A scale model of a satellite that will soon rocket into space. Colored glasses that enable you to see things otherwise invisible. Vegetables dipped in liquid hydrogen that you can shatter with a hammer. Even "Star Wars" paraphernalia.
That's just a sample of what kids — more specifically, "budding scientists" — got to enjoy at Saturday's 14th annual Physics Fair, sponsored by the Johns Hopkins University's department of physics and astronomy.
The daylong event, held inside and on the grounds near the university's Bloomberg Center for Physics and Astronomy on the Homewood campus, featured all sorts of exhibits and equipment, offering looks at the solar system, the properties of light and other scientific wonders.
But for 8-year-old Finn Ratchford, the coolest thing at the fair was probably the most basic. He loved the 2-liter plastic soda bottles that were being shot into the air via hand pumps and water pressure. On a plaza outside the center, kids were using pumps attached to water basins to propel those bottles high into the air, the launches accompanied by loud bangs.
Obviously, young Finn, whose parents are both Hopkins physicians, loved learning about water pressure, probably enjoyed tracking the arc of the bottles as they soared into the air, doubtless could explain the physical properties behind the demonstration.
But the real attraction: "It's cool when they explode," the Gilman School second-grader said.
And what kid, no matter how scientifically inclined, doesn't appreciate loud noises? But while the outdoor rocket launch was a crowd-pleaser, the more cerebral pursuits going on inside the center might have better reflected the true spirit of the day.
Take 10-year-old Natalie LaBrique. The Hampton Elementary School fourth-grader proudly carried the third-place trophy she won in a Science Bowl quiz competition for first- through fourth-graders. Over the course of the day, she also got to sit on a hovercraft, but that didn't give her any hardware to take home and display.
Her mother, Kim, a former high school science teacher, said the fair offered a perfect opportunity to stoke her daughter's nascent interest in science.
"As a family, we like to bring our kids to participate in as many science exhibits as possible," she said.
That sort of attitude is good news for people like Elena Sabbi, an astronomer at the Space Telescope Science Institute — responsible for the Hubble Space Telescope — who was at the fair to show off some of the wonders of infrared photography. She was also looking to generate enthusiasm for the James Webb Space Telescope, a successor to Hubble that is scheduled to be launched into space in October 2018.
"They can be the future astronomers and engineers," she said of the youngsters who spent the day trying on different-colored glasses, each of which revealed objects invisible to the naked eye. "We need people with brilliant ideas to create the new telescopes; we need people with vision.
"When Hubble was getting old and broken," Sabbi said, "and we had to replace the instruments, and NASA wasn't sure it was a good idea to do it ... the entire world started writing letters to NASA saying, 'Please save Hubble.'"
Just maybe, Sabbi said, some future letter-writers "might be right here."
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Source: Hopkins Physics Fair entertains, encourages future scientists
The coming change of technology is hanging over the industry's horizon like clouds, heavy with rain. Though the concept is unpopular among many of the folks with boots on the ground on jobsites across the country, automation for dozing and excavating is progressing at an impressive rate. Just look at Komatsu's latest intelligent Machine Control machin es. Meanwhile, there's buzz around wearables for things like providing augmented reality data through smart hard hats, and monitoring vital signs and alertness.
Joe's book, The Complete Guide to Digital Infrared Photography is currently out-of-print but used copies are available from Amazon for under $6. Creative Digital Monochrome Effects has a chapter on IR photography and is available from Amazon with new copies under $6 and used copies less than five bucks. You can buy'em both for less than $12.
My book, The Complete Guide to Digital Infrared Photography is currently out-of-print but used copies are available from Amazon for under $6. Creative Digital Monochrome Effects has a chapter on IR photography and is available from Amazon with new copies under $6 and used copies less than three bucks. You can used copies of both for less than $10.
