the surrealist short animation A Little Craving. Click here for more info on her work.

Pictured above: Frances Adair McKenzie with co-animator Brandon Blommaert.

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