Optical Fibre Quotes

Standing here, as immune to the cold as a marble statue, gazing towards Charlotte Street, towards a foreshortened jumble of façades, scaffolding and pitched roofs, Henry thinks the city is a success, a brilliant invention, a biological masterpiece--millions teeming around the accumulated and layered achievements of the centuries, as though around a coral reef, sleeping, working, entertaining themselves, harmonious for the most part, nearly everyone wanting it to work. And the Perownes own corner, a triumph of congruent proportion; the perfect square laid out by Robert Adam enclosing a perfect circle of garden--an eighteenth century dream bathed and embraced by modernity, by street light from above, and from below by fibre-optic cables, and cool fresh water coursing down pipes, and sewage borne away in an instant of forgetting.

We are replaceable. All of us. And not simply by other people. By things too, like alcohol and drugs and fibre optic broadband.

surfing, writing, composing, and programming deep into the night, like it's the early 1980s with the hue of poison-green CRT illuminating the room, Nike running shoes on the floor, hair metal poster on the door, and everything is infinite, made of fibre optics and floppy disks . . .

Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum. One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust. Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated. The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.

Velizy. All those shepherds in the Pyrenees who are being fitted out with fibre optics, radio relay stations and cable TV. Obviously the stakes are pretty high! And not just in social terms. Did these people think they were already living in society, with their neighbours, their animals, their stories? What a scandalously underdeveloped condition they were in, what a monstrous deprivation of all the blessings of information, what barbaric solitude they were kept in, with no possibility of expressing themselves, or anything. We used to leave them in peace. If they were called on, it was to get them to come and die in the towns, in the factories or in a war. Why have we suddenly developed a need for them, when they have no need of anything? What do we want them to serve as witnesses of? Because we'll force them to if we have to: the new terror has arrived, not the terror of 1984, but that of the twenty-first century. The new negritude has arrived, the new servitude. There is already a roll-call of the martyrs of information. The Bretons whose TV pictures are restored as soon as possible after the relay stations have been blown up . . . Velizy . . . in the Pyrenees. The new guinea pigs. The new hostages. Crucified on the altar of information, pilloried at their consoles. Buried alive under information. All this to make them admit the inexpressible service that is being done to them, to extort from them a confession of their sociality, of their 'normal' condition as associated anthropoids. Socialism is destroying the position of the intellectual. Unlearn what they say. Either they don't believe in it themselves or the violent effort they make to believe in it is disagreeable.

due to the precision of the optical electron oscillation frequency within strontium or aluminium. 30. Train of identical nearly single-cycle optical pulses. The spectrum of the pulse train looks like the teeth of a comb, hence it is called a frequency comb. ‘Optical clockwork’ of this kind allows the comparison of disparate frequencies with such remarkable precision that it provides a means to test the tenets of relativity, and thus to understand better the role of light in defining space and time. Frequency, and thus time, is the physical quantity that can be measured with the highest precision of any quantity, by far. Optical telecommunications Frequency combs are also important in telecommunications links based on light. In Chapter 3, I described how optical waves could be guided along a fibre or in a glass ‘chip’. This phenomenon underpins the long-distance telecommunications infrastructure that connects people across different continents and powers the Internet. The reason it is so effective is that light-based communications have much more capacity for carrying information than do electrical wires, or even microwave cellular networks. This makes possible massive data transmission, such as that needed to deliver video on demand over the Internet. Many telecommunications companies offer ‘fibre optic broadband’ deals. A key feature of these packages is the high speed—up to 100 megabytes per second (MBps)—at which data may be received and transmitted. A byte is a number of bits, each of which is a 1 or a 0. Information is sent over fibres as a sequence of ‘bits’, which are decoded by your computer or mobile phone into intelligible video, audio, or text messages. In optical communications, the bits are represented by the intensity of the light beam—typically low intensity is a 0 and higher intensity a 1. The more of these that arrive per second, the faster the communication rate. The MBps speed of the package specifies how rapidly we can transmit and receive information over that company’s link.

In a groundbreaking study published in the journal Nature, Dr Suzanne Simard of the University of British Columbia discovered communication networks in stands of Douglas firs, which she dubbed the ‘Wood Wide Web’, suggesting the connectivity of trees. This research has been popularized by German naturalist Peter Wohlleben in his bestseller The Hidden Life of Trees. He describes how oaks and beeches share information using microscopic fungal filaments, comparing these to fibre-optic Internet cables. ‘One teaspoon of forest soil contains many miles of these “hyphae”. Over centuries a single fungus can cover many square kilometres and network an entire forest. The fungal connections transmit signals from one tree to the next, helping them exchange news about insects, drought, and other dangers.

The message left Kiel at a speed of 300,000 kilometres per second. The sequence of words keyed into Erwin Suess’s laptop at the Geomar Centre entered the net in digital form. Converted by laser diodes into optical pulses, the information raced along with a wavelength of 1.5 thousandths of a millimetre, shooting down a transparent fibreoptic cable with millions of phone conversations and packets of data. The fibres bundled the stream of light until it was no thicker than two hairs, while total internal reflection stopped it escaping. Whizzing towards the coast, the waves surged along the overland cable, speeding through amplifiers every fifty kilometres until the fibres vanished into the sea, protected by copper casing and thick rubber tubing, and strengthened by powerful wires. The underwater cable was as thick as a muscular forearm. It stretched out across the shelf, buried in the seabed to protect it from anchors and fishing-boats. TAT 14, as it was officially known, was a transatlantic cable linking Europe to the States. Its capacity was higher than that of almost any other cable in the world. There were dozens of such cables in the North Atlantic alone. Hundreds of thousands of kilometres of optical fibre extended across the planet, making up the backbone of the information age. Three-quarters of their capacity was devoted to the World Wide Web. Project Oxygen linked 175 countries in a kind of global super Internet. Another system bundled eight optical fibres to give a transmission capacity of 3.2 terabits per second, the equivalent of 48 million simultaneous phone conversations. The delicate glass fibres on the ocean bed had long since supplanted satellite technology.

