Bessler's engine again!

OK this is me day-dreaming again! A while ago I suggested that Bessler's wheel might be used to drive a vehicle of some sort. There was some considerable scoffing at the prospect of a Bessler wheel engine mounted in a vehicle, so I thought I'd better stick my head up above the parapets and risk some more brickbats!

I wonder if Richard Trevithick (1771-1833) who built the first steam engine tramway locomotive, on February 22, 1804, thought that his engine was too big and unwieldy?  It weighed five tons, its boiler was eight foot long and four foot in diameter. It could hit 4 miles an hour BUT it was able to haul a load of 10 tons of iron, 70 men and five extra wagons 9 miles.

In The Guardian Wednesday 26 August 2009

"A century old record has been broken after Inspiration, a twin-finned car that looks like a prop from Thunderbirds, achieved an average speed of 139.84mph on two runs over a measured mile, at Edwards Air Force Base, California. That may not sound fast when a car has already broken the sound barrier, but this was a steam car, and the record for this type of machine was set in 1906, at an average of 127.7mph.

The British car, with British born driver Charles Burnet III at the wheel, reached a maximum of 151.085mph, a speed greater than the 145.6mph recorded in 1985 by Steamin' Demon, a car designed by Jim Crank of California and driven by Richard Barber along the Bonneville Salt Flats."

Coincidentally there is a video of steam-driven vehicles at http://archive.org/details/BeslerCo1932 by the Besler Corporation Promo Film: Steam-Driven Vehicles] (ca. 1932-1933)!

After the 1973 global oil crisis, the Swedish automaker Saab developed an innovative nine-cylinder axial steam-car design that used electronic controls to improve efficiency and reduce the size and weight of the boiler, and added a compressed-air pump to speed up acceleration.  The car used only miniscule amounts of fuel to heat the boiler and generated almost no greenhouse gas emissions. But after the oil market stabilized in the 1980s, the Saab steamer never got off the drawing board. In the 1990s, German researchers came up with a low-emissions engine design, the ZEE, that used ceramic cylinder linings instead of oil as a lubricant. 

The point of the above being that even steam engines can be technologically advanced to compete with the modern petrol engine, so...

OK, I know a steam engine is a more reactive and portable kind of engine than a gravity powered engine seems to be, but don't be so keen to rule out technological advances.  We don't even have a working model of a Besslerwheel yet, and we have no idea of its potential.

I envisage an Besslerwheel engine mounted on gimbals to allow it maintain its vertical axis, what ever direction it is heading and at what ever angle to the horizontal.  Reduce its height and compensate by lengthening it.  In a previous post, I suggested mounting several wheels on one axle, but in fact it might be possible to design it to have one of each weight, whose horizontal length is increased to the length of the wheel's width. So in effect you have squashed down wheel and made it much, much wider.  There may be ways of shaping the weights or altering the levers to gain further mnechanical advantage.

And such an engine might be used to generate electricity to drive the vehicle.

Yes this is pure speculation, but don't dismiss it as a possibility; we won't know what it will be capable of until we have one to develop. 

JC

10a2c5d26e15f6g7h10ik12l3m6n14o14r5s17tu6v5w4y4-3,’.

Apophenia versus Creativity.

Recently an anonymous commenter used the word 'apophenia', and I had to look it up to learn its meaning.  Thank you for that anon, I am always pleased to learn a new word and 'apophenia' is an excellent example.

'Apophenia' describes the phenomenon of the perception of patterns, meanings, or connections where none exists. It’s like looking at a Rorschach ink blot and telling the analyst what you see.

In the world of statistical analysis, apophenia is known as a "Type 1 error". This is often called the “false positive” and happens when data is interpreted as confirming a hypothesis when in fact it does not. It’s effectively when you see a pattern where there isn’t one.  

The human brain constantly searches for patterns; it's a learned behaviour which developed in response to danger. Patterns are recognised as established order, and breaks in patterns suggest danger.  So although we say we seek patterns what we really do is watch out for breaks in established patterns but the result is the same - we monitor patterns constantly.

