Meditations

When bad history meets bad journalism

by Alex Wellerstein, published January 7th, 2015

A lot of people have been passing around the latest news story about the supposed “Nazi nuclear bunker” that was supposedly discovered in Austria. Normally I would not comment at length about such a thing, originating from tabloids and so obviously (to my eye) devoid of serious merit. But since the passing around has even made it to more austere publications (like the Washington Post) and because a number of people have asked me informally what I thought about it, I thought I could take it as an opportunity to talk about what bad history of the bomb looks like.

The Sunday Times (UK) version of the "bunker" story.

The Sunday Times (UK) version of the “bunker” story.

Cheryl Rofer has compiled some of the basics of the story on Nuclear Diner. The basics are this: an Austrian filmmaker named Andreas Sulzer has been trying to make a film about an Austrian bunker that dates from World War II. He has been claiming there was a nuclear connection to this bunker, and gotten some headline-grabbing tabloid stories about it, since 2013. What’s the evidence for it being a nuclear site? He claims that he has an American intelligence document from 1944 that lists it as a site of possible interest. He has made vague claims about radioactivity. It is part of an existing weapons production plant (a factory that produced rocket engines). Some physicists might have been sent there. Did we mention there was a bunker?

Yeah. That’s it. This stuff is pretty obviously thin, but let’s just say: Allied intelligence about German nuclear sites in 1944 was poor and scattered and means nothing. Radiation is everywhere and can fluctuate from a variety of natural and artificial sources — only by talking about levels of radiation do we start to wonder if something unusual is occurring, and only by talking about specific radioactive isotopes can we start to really wonder if any given radiation is of interest to us or not. (This is not hard to do — there are hand-held devices that can both measure radiation intensity and determine the isotopes in about 30 seconds, these days. ) The fact that it is part of an existing plant is probably evidence against it being a super-secret nuclear installation (compartmentalization). And physicists were involved in practically every technical program during World War II, so their presence tells us nothing one way or the other.

Forbes' version of the same story from February 2014.

Forbes’ version of the same story from February 2014.

The obvious thinness of this evidence, and the obvious motivation of the filmmaker — who has been denied a permit to dig around the site — should already be a sign to any self-respecting journalist that this is not worth touching. Certainly not without talking to some other experts about it. The only person anyone seems to have called up is Rainer Karlsch, whose own work on the German nuclear program is extremely controversial (Karlsch claims the Germans detonated some kind of dirty bomb or pure-fusion bomb — also on very thin evidence). For all of his outsized claims, at least Karlsch did his homework and tries to marshall evidence for his work. I don’t think Karlsch’s evidence fits the strength of his claims, and there are real technical problems with Karlsch’s reasoning, but there is at least a serious scholarly discussion to be had there. There is not one to be had (at least, not yet) about the Sulzer claims, because there is no there there. Karlsch’s only quoted comment is that he thinks the Germans got further along with their nuclear program than most people think (to be addressed below), and doesn’t comment on the Sulzer claims at all — which makes it not really a supporting comment for Sulzer at all.

But if you slap “Nazi” and “nuclear” onto something, it gets a lot of hits, and that’s what appears to be the motivation here both for the Sunday Times and the many other sources that have picked up the same story and run it without checking in with anybody else to see whether it is even plausible. Which is a sad state of things.

December 2013 version of the story, from the Daily Mail (UK).

December 2013 version of the story, from the Daily Mail (UK).

There is a bunker. No credible evidence has actually been offered to make one think it has a nuclear connection. That the Germans had large underground bunkers for technical projects is well-known — that they had them for their nuclear program is not, because there is no evidence of this. (They did do some reactor work in some caves towards the end of the war, but it was small scale.) Newspapers should stop passing this kind of nonsense around… especially since it is not even “news” at this point — the bunker story has been circulating for over 2 years, without any additional increase in credibility!

About two or three times a year I get contacted by people who are working on things relating to the German or Japanese wartime nuclear programs. The appeal is obvious: there is a built-in audience for this kind of thing, and there are still areas of uncertainty with regards to these programs. I have written on here in the past on a few of the questions I’ve stumbled into with regards to the German program, for example. We don’t know everything about these programs, and there are reasons to think that there is still more to learn. So I’m always willing to engage with people on these questions.

