Does dark matter exist?

After 80 years of agreement about the dark stuff, opinions may be changing.

The peasants are revolting. Last night the Flamsteed Astronomical Society met at the National Maritime Museum to hear a debate on the existence (or not) of dark matter. In a vote at the end, the audience decided it probably doesn’t exist.

The idea of dark matter has been around since 1933, when a Swiss astronomer called Fritz Zwicky found that centrifugal forces should have been tearing spinning galaxy clusters apart – but weren’t. The answer, he suggested, was that there was extra stuff in there, whose gravitational pull was holding everything together.
 
Astronomers now believe this stuff makes up around a quarter of the universe, if you take into account all the mass and energy in the cosmos. Ignore the pure energy, and dark matter accounts for 80 per cent of the universe’s mass. Which makes it a little embarrassing that we have never seen any.

Neither do we know what it looks like. We’ve been groping around for dark matter since about 1970. Various predictions have been made: in 1980, astronomer Vera Rubin said it would be found within 10 years. In 1990, astronomer royal Martin Rees said the dark matter mystery would be solved by the turn of the century. In 1999 Rees was aware he had been too hasty, and said we would know what dark matter is by 2004. Last January, CERN theoretical physicist and Gandalf lookalike John Ellis gave the physicists another decade.
 
But patience is starting to wear thin. At last night’s debate, Oxford physicist and co-presenter of The Sky at Night Chris Lintott made the case for dark matter; astronomy writer Stuart Clark argued that a modification to the laws of gravity, which are dictated by Einstein’s general relativity theory, held more promise for explaining the (apparently) missing mass. At the end of the evening, the audience sided with Clark and modifying gravity.
 
That’s not going to have dark matter astronomers quaking in their boots. But it is nonetheless indicative of a change of mood. Take what went on at the Cosmic Variance blog last week. Sean Carroll, the blog’s host, has always been bullishly pro dark matter. But it seems he has started to hedge a bit.
 
In a fascinating post, he published the trialogue he had been conducting with astronomer Stacey McGaugh, the original proponent of the modified gravity idea (it’s called MOND: modified Newtonian Dynamics) and German astrophysicist Rainer Plaga. Right at the top, Carroll concedes that “it may very well turn out that the behavior of gravity on large scales does not precisely match the prediction of ordinary general relativity”. In other words, he is saying, we might well have to modify gravity.
 
It’s worth pointing out a couple more reasons it’s OK to harbour doubts about the dark stuff. Last September, Durham astronomer Carlos Frenk admitted he was “losing sleep” over the results of his own computer simulations. His work had showed that the way simulated dwarf galaxies – mainly composed of dark matter – form in a halo around our own galaxy doesn’t tally with what we observe. His conclusion was that the standard theory of dark matter is almost certainly wrong, adding that searches for the stuff at the LHC in Geneva would therefore prove fruitless.
 
Then last month two groups of astronomers announced that dark matter wasn’t where it should be. The sun is meant to be surrounded by a halo of dark matter, and it isn’t.
 
If there really is no dark matter, that won’t be a mainstream view for decades to come. Once it’s got some momentum, it takes a lot of effort to change direction in science. But it does seem that, after 80 years, someone’s found the handbrake on the dark matter juggernaut.
 

Images of giant galaxy clusters, said to be mainly made up of dark matter. Photograph: Nasa/Getty Images

Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

Alan Schulz
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An Amazonian tribe is challenging scientific assumptions about our musical preferences

The Tsimane’ – a population of people in a rural village in Bolivia – are overturning scientists' understanding of why humans prefer consonant sounds over dissonant ones.

It was 29 May 1913. Hoards of Parisians packed out the newly-opened Théâtre des Champs-Élysées. Messrs Proust, Picasso and Debussy were in attendance. Billed for the evening was the premiere of Le Sacre du PrintempsThe Rite of Spring, a ballet and orchestral work debuted by Russian composer Igor Stravinsky.

The attention and conjecture focused on the theatre that day meant expectations were high. However, within moments of the piece beginning, all preconceived notions held by the audience were shattered, as what was unfolding in front of them was a musical tragedy unlike anything they had ever witnessed.

A bassoon hummed into the ether before ballet dancers stomped on stage; the music, unpredictable with its experimental edge, drove forth the onstage narrative of a young girl whose selection during a pagan ritual saw her sacrificially dance towards death. Stravinsky’s composition and the ensemble of the night caused the room to descend from laughter and disruption to chaos and uproar.

The employment of dissonance – sharp, unstable chords – largely contributed to the audience’s disturbed reaction. Dissonant chords create a tension, one which seeks to be resolved by transitioning to a consonant chord – for example an octave or perfect fifth. These musical intervals sound far calmer than the chords which riveted the audience of The Rite of Spring.