Interurban: Gallery & Community Art Space, 1 E. Hastings, Vancouver 
Fan Art by Mg Herrera First in a chilling new paranormal romantic suspense series from award-winning author Abbie Roads. He's found her at last… Cain Killion knows himself to be a damaged man. His only redeeming quality? The extrasensory connection to blood that he uses to catch killers. His latest case takes a macabre turn when he discovers a familiar and haunting symbol linking the crime to his horrific past—and the one woman who might understand what it means. Only to lose her to a nightmare Mercy Ledger is brave, resilient, beautiful—and in terrible danger. The moment Cain finds her the line between good and evil blurs and the only thing clear to them is that they belong together. Love is the antidote for blood—but is their bond strong enough to overcome the madness that stalks them? Chapter 1 The air reeked of dirty pennies and death. Days ago the bodies had been removed, but Cain Killion could still feel the desperate energy of the dying and almost—almost—hear the echoes of their screams imprinted on the bones of the house. He abhorred the sight of blood and yet here he was standing in another murder house, in front of another wall smeared, splattered, and sprayed with gore. His heart banged against the cage of his ribs, trying to bust out and make a break for it. A bead of sweat slid in agonizing slowness down the center of his spine. "You don't look so good." MacNeil Anderson stepped into his line of sight, diverting his attention away from the blood. The furrows around Mac's eyes cut deeper than normal and three days' worth of old man stubble fuzzed his cheeks, giving him a haggard and homeless appearance. Not exactly the look the FBI was going for when they promoted Mac to Senior Special Agent. Cain almost smiled at his own thoughts, but laughter no longer existed in this place. Only horror could thrive here now. "Do I ever look good when I'm about to…?" Yeah. There wasn't a name for what he did. To the bureaucrats with their thumbs jammed up their asses Mac called it profiling—had to call it something. But it wasn't profiling. Not at all. What he had to do with the blood was something worse than profiling. So much worse. "This is different." Mac reached up and put his dry palm on Cain's forehead. "You sick? Have a fever?" Cain might be thirty years old and lived on his own since he was eighteen, but Mac had never outgrown the role of his adopted dad. "You can always walk away." Mac made this offer at every kill scene. And every time, Cain's legs twitched with the urge to run. Only determination, masochism, and the promise of sick satisfaction kept him locked in place. "I'm staying. I always stay." "I'd stop calling you out for these cases, but I know you'd just find someone else who would." Mac's words were slow and glossed with sadness. 
Fan Art by Mg Hererra "No one else has the history I have. No one else can do what I do. No one else can give you the information I can." Yeah. His profiles were more accurate, more detailed than anything a traditional profiler could come up with. In the majority of cases his work guided law enforcement directly to their perpetrator. "It'd be stupid not to call me." Not to mention he needed to be around that dynamic duo—blood and death. They stripped away his mask of normalcy leaving him naked to the one truth about himself he could never forget. He was Killer Killion's Kid—Triple K—the media called him. The spawn of a killer with the genetic predisposition to be a murdering machine. One of the only ways he'd found to curb the ugly urges was to force himself to attend these murder scenes. Force himself to witness the destruction. His deepest, darkest, dirtiest secret—the thing he would never utter out loud because it terrified him: Sometimes he enjoyed himself. "Son, you don't have anything to prove. Not to me." Mac used a caring tone, but that word—son—threatened to transport Cain back to his childhood. Back to his biological father using that word like a curse. Not going there. Cain stepped around Mac and moved to look out at window. The Victorian home sat on a miniature peninsula of land that jutted out into a large pond. Such an odd place for a house. A beautiful place, breathtaking, and yet eerie in its loneliness and total isolation. Just the kind of place Cain loved. Had location been a consideration for the killer? Had he finished with his bloody work then stood in this very spot staring out the window at the water? Cain sucked in a breath, held it for as long as his lungs would allow then blew it out slowly. "I know I don't have anything to prove to you. I do this for me." He tried to make his tone firm, but it came out a little shaky. Mac the-FBI-guy would hear it, but Mac his-adopted-dad wouldn't press. Time for a change of subject. "You notice anything odd about this place?" "It's not the typical." Mac's words were spoken on a sigh. "Not that there is a typical. This just isn't like any other location I've been called to investigate." "Yeah. Victorian house. In the woods. On a pond. I get why our guy would like the isolation of this place. But there's something more. It has to do with…" He had trouble finding to words to describe the gut-level truth inside him. "… all of it. The house. The woods. The pond. The family. It's like this guy wanted the complete package." Mac nodded, his expression serious as a gravedigger. "You get that from the blood?" "Just a feeling I have." It was the kind of place he'd choose if he were going to plan a murder. Kind of like how salt and sweet tasted so good together—this was violence and peace in one location. Enough stalling. He turned away from the window and faced the room. Three walls were covered in Victorian era wallpaper—rich gold background, red blossoms on a vine, and fancy peacocks. Ostentatious was the word that came to mind. One wall, the longest, largest wall had been painted the same color as the paper's background. Yeah. Four walls of peacocks and posies might've caused bleeding eyeballs. Finally, he forced himself to look at the blood on the wall. Rosettes of red seeped into the wallpaper, the fat watercolor splotches almost blending in with the flowers. 