At least the Washington Post hedged the headline a bit, "says he uncovered." Still misleading, but makes the factual basis a little more clear.

At least the Washington Post hedged the headline a bit, “says he uncovered.” Still misleading, but makes the factual basis a little more clear.

Some of the stuff strikes me as improbable or a little crack-pot-ish; some of it seems plausible and interesting. I’m a firm believer in the idea that sometimes non-academic historians stumble onto interesting things and interesting questions (John Coster-Mullen is a great example of this), and I don’t discriminate unless people show themselves to be going down truly untenable paths (like that small segment of the Internet who believes that all nuclear weapons are a hoax, which is just a truly silly “theory”). I will hear just about anyone out, and tell them what I find plausible or implausible about their ideas. I am a skeptical person — big claims need big evidence. But I do believe there is still a lot “out there” to be found on these topics, and maybe more than a few surprises yet.

The German nuclear program seems to attract a lot of “theorizing” in particular, ranging from the “they got further in it than most people think” (which is an easy argument to make since most people don’t know much about the German program at all) to the absurd extremes of “they made an atomic bomb and the only way the Americans got one themselves was by stealing it” (conspiracy country).

The 1945 version of the same headline — New York Herald Tribune, August 8, 1945, story about the Norsk Hydro plant, which also over-emphasized the closeness of Germany's getting the bomb for dramatic effect.

The 1945 version of the same headline — New York Herald Tribune, August 8, 1945, story about the Norsk Hydro plant, which also over-emphasized the closeness of Germany’s getting the bomb for dramatic effect. Click the image to read the article.

Public understanding of the German nuclear program is indeed a confused and often incorrect thing, owing to a history of the politicization of the topic. In the very early days after the dropping of the atomic bomb on Hiroshima, the “race with the Germans” narrative was played up very heavily by the Manhattan Project public relations people, both because it made for good drama and because it seemed to justify the US interest in the topic. And, indeed, the scientists who lobbied for the atomic bomb program between 1939 and 1944 or so did believe that the Germans might be ahead of them and that they were “racing” them to make the atomic bomb. It was not until late 1944 that the Alsos program reported back that the Germans had never gotten very far with their work, and that the US had never really been “racing” with them at all. Even today, though, we still see the legacy of this, with television programs and movies over-dramatizing the closeness of the “race,” and the importance of things like the sabotage of the Norsk Hydro facility, all of which makes it look like the Germans were very close indeed.

On the other side of the coin, we also have things like the Copenhagen play, which is an excellent piece of drama (and I am indeed a fan) but has infected a new generation with the idea that the Germans made no progress at all with regards to nuclear weapons — and indeed, had never even seriously considered the matter — because Heisenberg had consciously sabotaged the whole project. Never mind that Heisenberg’s own claims were far more nuanced on this point (he was always vague on this, only implying in a round-about way that they might not have made a bomb because they didn’t really want one). The play and the press around it has led a lot of people to think that the Germans knew really nothing about nuclear weapons development, and that they had intentionally avoided making them.

Allied troops disassembling the German experimental research reactor at Haigerloch, as part of the Alsos mission.

Allied troops disassembling the German experimental research reactor at Haigerloch, as part of the Alsos mission.

The truth, so far as we know it now, is somewhere other than these two extremes. Mark Walker’s two books (German National Socialism and the Quest for Nuclear Power, 1939-1949 and Nazi Science: Myth, Truth, And The German Atomic Bomb) are still excellent, though a bit more has come out since then. The basic gist of Walker’s work is that the German program knew a lot on paper, but never quite crystallized everything organizationally or technically to keep their program from being anything more than a side-project, focused primarily on reactor development. They never developed large-scale isotopic enrichment facilities, and they never got a reactor that went critical. Their reactor work was sophisticated given the conditions under which it was being done, but it never achieved criticality. Some members of the various teams that worked on the project had some fairly accurate understandings of how a nuclear weapon might be made, but there was also a lot of confusion circulating around (some members of the team understood it would be a fast-neutron fission reaction in enriched material, some were confused and focused on it being basically an out-of-control pile). Some were considering rather advanced designs (Karlsch has convinced me that they thought a bit about implosion, for example), but the whole thing was mostly a exploratory program.