Concretely, this investment meant that millions of miles of fibre-optic and submarine cables were laid out, major advances in software and network design were established, and large investments in databases and servers were made.

There are at least three ways in which bubbles can be useful. First, the bubble may facilitate innovation and encourage more people to become entrepreneurs, which ultimately feeds into future economic growth.9 Second, the new technology developed by bubble companies may help stimulate future innovations, and bubble companies may themselves use the technology developed during the bubble to move into a different industry. Third, bubbles may provide capital for technological projects that would not be financed to the same extent in a fully efficient financial market. Many historical bubbles have been associated with transformative technologies, such as railways, bicycles, automobiles, fibre optics and the Internet. William Janeway, who was a highly successful venture capitalist during the Dot-Com Bubble, argues that several economically beneficial technologies would not have been developed without the assistance of bubbles.10

Neuroscience has since confirmed the dominant role of visualisation in human cognition. Half of the nerve fibres in our brains are linked to our vision and, when our eyes are open, vision accounts for two-thirds of the electrical activity in the brain. It takes just 150 milliseconds for the brain to recognise an image and a mere 100 milliseconds more to attach a meaning to it.24 Although we have blind spots in both of our eyes—where the optic nerve attaches to the retina—the brain deftly steps in to create the seamless illusion of a whole.

Today the cloud is the central metaphor of the internet: a global system of great power and energy that nevertheless retains the aura of something noumenal and numnious, something almost impossible to grasp. We connect to the cloud; we work in it; we store and retrieve stuff from it; we think through it. We pay for it and only notice it when it breaks. It is something we experience all the time without really understanding what it is or how it works. It is something we are training ourselves to rely upon with only the haziest of notions about what is being entrusted, and what it is being entrusted to. Downtime aside, the first criticism of this cloud is that it is a very bad metaphor. The cloud is not weightless; it is not amorphous, or even invisible, if you know where to look for it. The cloud is not some magical faraway place, made of water vapor and radio waves, where everything just works. It is a physical infrastructure consisting of phone lines, fibre optics, satellites, cables on the ocean floor, and vast warehouses filled with computers, which consume huge amounts of water and energy and reside within national and legal jurisdictions. The cloud is a new kind of industry, and a hungry one. The cloud doesn't just have a shadow; it has a footprint. Absorbed into the cloud are many of the previously weighty edifices of the civic sphere: the places where we shop, bank, socialize, borrow books, and vote. Thus obscured, they are rendered less visible and less amenable to critique, investigation, preservation and regulation. Another criticism is that this lack of understanding is deliberate. There are good reasons, from national security to corporate secrecy to many kinds of malfeasance, for obscuring what's inside the cloud. What evaporates is agency and ownership: most of your emails, photos, status updates, business documents, library and voting data, health records, credit ratings, likes, memories, experiences, personal preferences, and unspoken desires are in the cloud, on somebody else's infrastructure. There's a reason Google and Facebook like to build data centers in Ireland (low taxes) and Scandinavia (cheap energy and cooling). There's a reason global, supposedly post-colonial empires hold onto bits of disputed territory like Diego Garcia and Cyprus, and it's because the cloud touches down in these places, and their ambiguous status can be exploited. The cloud shapes itself to geographies of power and influence, and it serves to reinforce them. The cloud is a power relationship, and most people are not on top of it. These are valid criticisms, and one way of interrogating the cloud is to look where is shadow falls: to investigate the sites of data centers and undersea cables and see what they tell us about the real disposition of power at work today. We can seed the cloud, condense it, and force it to give up some of its stories. As it fades away, certain secrets may be revealed. By understanding the way the figure of the cloud is used to obscure the real operation of technology, we can start to understand the many ways in which technology itself hides its own agency - through opaque machines and inscrutable code, as well as physical distance and legal constructs. And in turn, we may learn something about the operation of power itself, which was doing this sort of thing long before it had clouds and black boxes in which to hide itself.

From prehistoric cave paintings to the map of the London Underground, images, diagrams and charts have long been at the heart of human storytelling. The reason why is simple: our brains are wired for visuals. ‘Seeing comes before words. The child looks and recognises before it speaks,’ wrote the media theorist John Berger in the opening lines of his 1972 classic, Ways of Seeing[1]. Neuroscience has since confirmed the dominant role of visualisation in human cognition. Half of the nerve fibres in our brains are linked to vision and, when our eyes are open, vision accounts for two thirds of the electrical activity in the brain. It takes just 150 milliseconds for the brain to recognise and image and a mere 100 milliseconds more to attach a meaning to it[2]. Although we have blind spots in both of our eyes – where the optic nerve attaches to the retina – the brain deftly steps in to create the seamless illusion of a whole[3]. As a result, we are born pattern-spotters, seeing faces in clouds, ghosts in the shadows, and mythical beasts in the starts. And we learn best when there are pictures to look at. As the visual literacy expert Lynell Burmark explains, ‘unless our words, concepts and ideas are hooked onto an image, they will go in one ear, sail through the brain, and go out the other ear. Words are processed by our short-term memory where we can only retain about seven bits of information…Images, on the other hand, go directly into long-term memory where they are indelibly etched[4]. With far-fewer pen strokes, and without the weight of technical language, images have immediacy – and when text and image send conflicting messages, it is the visual messages that most often wins[5]. So the old adage turns out to be true: a picture really is worth a thousand words.