Dissonant and consonant intervals find themselves as binary opposites; the frequencies at which notes played together vibrate determine whether an interval is consonant or dissonant. Consonant intervals have simple mathematical relationships between them, but greater digression from that simplicity makes an interval increasingly dissonant.

It’s long been believed  both experimentally and anecdotally – that the preference among Westerners for consonant chords highlights a universal, perhaps biologically-rooted, leaning among all humans towards consonant sounds. If you were present at the introduction of Stravinsky’s The Rite of Spring on that night of furore in Paris, you’d find it hard to disagree.

There is, however, a growing movement against this consensus. Ethnomusicologists and composers alike argue that favouring consonance may just be a phenomenon that has evolved from Western musical culture. And following the visit of a group of researchers to a remote Amazonian society, these claims could well be grounded in scientific evidence.

Led by Josh McDermott, an MIT researcher who studies how people hear, the group travelled to a village in the Amazon rainforest called Santa Maria. It’s populated by the Tsimane’ – a group of native Amazonians whose rural abode is inaccessible by road and foot, and can be reached only by canoe. There are no televisions in Santa Maria and its inhabitants have little access to radio, meaning exposure to Western cultural influences is minimal.

The researchers were curious to see how the Tsimane’ would respond to music, in order to determine whether they too had a preference for consonant sounds over dissonant ones. To everyone’s surprise, the Tsimane’ showed no preference for consonance; the two different sounds, to the Tsimane’ at least, were equally pleasant.

Detailing their research in a paper published by Nature, the group explains how the Tsimane’ people’s indifference to dissonance is a product of their distance from Western culture and music, removing any purported notion that humans are hard-wired to praise perfect fifths and fourths.

McDermott tells me that the Western preference for consonance may just be based on familiarity. “The music we hear typically has more consonant chords than dissonant chords, and we may like what we are most exposed to,” he says. “Another possibility is that we are conditioned by all the instances in which we hear consonant and dissonant chords when something good or bad is happening, for example in films and on TV. Music is so ubiquitous in modern entertainment that I think this could be a huge effect. But it could also be mere exposure.”

To fully gauge the Tsimane’ responses to the music, 64 participants, listening via headphones, were asked to rate the pleasantness of chords composed of synthetic tones, and chords composed of recorded notes sung by a vocalist. At a later date, another 50 took part in the experiment. They had their responses compared to Bolivian residents in a town called San Borja, the capital city La Paz, and residents in the United States – locations selected based on their varying exposures to Western music.

What made the Tsimane’ particularly interesting to McDermott and his group was the absence of harmony, polyphony and group performances in their music. It was something the researchers initially thought may prevent an aesthetic response from forming, but the worry was quickly diminished given the Tsimane’ participants’ measure of pleasantness on the four-point scale they were provided.

Unsurprisingly, the US residents showed a strong preference for consonance – an expected preference given the overrunning of Western music with consonant chords. Meanwhile, the San Borja and La Paz residents demonstrated inclinations towards consonant sounds similar to the US residents. The implication of these results – that consonance preferences are absent in cultures “sufficiently isolated” from Western music – are huge. We most probably aren’t as polarised by consonance and dissonance as we assume; cultural prevalence is far more likely to have shaped the consonant-dominant sounds of Western music.

McDermott raised the question about why Western music may feature certain intervals over others to begin with:

“One possibility is that biology and physics conspire to make conventionally consonant and dissonant chords easy to distinguish, and so that distinction becomes a natural one on which to set up an aesthetic contrast even if the preference is not obligatory. We have a little evidence for this in that the Tsimane' could discriminate harmonic from inharmonic frequencies, which we believe form the basis of the Western consonance/dissonance distinction, even though they did not prefer harmonic to inharmonic frequencies.”

There has been some criticism of this. Speaking to The Atlantic, Daniel Bowling from the University of Vienna said:

“The claim that the human perception of tonal beauty is free from biological constraint on the basis of a lack of full-blown Western consonance preferences in one Amazonian tribe is misleading.”

Though the results from the Amazonian tribe demonstrate a complete refutation of previous assumptions, people's musical preferences from other cultures and places will need to be analysed to cement the idea.

With research beginning to expand beyond WEIRD people – those from a Western, Educated, Industrialised, Rich and Democratic background – the tastes in music of people the world over may continue to surprise, just as the Tsimane’ did.

The Rite of Spring, which was met with ridiculing reviews has now been canonised and is considered to be one of the most important pieces of music of the twentieth century. A Tsimane’ crowd on that tender night a century ago in Paris may have responded with instant praise and elation. With further research, the imagined Bolivian adoration of a Russian composer’s piece in the French city of love may prove music to be the universal language after all.