The plausibility of any new arguments about German successes with their nuclear programs is always limited in part by what we know about the technical requirements of such an endeavor. The Manhattan Project need not be the only model of a successful nuclear program (it was in many ways unusual), but it does provide some baseline metrics for talking about nuclear programs of the 1940s. Any successful plutonium-breeding program is going to require fairly large reactors, because plutonium reprocessing extracts only grams of “product” from each ton of uranium fuel that goes into it. (Each of the three early Hanford reactors extracted only 225 grams of plutonium from every ton of uranium processed.) Any successful isotopic-enrichment program is going to require huge feed supplies of uranium (the Manhattan Project approaches consumed thousands of tons of uranium), pretty large facilities, and a lot of electricity.

When Alsos leader Sam Goudsmit was investigating the Germany nuclear work, he was struck by how little of it was kept very secret — evidence, in his mind, that they had not gotten very far with it. (S.A. Goudsmit and F.A.C. Wardenburg, "TA-Straussburg Mission," (8 December 1944), copy in the Bush-Conant file, Roll 1, Target 6, Folder 5.)

When Alsos leader Sam Goudsmit was investigating the Germany nuclear work, he was struck by how little of it was kept very secret — evidence, in his mind, that they had not gotten very far with it. (S.A. Goudsmit and F.A.C. Wardenburg, “TA-Straussburg Mission,” (8 December 1944), copy in the Bush-Conant file, Roll 1, Target 6, Folder 5.)

Separate from the technical argument is a bureaucratic one — if the Germans supposedly made such progress, why is was there no organizational evidence of it in the copious reports, papers, formal and informal statements, and so on that were discovered by the Alsos project, later researchers, and at Farm Hall? Big programs leave big traces. If one wants to claim that the German program was big, one has to show where those traces are, or come up for a plausible argument for why there are no traces.

This does not mean that one might not find more evidence in the future. It just means that any claims and evidence need to fit within the existing technical and bureaucratic narratives. For example, one could argue, “oh, but they did have a massive isotopic enrichment plant, and it was here, and here is evidence of — if one had the evidence. On the bureaucratic side, one could argue that people who we previously thought were important in the program (e.g. Gerlach) were actually out of the loop entirely. Or something along those lines.

Weekly World News, 2002: "Confederacy was Building an Atomic bomb."

Weekly World News, 2002: “Confederacy was Building an Atomic bomb.” No comment!

But you can’t just find a hole in the ground and say, “ah, here is where Hitler was making a bomb.” Aside from the implausibility of a nuclear program existing in a single underground bunker, by itself this kind of claim hasn’t done the work to be plausible. At best, if done in good faith, it is a claim along the lines of “oh, maybe this is worth looking into more.” That is fine — hey, I’d even nominally support that — but one shouldn’t be going to the newspapers about it at that stage, and the newspapers shouldn’t be passing off your claim as having more validity than half of the other implausible claims that circulate around these topics. This is premature, and the net effect is going to be misleading for the readership.

As historians, we need to be open to the idea that there are still mysteries to be solved, secrets to be unearthed, even about ground that superficially looks well-trodden. But I wish journalists would do a little better than just re-printing the overblown claims of unreliable sources, without checking with experts on their plausibility. Couching it as, “this guy made a claim” doesn’t get you off the hook, because we all know that only the initial, big-claim story is the one that will be passed around, and that almost nobody will notice when no follow-ups occur, or the mild “so no evidence turned up for this guy’s big claim” story comes out.

Journalists — You can do better!

Redactions

Nuclear history bibliography, 2014

by Alex Wellerstein, published January 2nd, 2015

It’s time for the third-annual Nuclear History Bibliography wrap-up, that special feature of this blog where I spend a few hours searching academic databases for interesting keywords and then give you the results, with the aim of giving a rough guide to the state of the field as it is represented in print. The rules are the same as last time and the time before: the boundary of what is being defined as “nuclear history” is a vague one (the connection to nuclear technology has to be somewhat explicit, and it has to be a mostly historical work, talking about what happened and less about what is happening or should happen), it has to have a 2014 publication date on it (even if it actually was first visible before or after the year), and it has to be primarily something that was “published” (I have not tried to include all websites, but I have added a few “electronic publications” where they seemed too interesting to omit, at the end).