We Besslerites are convinced that Johann was genuine, despite what we have been taught and we therefore seek to confirm our belief by reproducing his wheel, not just for that reason but for the benefit of mankind, as we see it. But, as someone put it recently, when you think you might have solved the problem, "the chances are that you are having an apophenic experience and you need to remember to clean your cognitive glasses in a little reality solution."  This sounds rather depressing but actually it isn't.  Looking for the solution involves much trial and error and therefore apophenia is a necessary part of the process.  

We all have our pet theories and each is different to the rest, and we have no way of knowing, so far, if any of them are right, but we seek to prove them by building or simulating the finished wheel, according to whatever hypothesis we are committed to.

Searching for the solution to Bessler's wheel is a bit like connecting the dots to make a recognisable picture.  Sometimes the dots don'tproduce the picture we want.  But have faith, according to Karl Brugger, "The propensity to see connections between seemingly unrelated objects or ideas most closely links psychosis to creativity ... apophenia and creativity may even be seen as two sides of the same coin."  So be creative and let the reality check take care of itself and if the result is attributable to apophenia keep looking for that break in the pattern.

JC

10a2c5d26e15f6g7h10ik12l3m6n14o14r5s17tu6v5w4y4-3,’.

Update - Frustration leads to innovation!

My wheel project is stationary at the moment for reasons I have explained previously, but things are gradually improving. Unfortunately I am still restricted by lack of space, however this has forced me to concentrate on the most basic requirements for solving this enduring puzzle.  I have built a simple test rig to try to solve the problem currently occupying my mind; how to make the weight fly upwards at the critical moment.

The pictures below give some idea of my working environment!  I'm sharing space with my son-in-law's two bikes, his cross-trainer, his complete tool chest for maintaining his bikes, a fridge-freezer, dishwasher etc etc.  Now they are formally in residence we are trying to make more room, but for now I must just bite the bullet.

I used to have the run of the whole workshop but hopefully things will return to normal at some point earl;y next year!  All my tools and equipment have been crammed into a small corner on the right in the above picture, to allow for the removal of the bikes from time to time.  I can barely turn around in the space left, but I will keep at it because I need the buzz I get from building new mechanisms and testing them to see how they work. 

I had been working with the whole wheel and all its five mechanisms but it is pointless to keep everything in a state of flux when all I need to know is how to get one mechanism to act the way I wish it to.  My test rig is just a simple two foot square of MDF which is painted white and has the critical angles marked out on it.  Certain angles, although apparently necessary to the succesful mechanism have to be omitted from the range of movement for reasons which are clear once you know how the whole thing is meant to work, and they are painted yellow and the critical one to abide by are in red, the rest is as I say, white.  I'm finding this detail  helpful in keeping the design within the limits of my self-imposed strictures which I believe apply to a successful mechanism.

At the moment I'm transferring some parts of the mechanism from the wheel to the test rig and then at every opportunity I return to it and continue my research. I'm certain that once I have achieved the reaction I am looking for I won't need to build the wheel to prove my point because it relates to something I have referred to from time to time and which is secreted in the string of letters I always include after my posts....but of course I will build it!

PS. I know the test rig isn't really an innovation, I just liked the ring of the title!

JC

10a2c5d26e15f6g7h10ik12l3m6n14o14r5s17tu6v5w4y4-3,’.

The Mystery of the 684 X's in Apologia Poetica

Occasionally I've commented on Bessler's graphic codes, but have generally said little about the non-graphic ones.  But as the subject of the infamous x's scattered throughout Apologia Poetica, came up recently on Besslerwheel forum, I thought I'd update people on my own efforts to extract meaning from them.  I know this is not as interesting as discussing possble mechanical arrangements but there are many people who are still bent on deciphering what Bessler's secret message said.

