Harold 'Sonny' White

it's it's technically it's it's it's going underneath right this is a metaphor right it's going underneath but the length of belt in front of you is actually contracting right right and so by the same token the length of belt behind you yes it's come it's a conveyor belt but it's expanding behind you so the belt is contracting and expanding in such a way that it now seems like to jamie that you're you're moving at six miles an hour

So the next time you go to an airport and you get onto one of these travelators, I want you to put your hand on the railing and say, engage.

So the next time you go to an airport and you get onto one of these travelators, I want you to put your hand on the railing and say, engage.

So the next time you go to an airport and you get onto one of these travelators, I want you to put your hand on the railing and say, engage.

Right. The cool thing is if you pop forward one more slide. Jamie? There we go. When you look at the math and physics associated with this, right, the proper acceleration alpha on board the spacecraft is formally zero. So what that means when they turn the warp on and off It doesn't like splatter the crew against the bulkhead.

Right. The cool thing is if you pop forward one more slide. Jamie? There we go. When you look at the math and physics associated with this, right, the proper acceleration alpha on board the spacecraft is formally zero. So what that means when they turn the warp on and off It doesn't like splatter the crew against the bulkhead.

Right. The cool thing is if you pop forward one more slide. Jamie? There we go. When you look at the math and physics associated with this, right, the proper acceleration alpha on board the spacecraft is formally zero. So what that means when they turn the warp on and off It doesn't like splatter the crew against the bulkhead.

You talked about – in the beginning of the show, we talked about G-forces, right? And so I don't know if Alcubierre specifically was hoping to land on that kind of observation, but … The little toy model that he came up with has got a lot of appealing characteristics, and that's one of them, right?

You talked about – in the beginning of the show, we talked about G-forces, right? And so I don't know if Alcubierre specifically was hoping to land on that kind of observation, but … The little toy model that he came up with has got a lot of appealing characteristics, and that's one of them, right?

You talked about – in the beginning of the show, we talked about G-forces, right? And so I don't know if Alcubierre specifically was hoping to land on that kind of observation, but … The little toy model that he came up with has got a lot of appealing characteristics, and that's one of them, right?

When you turn the warp on and off, the proper acceleration alpha is formally zero, so it's actually zero G. That's fascinating. He stumbled into a really nice solution, if you will. If you don't mind, while we're here, I'd love to maybe spend just a second to – Talk about life imitating art. There's some interesting things that I think it's the next slide or two. I keep going.

When you turn the warp on and off, the proper acceleration alpha is formally zero, so it's actually zero G. That's fascinating. He stumbled into a really nice solution, if you will. If you don't mind, while we're here, I'd love to maybe spend just a second to – Talk about life imitating art. There's some interesting things that I think it's the next slide or two. I keep going.

When you turn the warp on and off, the proper acceleration alpha is formally zero, so it's actually zero G. That's fascinating. He stumbled into a really nice solution, if you will. If you don't mind, while we're here, I'd love to maybe spend just a second to – Talk about life imitating art. There's some interesting things that I think it's the next slide or two. I keep going.

We'll come back to this one another time. So this is it's a modern rendering done by Mark Rademaker, a digital artist from the Netherlands I've worked with over the years. This is a Star Trek ship concept that was developed by Matthew Jeffries in the 60s for the TV show Star Trek.

We'll come back to this one another time. So this is it's a modern rendering done by Mark Rademaker, a digital artist from the Netherlands I've worked with over the years. This is a Star Trek ship concept that was developed by Matthew Jeffries in the 60s for the TV show Star Trek.

We'll come back to this one another time. So this is it's a modern rendering done by Mark Rademaker, a digital artist from the Netherlands I've worked with over the years. This is a Star Trek ship concept that was developed by Matthew Jeffries in the 60s for the TV show Star Trek.

And so you might notice there are some qualitative similarities here to this little structure, to the little gray cartoon that I just showed you. It's got the rings on it, right? It's got this little central structure. But there are actually a couple of fatal flaws with this concept.

And so you might notice there are some qualitative similarities here to this little structure, to the little gray cartoon that I just showed you. It's got the rings on it, right? It's got this little central structure. But there are actually a couple of fatal flaws with this concept.

And so you might notice there are some qualitative similarities here to this little structure, to the little gray cartoon that I just showed you. It's got the rings on it, right? It's got this little central structure. But there are actually a couple of fatal flaws with this concept.

But the thing that's fascinating to me before we talk about the things we're going to fix is Matthew Jeffries is not a physicist, number one. Number two, the math and physics associated with the idea of a space warp. It hadn't been published in the 60s when he came up with this artwork.