Mac cleared his throat as if gearing up for a formal speech. "The techs released the scene this morning. They worked round the clock to get everything cataloged and bagged so we could get you on this ASAP. The blood is, of course clean, I wouldn't have called you in otherwise." He pointed to the three distinct blood pools. "The family—Dad, Mom, girl—were found here. Killed here, too. Forensics places their time of death at—" "Mac." Cain spoke the name loud enough to smother whatever the guy had been about to say. "Quiet." He needed the absence of sound to see what happened. And he needed to do it now before he pussied out. Mac clamped his lips closed, nodded, and moved across the room—out of the way. Just fucking get it over with. Cain knelt at the altar of blood. The sweet scent of rotting biological material an abomination to his nose and yet, foul anticipation crawled underneath his skin. His mind slid sideways like it always did when around the red stuff. Back to his childhood. Back to a time when he was very much his father's son. Back to when blood covered his skin—the slick, silky, warmness of it so wrong and yet so horribly soothing at the same time. He slapped his hands down into the congealed sludge. The coldness sent pleasant shock waves up his arms. He didn't want to feel pleasure, didn't want to enjoy this, but that other part of him had terrible intentions. Helpless to stop himself, he smeared his hands around in the red like a kid playing with finger paints. Only when they were coated with the family's blood did he raise them to his face. A miniscule part of him rebelled against what he was about to do, but the rebellion was quashed before it began. He spread the blood over his forehead, his cheeks, coating his skin in the thick, sweet, goo. He painted his neck, his bare arms, then lifted his T-shirt and wiped his hands on his chest. His head fell back on his shoulders. His breath came in shallow, hyper-ventilating gulps. From a distance, he heard himself moan, only it wasn't a moan—it was more like the yowling of a feral cat fighting for its life. Or getting ready to mate. Blood did that to him—was a pleasure and a pain. A gift and a curse. He had a complicated relationship with blood. He hated it. He loved it. Blood was a conduit, a link, a connection, between him and those who slayed souls. Blood opened a doorway, allowing him to step into the mind and body of those who found bliss in ending life. He became the killer. He saw what the killer saw. Did what the killer did. Felt what the killer felt. An incandescent light flashed behind his eyelids. Cain was gone. He was now the killer. He stood on a ladder, rolling simple white primer on the wall. A song had been locked inside his head for months and only now was it time to give voice to the words. Lift your feet when you Dance around the old well, Be careful or you'll tumble pell-mell. Look into the dark, dark, waters For the blood of your fathers. Show some courage young man, Find your calling young man. He loved the song. He hated the song. But that was life, wasn't it? It was all one big paradox. A breathy sound intruded. He turned on the ladder to see the ones on the floor. 
They were laid out in a neat row in the middle of the room. Each of them on their stomachs, hands bound behind their backs and tied to the shackles on their feet, mouths obliterated by duct tape. The male's wrists were hamburger, dripping blood from fighting against the metal cuffs. But none of them struggled now. Their faces were wet from tears, or maybe sweat—didn't really matter—and splotchy red and pale. The child grunted. "Do you want to sing along?" He used a soft tone, the same as he would if he were cajoling a whipped dog. "I will let you, but you must sing it properly. No mistakes." More tears slicked the girl's face and dripped on the drop cloth underneath her. A bubble of snot blew from her nostril and hovered there waiting to pop. She shrank from him. The female seal-humped herself up and over the girl as if to hide the child beneath her body. Oh, well. He wouldn't allow them to destroy the pure freedom of this moment. He turned back to his task, losing himself in his song once more. Save pomegranate seeds as payment for the ferry man, Offer red, red wine as payment to the bar man. Carve some red, red meat as food for the hungry man. Show some courage young man, Find your calling young man. And then, the wall was done, the completion of it sneaking up on him like a surprise party. He stepped off the ladder, moved it to the side to have an unobstructed view and then unzipped his painter's coveralls and let them slide down his body. The cool air whispered over his naked flesh like an endearment, the sensation wonderful after the confines of the material. His head fell back on his shoulders and he stood there absorbing and savoring. Everything from this moment to his finish would be carefully recorded in his memory. No matter what happened, no one could erase his memories. They were his alone—safe and untouchable—to be lovingly replayed until his death. The female sobbed, deep throaty sounds similar to gagging. He faced the ones on the floor and used a gentle voice. "I do understand this is distressing for you, but I—" He dropped his tone a couple of octaves to show his seriousness. "—need. Complete. Silence." He took his time, meeting and holding each one of their gazes before he continued. "I need to rest now." Only when they all quieted did he sit on the couch he had moved to face the wall. The material he'd spread over the cushions—couldn't risk leaving DNA when he left—scratched against his ass and testicles, but that couldn't be helped. He laid back, stretched out, waiting for his body to relax. The blank canvas before him was a beautiful thing. All the potential in the world was right here. A picture waiting to be born. He emptied his mind of all thoughts and feelings and stared at the wall. He stared, unblinking, until his vision yellowed and then darkened into something that looked akin to an x-ray. He stared, until tears watered his cheeks and his eyes burned like hot coals in their sockets. Only then did he catch a flash of what needed to be created—all he needed was a glimpse. 