The mysterious inclusion of 684 x’s scattered in an apparently random fashion at the ends of many of the 7000 plus lines of poetry which compose the Apologia Poetica, has been the subject of some debate.  In fact these x’s are actually abbreviations for the phrase et cetera, and one might think that that is a satisfactory explanation for their presence, but 684 seems an excessive use of the Latin expression and their numbers are reduced to a normal amount, less than ten, in his subsequent book, Das Triumphirende.  The presence of 28 &c's in addition to the et ceteras used, would seem to make the necessity of using the Latin abbreviation redundant, anyway.

The presence of so many et ceteras and the various hints at the existence of a hidden message within the Apologia Poetica lead one inevitably to question the large number of these abbreviations.  In some cases there are as many as seven consecutive lines each ending in the Latin expression.

There are 397 et ceteras in part one of Apologia Poetica, and 287 in part two, totalling 684.  I have omitted the  &c's and the many NB’s and NB’s because I am uncertain about their relevance to a secret message.  But just for the record there are 9 + 19 = 28  &c’s, and 20 + 176 = 196 NB’s. Anyway in preparation for devising his code, Bessler must have written his text and then looked for a way to hide it within his existing work.  I assumed that he then circled or underlined the letters or words he sought for his text and then used some method to identify the line containing that letter or word.  I suggest that he marked this line by placing the et cetera sign at the end of it. There is no mileage, in my opinion, in trying to read something in the positioniong of these abbreviations, either from the front or the back of the page; their positioning is too similar to each other for any one to detect any subtle differences.

The next step was to leave some means of guiding us to the correct letter or word on that line. I tried various ways of identifying a letter or word, but came to the conclusion that a letter was too time consuming and as he had a plethora of suitable words to pick from, why make his job more difficult if he could use full words and still hide them.  If one assumes an average of five letters per word then from a total of 684 ‘et ceteras’, he had about 137 words to complete his secret message, whereas if each et cetera indicated a whole word he would have potentially 684!  I suspect the answer lies somewhere between those two figures.

The method he used to hide his words had to be very strong.  This becomes even more obvious when you consider such passages as this one on page 27 of the Apologia Poetica, which has no fewer than six consecutive lines with the et cetera 'X' at the end.

If each lines contained a word from his text in the order in which it naturally ocurred, it would not take long to find the identifier and hence the whole coded message could be read. And that is not the only page containing six or more consecutive lines with  et ceteras at their ends.  An additional clue may be found in the presence of double et ceteras which appear in part two of Apologia Poetica. Here are a couple below:-

Note the second one is positioned just after two blanks.  The missing word is ‘Schelmen’ meaning ‘rogue’ or ‘rascall’.  For further information on the use of the blanks visit my web site at www.theorffyreuscode.com

I then wondered if the meaning and even the position of the et ceteras themselves were irrelevant.  Maybe the secret lay in the number of them per page.  If there was just one et cetera on a page, maybe that meant 'line one' held the missing word.  As a check I looked at the title page which has one et cetera on it and assumed ‘one’ et cetera meant line ‘one’.  The first word is ORFFYREI  which looks promising, but then it all goes wrong again.  In the subsequent page with et ceteras on it, nothing else supports this idea.  I tried various alternatives such as counting lines from the top on odd pages and from the bottom on even ones, but no dice.

But consider this, if each page which has one or more et ceteras on it, is meant to hide one complete word, there are potentially 226 words.  That is the number of pages which have et ceteras on them.  I feel that this way lies the solution.  It is too tempting to be drawn into considering the line with the et cetera on it rather than just counting how may X's there are and using that number to find the word.

One more thing might be worth taking into account.  The whole book is written in rhyming couplets except for part of Chapter 55, which I have discussed at www.orffyreus.net - maybe there is some way to assign the number of et ceteras to a couplet?

Good luck to those who are persuing this line of enquiry, and I know there are several, from my email correspondence.

JC

10a2c5d26e15f6g7h10ik12l3m6n14o14r5s17tu6v5w4y4-3,’.