Met Lab - secrecy stamp (photograph by Alex Wellerstein)

If I’ve missed something (extremely likely, especially in the non-English literature), please feel free to let me know in the comment section. I don’t claim to have read even a fraction of these — this citations are just provided so that people (including myself!) can see what they’ve missed in the last year, and maybe follow-up on it later. All I’ve done here is spend several hours searching through various databases (and looking at a few journals that are rather standard for this kind of thing) and filtered out (usually by glancing at the articles themselves) anything that I felt met the above criteria. So it’s not going to be perfect. This year I’ve decided to be civilized about my citation-mongering and have gathered everything together into files for importing into Zotero, EndNote, whatever, here: books: RISBIB; articles: RIS, BIB. In places where I’ve been able to, I’ve linked to the Amazon page of the book, or to the DOI link of the articles.

View the list by clicking here.

Visions

The button that isn’t

by Alex Wellerstein, published December 15th, 2014

One of my favorite articles from The Onion concerns the imagined allure of “the button”:

"Obama Makes It Through Another Day Of Resisting Urge To Launch All U.S. Nuclear Weapons At Once" - The Onion

Despite being constantly tempted by the seductive power of having an apocalyptic arsenal at his fingertips, President Barack Obama somehow made it through another day Tuesday without unlocking the box on his desk that houses “the button” and launching all 5,113 U.S. nuclear warheads. …

Though the president confirmed his schedule was packed with security briefings, public appearances, and cabinet meetings, he said he couldn’t help but steal a few glances at the bright red button, which is “right there, staring at [him], all the time.”

The article manages to wring a lot of humor out of the idea that on the President’s desk is a big red button that starts World War III.

Like much of The Onion’s satire, it is exceedingly clever in taking a common trope and pushing it into absurd territory. Even the physicality of the idea of a “button” is toyed with:

“Did you know that if you sort of put enough weight on the button with your fingertip, you can feel a little slack there before it actually clicks?” Obama added. “Thank you, and God bless America.”

I was thinking about this article a few months ago because I was asked by my friend from grad school, Latif Nasser, if I would be interested in talking to him and NPR’s Robert Krulwich about “the button” for a Radiolab episode they were working on. The Radiolab show was initially meant to be about buttons — in all senses of the term — but they kept finding that things that they thought were buttons were in fact either non-buttons or non-functional buttons. You can listen to the full episode here: “Buttons Not Buttons.”

You should listen to the whole episode, but — spoiler alert — the interesting thing about the nuclear “button” is that there isn’t a nuclear button. That is, nuclear war can’t be started by just pounding a big red button. Sorry. Waging a nuclear war requires a lot more activity, spread out across a vast geographical area, and is a complex interaction of technical, organizational, and political issues. In the Radiolab interview, I attempted to paint in broad strokes the kind of vast technical and organizational networks that are needed to maintain the United States’ command and control systems — the systems that let you use nukes when you want to, and make sure that nukes don’t get used when they are not supposed to be used.

The problem with a big red button is that someone might actually press it. Like a cat. Source: Ren and Stimpy, Space Madness.

The problem with a big red button is that someone might actually press it. Like a cat. Source: Ren and Stimpy, Space Madness.

The Onion article indicates, in its wry way, one of the key reasons there isn’t a single “button” — it would be way, way too dangerous. Nobody wants nuclear war to be that easy to start. Or, as I like to put it, you don’t want a nuclear weapon that can be set off by a cat. Because you know that, sooner or later, a cat would set it off. Such is the way of cats. There are places in the world where big red buttons exist. But they are usually used to stop activity, not start it. They are emergency shutoff switches, things that you need to push in a big hurry, without too much hassle. And even they might require you to break some glass first.

On the other hand, if you’re a believer in deterrence and all that, you don’t want it to be too hard to start nuclear war. So this is just another variation of the “always/never” problem: you want to be able to start nuclear war if you need to, and start it quickly and effectively, but on the other hand, you want to never start nuclear war accidentally.