Wings. He saw wings. He was about to create a masterpiece in blood. A sense of timelessness came over him as he killed and painted. Painted and killed. He lost himself in his work. Not thinking about anything, just letting his hands wield the brushes mindless of the image he produced. When the blood was nearly gone and an image had been born upon the wall he came back to himself. He stepped away from the wall taking more and more of it in with each footstep until he stood on the other side of the room, taking in the full magnitude. The color contrast of blood on white was as breathtaking and beautiful as a flock of cardinal against the brilliance of snow. Tears burned his eyes. His face stung, and a wild freedom he'd hadn't experienced in years surged through him. He recognized the feeling. In this moment he was God. The author of destruction. And creation. The image he'd painted was so… No words existed to convey the gloriousness. Words were small and meaningless compared to this wall. On the wall—a man knelt, head bowed, hair falling forward, shielding his face from view. Even in that supplicant's position, supremacy and authority radiated from him. He looked like the strongest of warriors after a great battle—exhausted, but not weak. No. Never weak. There wasn't an ounce of vulnerability in his sinew, muscle, and bone. Nor was there any delicacy to the lacework of scars marring the skin of his arms. And on his chest, directly over his heart were two criss-crossed slashes that dripped blood down his torso. Surrounding him were a magnificent pair of wings. Not the kind you'd see on a sparrow or even on a chubby cupid, but the kind of wings that conveyed power and strength and utter indestructibility. He loved the picture as he loved himself. An incandescent flash and Cain returned to reality, to the stench of decomposing blood smeared over his face. His brain re-categorized everything that he'd just seen and done into the it-wasn't-really-me file. But that didn't take the feelings away. The awe spreading through his chest at what he'd seen. The guilt sinking into his gut because he'd had no remorse. A dull thumping started behind his eyes. Usually when he did his blood work, he was there for only a few seconds before skipping on to the next images and the next. Those flashes gave him a migraine every time, but seeing entire scenes like this…The migraine was gonna be a badass bitch today. He had maybe ten minutes before the pain ratcheted up to the level of axe-buried-in-his-brain. Mac handed him a black towel—black concealed the blood better than any other color. "You back?" Mac knelt next to him, his face full of concern, but Cain could see the concealed disgust in the way Mac's mouth turned down at the corners, like he was fighting an outright grimace. That look—especially when it was aimed at him—always took him back to the moment Mac found him. When Cain had been covered in snot and blood and shame. He had to give it Mac, the guy had tried to hide his horror, tried to pretend Cain was just a kid when he'd never been a kid. He'd been more monster than anything. Cain scrubbed the material over his face, his arms, wiped his hands. The blood on his body—so thick and dry it smeared into his skin—would only come off after a good scouring down in a scalding shower. He turned his attention to the image on the wall. But… There was no image, instead the wall had been painted gold, perfectly coordinated with the rest of the room. Mac must've called him back before the killer covered up his work with the paint. Holy. Fucking. Christ. His legs wobbled when he stood. His hand shook like an alcoholic in need of his jolly juice, but he pointed at the wall. "He painted a picture." His brain bashed against the backs of his eyeballs. He wanted to press his hands to his eyes to keep them from exploding out of their sockets, but his hands were smeared with the family's blood. The pain was only beginning. "I… I don't know what you mean." Mac's tone was full of question. "He painted the wall white—made a blank canvas. Then he created a portrait—using the family's blood—of some guy—" Cain closed his eyes, seeing on the back of his lids the scars lined up and down the man's arms, the slashes over his heart, just like the ones on his—"Fuck!" His lids popped open, his gaze automatically sought the wall, hoping to see the actual image again, but gold paint pulsed in his vision from the thumping inside his head. He held his arms out in front of him. Underneath the thin coating of blood on his skin, a network of white slashes ran from his wrists to his shoulders. The wounds had healed decades ago, but the scars still remained. He pulled his shirt up high, and looked down at his chest stained with drying blood. A thick white criss-crossed scar rested over his heart—cut into his flesh by his father. Every scar on his body—placed there by his father. "What is it?" Mac's tone was full of question, mixed with a bit of suspicion. "You've got to talk to me. I don't know what's going on." Cain's heart galloped up and down his rib cage, but he forced himself to speak slowly and quietly—in deference to the axe beating against his skull. He told Mac everything he'd seen and 
