Physicists use computer simulation to investigate aging in living glassy systems

Physicists use computer simulation to investigate aging in living glassy systems
A representation of an active particle being propelled through an energy landscape to lower energy states. Credit: Dr Rituparno Mandal, University of Göttingen

Aging is a process that affects not only living beings. Many materials, like plastics and glasses, also age—i.e. they change slowly over time as their particles try to pack better—and there are already computer models to describe this. Biological materials, such as living tissue, can show similar behavior to glasses except that the particles are actual cells or bacteria which have their own propulsion. Researchers at the University of Göttingen have now used computer simulations to explore the aging behavior of these “living” glassy systems. There was a surprise in that the activity of the particles can actually drive aging, which has potential consequences for a number of applications. Their research was published in Physical Review Letters.


In materials like glasses and plastics, their particles pack

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UK to Investigate Apple Music and Spotify Over Fair Pay for Artists

The UK Department of Culture, Media, and Sport is launching an inquiry into music streaming services, including Apple Music, Spotify, and YouTube, to ascertain whether musicians are paid fairly (via BBC News).

The inquiry comes after complaints from artists that the payments they receive for their work are “negligible.”

The growth of the streaming market “cannot come at the expense of talented and lesser-known artists,” said Culture, Media, and Sport Committee chair Julian Knight MP.

The inquiry is set to begin next month, and will seek to gather evidence from industry experts, artists, record labels, and streaming services themselves.

‌Apple Music‌ pays the most at £0.0059 per stream, followed by Spotify at £0.002 to £0.0038 per stream. The lowest paying service is YouTube, which pays about £0.00052 per stream. These funds are then divided between rights-holders, resulting in artists receiving just 13 percent of revenue on average.

It is

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