"Nuclear C3 [Command, Control, Communication] Transport Systems" — an attempt to characterize the technical, organizational, and political systems needed to actually start nuclear war in the United States today. Source: The Nuclear Matters Handbook, by the Office of the Assistant  Secretary of Defense for Nuclear, Chemical, and Biological Defense Programs.

“Nuclear C3 [Command, Control, Communication] Transport Systems” — an attempt to characterize the technical, organizational, and political systems needed to actually start nuclear war in the United States today. Source: The Nuclear Matters Handbook, by the Office of the Assistant Secretary of Defense for Nuclear, Chemical, and Biological Defense Programs.

From a technical standpoint, this means that you have to engineer a pretty complex system. In principle, the United States President has complete control over whether nuclear war starts. But the President doesn’t work in a missile silo. So somewhere between the President and the silo has to be a delegation of authority, and a subsequent potential loss of control. One could, in theory, completely automate that control — you could install a single “button” — but aside from the technical difficulty of that, there are a lot of new potential errors that get introduced.

Eric Schlosser’s Command and Control is a great read if you are interested in how this problem gets addressed over the course of the Cold War. Michael Gordin’s Five Days in August is, in part, a great description of how these issues were wrangled with even in the earliest days of nuclear weapons as political control transferred from Potsdam to Washington and Tinian. If I could add footnotes to radio interviews, I would prominently name-check both of these books — they greatly improved my own understanding of this. As did the work of my friend Dan Volmar, who is writing a dissertation on US command and control systems. And I need to give a massive hat-tip to Stephen Schwartz, who clued me into the Roger Fisher “cut the heart out” that I wrote about a few years back.

A submarine-launched ballistic missile trigger. Courtesy of Stephen Schwartz.

A submarine-launched ballistic missile trigger. Photo by the always amazing Paul Shambroom; courtesy of Stephen Schwartz.

Of course, there sometimes are switches, keys, and — yes — buttons, as part of the overall launching systems. But they aren’t centralized, and they are always more complicated than a simple big, red button. US ICBM launches require two simultaneous keys to be turned by two different people, on different sides of the room, the idea being that the odds of two people deciding to collude on an illegal launch are lower than one. SLBM launches, Stephen Schwartz reports, require the use of a pistol-grip “trigger” that is kept in a safe— a button, of sorts, though one that is hard to accidentally set off.

OK, so there isn’t a single nuclear button. Why do we talk about a button? This is a great history of technology question — “the button” is a metaphor, and not a new one. Starting in the 19th century, “the button” (or the “push button” or other variations on the same thing) started becoming a standard English idiom for “quick and easy and automatic.” The idea that you “push a button” and something happens — as easy as that! — shows up in the late Machine Age and continues onward.

So “the button” is just a metaphor for how technology makes things easy. That’s why everything in The Jetsons is button-based — the future was meant to take this to the extreme, where George Jetson would just spend all day at work pressing a single button. (Of course, many of us do press buttons all day — I am pressing quite a few as I type this — but generally not just one button.) If you combine the button imagery with the atomic bomb, it becomes a comment on the way technology has made mass destruction easy.

"Now I am become Edison, Wrecker of Worlds": fictional account of Edison destroying England using "button no. 4," 1896. Source: The Electrical Trade, August 1, 1896.

“Now I am become Edison, Wrecker of Worlds”: fictional account of Edison destroying Great Britain using “button no. 4,” 1896. Source: The Electrical Trade, August 1, 1896, page 9.

In fact, the idea that technology had made it so easy to destroy the world that a single button could set it all off predates nuclear fission. In the 1890s, a Parisian newspaper published a skit about Thomas Edison destroying all of England by joining some wires and pushing “button No. 4.” For this anecdote, and several others relating to “pushbutton” world destruction prior to fission, I am grateful to Spencer Weart’s Nuclear Fear: A History of Images.