everything he remembered about the artwork in blood. "It's there. You can't see it, but it's there. I'm there. Underneath that gold paint."It took a lot to catch Mac off guard and score one for Cain—he'd just done it. Mac's mouth was slightly open, lips twitching like they were trying to form words, until a one finally spilled out. "Infrared." The word came out soft and hesitant. "We might be able to see the image using infrared photography." Things went quiet for a moment while Mac stared at the perfectly painted gold wall. "Why paint you? Why not paint Killion? I mean people are obsessed with you both, but why choose you over him? And this guy made it clear it was you he painted. Without those scars we would've thought it was Killion." Yes. Cain was cursed with looking too much like his father—like one of the world's most horrendous killers. It usually took a double-take and some head scratching before people realized he wasn't Killer Killion. Mac shook his head. "But then our guy covered up what he'd painted. Probably thinking we'd never know the image was there." "He even fucking signed it." Cain didn't realize until the words exited his mouth that he had seen a signature. "He put his name on it?" "Not his name. A symbol." Cain wiped his hands harder on the towel then dropped it on the floor. He yanked his cell from his back pocket, and tapped on the art pad app. The white light from the phone lasered into his skull. It was all he could do to keep his eyes open and not groan out loud. He drew a Christian cross then put a hook on the bottom of it that looked like an upside down question mark "You've seen this before. I've seen this before." He showed the image to Mac and watched the guy's face turn pink, then tomato with recognition. "Yeah." Cain voice was straight as a line. "It's from my father's last kill. But he didn't do this. Not unless Petesville Super Max allows weekend furloughs." Mac snorted. "Only way he's getting out of there is in a body bag." Couldn't happen soon enough. His father was a stain on humanity. "So we know he didn't do this." "But…" Mac's words disappeared for eight thumps of Cain's brain. "The girl—Mercy Ledger—made that mark on the wall as she was bleeding out from your father cutting… From her throat being cut. It didn't mean anything. It doesn't mean anything." "Didn't mean anything until today. That symbol was at that scene twenty years ago and it's here now." Mac shook his head slowly like an old dog with neck problems. "No one ever questioned her about it. The prints on the wall were hers. Jesus—we need to find Mercy Ledger." Mac didn't say it, but Cain knew how the man's brain worked. Mac thought Mercy must've done this. "She didn't do this. She's been locked down in The Center of Balance and Wellness for the past few years." The words popped out his mouth before he censored them. And he really should've censored them. He lifted his arm, pressed his eyes against a clean patch of material near his shoulder, and spoke without looking at Mac. "I—" Yeah. Just what was he going to say? It wasn't like he could confess that he'd been checking up on Mercy Ledger for the past twenty years. That would make him sound like a damned stalker. And stalking was considered the gateway drug to killing. "Liz told me." Bold faced, flat-out, flaming-bright lie. And Mac would know it. The guy was trained to spot a lie at thirty paces. And yet, Cain would rather endure the cost of the lie, than spend the truth. Call him chicken shit—he would own it. He kept his eyes closed against his shoulder. "Isn't that a violation of confidentiality or something?" Mac worded it as a question, but it sounded like a statement. "Liz could lose her nursing license." But Liz hadn't actually told him. He'd guessed. He'd known Liz long before he'd met Mac. In those dark days of childhood, his father had forced Cain to work with him at The Center. Liz had been a night nurse and the only person to ever show kindness to him. Even after his father had been caught, she remained a part of Cain's life—babysitting him when Mac was away for work. She was one of the few people he considered a friend and the closest thing he'd ever had to a mother. And now he'd tossed her in front of the bus because he was a pussy. The quiet closed in around him. His head felt like it was about to burst off his shoulders. His stomach started rolling. "The Center?" Mac finally broke the quiet. "That's a horrible irony." And it was. That Mercy Ledger had lived the past few years of her life among the same hallways his father had roamed as a janitor was beyond irony. It was downright wrong. Amazon iBooks Barnes and Noble Google Goodreads
Abbie Roads is a mental health counselor known for her blunt, honest style of therapy. By night she writes dark, emotional novels always giving her characters the happy ending she wishes for all her clients. SAVING MERCY is the first book in her new Fatal Truth Series of dark, gritty, romantic suspense with a psychological twist. You Can Find Abbie Roads Here: Website Facebook Dangerously Dark Darlings Facebook Group Twitter