There are other “button” stories I found while searching from newspaper and journal databases. In 1929, the famous American physicist Robert Millikan was quoted as saying that “no ‘scientific bad boy’ ever would be able to blow up the world by releasing atomic energy,” (!), and he later “scoffed at the idea that in the future by pressing a button a man might have an army of atomic servants wash his face, mend his clothing or make his bed.” In a 1932 review of the 1928 proto-atomic-bomb drama “Wings Over Europe,” it is noted that “All the scenes are set in Downing-street and the chief character is a young scientist who has presented to the cabinet a secret that could destroy the world by pressing a button.” In article from the Weekly Irish Times in 1932, it is feared that atomic energy will enable “a time when, by the pressing of a button or turning of a switch, it will be possible for somebody to explode the whole world like a penny balloon. It will be a tremendously lethal opportunity.” On these proto-atomic bomb fantasies, especially in the U.K. context, I found Graham Farmelo’s Churchill’s Bomb very useful. Churchill himself was an atomic-bomb speculator in the H.G. Wells vein, writing about atomic energy as early as 1931.

August 20, 1945: a LIFE magazine correspondent reports on "push-button" battles of the future.

August 20, 1945: a LIFE magazine correspondent reports on “push-button” battles of the future.

So when the actual atomic bomb came along, there was already a ready-made imagery to be applied to it. (And Weart’s book is excellent at demonstrating this well beyond the realm of buttons, too.) So when did people first start applying the button metaphor to the bomb? As early as late August 1945, there are discussions of “push-button” battles. By November 1945, when the physicist Edward Condon argued during Congressional testimony that “The next war should be described as the War of the Pushbuttons,” it was already something of a cliché. The idea of World War III being a “pushbutton war” started pretty early.

I have to admit, I was a little uncertain how the “button” line of discussion was going to come together when I was first contacted by Latif, but the more I thought about it, the more I thought it was a nice way to get into a lot of different, interesting issues both about the history of the bomb (and what “the button” means, metaphorically), but also in explaining why there isn’t a button, it allows for a nice, tangible, interesting way to bring up the questions involved in command and control systems — moving the discussion of the bomb out of the realm of pure imagery and into the tangible and real.

Visions

Mushroom clouds strange, familiar, and fake

by Alex Wellerstein, published December 1st, 2014

If you spend a lot of time on the history of nuclear weapons, you see a lot of mushroom clouds photographs. There were over 500 atmospheric nuclear tests conducted during the Cold War, and most of these were photographed multiple times. (There were over 50 dedicated cameras at the Trinity test, as one little data point.) The number of unique photographs of nuclear explosions must number in the several thousands.

Castle Romeo

And yet, most of the time we seem to reach for the same few clouds that we’ve always reached for. How many books, for example, have this shot of the Castle Romeo mushroom cloud on their cover? Romeo was an American H-bomb test from 1954, 11 megatons in yield. It gets used, however, for all sorts of things — like the Cox Report’s 1999 allegations about China stealing advanced (much lower-yield) thermonuclear warhead designs, or illustrating Soviet nuclear weapons, or illustrating (most incorrectly) nuclear terrorism (which would not look like this at all). It’s a great photo (dramatic, red, well-framed), but it’s not a generic mushroom cloud — it is a really high yield weapon, and arguably ought to only be used to illustrate very high yield weapons.

OK, I’m a pedant about this kind of thing. I get annoyed with poorly-used mushroom cloud photos, and repetitive photos, because there are just so many good options out there if the graphic designers in question would just search beyond the first thing that comes up when you Google “mushroom cloud.” But re-using known clouds is not as bad as, say, mistaking a fake, computer-generated mushroom cloud for a real one.

Fake Tsar Bomba

This photo is often labeled as the “Tsar Bomba” cloud and it is not even an actual photograph of a nuclear test — it is a CGI rendering, and not even a very good one. I don’t think you even have to be a nuke wonk to recognize that, and that people’s CGI-savvy would be better than this, but I guess not. An animated version is circulating on YouTube — the physics is all wrong regarding the fireball rise, the stem, etc., and the texturing is off. Apparently a lot of people have been fooled, though. There is film of the actual Tsar Bomba explosion, and one can readily appreciate how different it is.

The above photo is also sometimes labeled as the “Tsar Bomba,” and was recently featured on the cover a book about the British atomic bomb, labeled as a British thermonuclear weapon. It is actually a French nuclear weapon, specifically the test dubbed “Licorne,” a 914 kiloton thermonuclear shot detonated in 1970 at the Fangataufa atoll in French Polynesia. I do admit finding the confusion about this one amusing, especially when it is mislabeled as a British test. (As an aside: I do not blame authors for the photos on their book covers, because I know they often don’t have anything much to do with the cover images.)

There are actually four shots from this same test that I don’t think most people realize are of a sequence, showing first the brief condensation cloud that formed in the first 20 seconds or so (which exaggerates the width of the actual mushroom cloud, similar to the famous Crossroads Baker photograph), and then tracks the mushroom cloud as it rises. When you resize them to the same scale (more or less), you can see that they are not four different shots at all, just differently timed photographs of the evolution of a single shot’s mushroom cloud:

There is also a film of the test, though the quality isn’t that great. The whole sequence represents less that a minute of the bomb detonation; as I’ve noted previously, most of our photos of mushroom clouds are from the first minute or so after their detonation, and they can get pretty unfamiliar if you watch the cloud evolve for longer than that.

Other clouds that have gotten overused (in my opinion) include Upshot-Knothole Grable, Crossroads Baker, and Upshot-Knothole Badger.

Does it matter that we re-use, and sometimes mis-use, the same mushroom clouds over and over again? In a material sense it does not, because the people who use/misuse these clouds are really not using them to make a sophisticated visual or intellectual argument. Rather, they have chosen a “scary mushroom cloud” image for maximum visual effect. And these fit the bill, except maybe the fake one, which will turn off anyone who can spot a fake.

But it does represent the way in which a lot of our cultural understanding of nuclear weapons has stagnated. The same visuals of the bomb, over and over again, mimic the same stories we tell about the bomb, over and over again. Culturally, there is a deep “rut” that has been carved in how we talk and think around nuclear weapons, a sort of warmed-over legacy of the late Cold War. I am sometimes astounded by how deep, and how deeply held, this rut is — on Reddit, for example, people will fight vehemently over the question of dropping of the atomic bomb, sticking exclusively to positions that were argued about 20 years ago, the last time this stuff was “hot.” They aren’t aware that the historiography has moved quite a distance since then, because you’d never know that from watching or reading most historical discussions of the bomb in mainstream media.

One of the first commercial uses of a fiery mushroom cloud to sell something unrelated to mushroom clouds — in this case, Count Basie's 1958 album, Basie.

One of the first commercial uses of a fiery mushroom cloud to sell something unrelated to mushroom clouds — in this case, Count Basie’s 1958 album, Basie. The test is Operation Plumbbob, shot Hood.

Fortunately, I think, these obvious ruts paradoxically create new opportunities for people who want to educate about the bomb. It is one of the ironies of history that the more firmly entrenched an existing narrative gets, the more interested people are in compelling counter-narratives. The fact that there is a rut in the first place means that there is already a built-in audience (as opposed to history that people just don’t know anything about), and if you can find something new to say about that history, then they’re interested.

“New” here can also mean “new to them,” as opposed to “new to people who spend their lives looking at this stuff.” This is what I was talking about when I was quoted in the New York Times a few weeks ago — things that known to scholars are being discovered and re-discovered by mass audiences who are surprised to find how many different and apparently novel photographs and stories are out there.

As an aside, if I were going to give graphic designers a set of “mushroom cloud use guidelines,” they would be, more or less: 1. don’t use the first cloud you find (there are so many unusual and dramatic ones out there, if you poke around a little bit); 2. don’t use extremely historically-specific clouds (i.e. Hiroshima and Nagasaki) as generic images; 3. don’t use multi-megaton shots (i.e. giant red/orange/yellow cloud fireballs) if you are talking about kiloton-range weapons (i.e. terrorist bombs); and 4. if you are going to label something as British, make sure it is not actually French!


Untitled

As part of my annual contribution to people becoming better acquainted with “new” mushroom cloud photographs, I have released a new and updated version of my Nuclear Testing Calendar for 2015. It features 12 unusual photographs of nuclear detonations, all of which I have carefully cleaned up to remove scratches and dust spots. All of the images are courtesy of Los Alamos National Laboratory.

Here is a little preview of some of the unusual clouds you will find in this calendar:

2015 Nuclear Testing Calendar preview

There are also over 60 nuclear “anniversaries” noted in the calendar text itself. And because 2015 is the 70th anniversary of the Trinity test, I have also reissued last-year’s Trinity test calendar. Both calendars are being offered for $18.99. The site that publishes them, Lulu.com, also often has a lot of coupons on a regular basis — please feel free to take advantage of them! All proceeds go to offsetting the costs of my web work. More details about the calendars and other nuclear delights at my updated Calendars, gifts, tchotchkes page.

Visions

Visualizing fissile materials

by Alex Wellerstein, published November 14th, 2014

I’ve had some very favorable interactions with the people at the Program on Science and Global Security at Princeton University over the years, so I’m happy to announce that four of the faculty have collaborated on a book about the control of fissile material stockpiles. Unmaking the Bomb: A Fissile Material Approach to Nuclear Disarmament and Non-Proliferation, by Harold Feiveson, Alex Glaser, Zia Mian, and Frank von Hippel, was recently published by MIT Press. Glaser, who does some pretty far-out work at the Nuclear Futures Lab (among other things, he has been working on really unusual ways to verify weapons disarmament without giving away information about the bombs themselves — a really tricky intersection of policy, technical work, and secrecy), asked me if I would help them design the cover, knowing that I like to both dabble in graphic arts as well as bomb-related things. Here is what we came up with, in both its rendered and final form:

Unmaking the Bomb cover and render

The “exploded” bomb here is obvious a riff on the Fat Man bomb, simplified for aesthetic/functional purposes, and was created by me using the 3-D design program Blender. (The rest of the cover, i.e. the typography, was designed by the art people at MIT Press.) The idea behind the image was to highlight the fact that the fissile material, the nuclear core of the bomb, made up a very small piece of the overall contraption, but that its importance was absolutely paramount. This is why the non-nuclear parts of the bomb are rendered as a sort of grayish/white “putty,” and the core itself as a metallic black, levitating above.

The original idea, proposed by Glaser, was to do sort of a modern version of a drawing that appears in Chuck Hansen’s U.S. Nuclear Weapons: The Secret History (Aerofax: 1988). Hansen’s image is a thing of beauty and wonder:

1988 - Chuck Hansen - Fat Man

I first saw this diagram when I was an undergraduate at UC Berkeley, working on a project relating to nuclear weapons — one of my first exposures to this kind of stuff. I had checked out pretty much every book on the subject that was in the Berkeley library system, which meant I found lots of unexpected, un-searched-for things serendipitously amongst the stacks. (This is something that I think has been lost, or at least not replicated, with increased reliance on digital sources.) I saw this diagram and thought, “Wow! That’s a lot of information about an atomic bomb! I wonder how he got all of that, and how much of it is real and how much is made up?” I don’t want to say this diagram is what made me want to study nuclear secrecy — origins and interests are always more complicated than that, and a close friend of mine recently reminded me that even in elementary school I used to talk about how nuclear bombs were made, armed with the beautiful-but-highly-inaccurate drawings from Macaulay’s The Way Things Work), but it did play a role.

Eventually I did track down a lot of information about this particular diagram. I found Hansen’s own original sketch of it (in his papers at the National Security Archive) that he gave to the artist/draftsman who drew the piece, Mike Wagnon:

Chuck Hansen Fat Man sketch

I also tracked down Wagnon, some years back now. He told me how he drew it. The original drawing was made many times larger than it was going to be in the book — it was four feet long! After being finished, it was reduced down to the size on the page in the book, so that it just looked like it was packed with fine detail. He also confirmed for me what I had come to suspect, that the diagrams in Hansen’s book, as Wagnon put it to me in 2004, “advertise an accuracy they do not have.” A lot of it was just deduced and guessed, but when you draw it like an engineering diagram, people assuming you know what you’re doing.

Looking at it now, I can see also sorts of really serious errors that show the limits of Hansen’s knowledge about Fat Man in 1988. An obvious one is that it is missing the aluminum pusher which sits in between the tamper and the high explosives. There are other issues relating to the most sensitive parts of the core, things that John Coster-Mullen has spent several decades now working out the details of. Hansen, in his later Swords of Armageddon, corrected many of these errors, but he never made a diagram that good again. As an aside, Wagnon’s version of Little Boy — which we also now know, because of Coster-Mullen, has many things wrong — was the source of the “blueprint” for the bomb in the 1989 film Fat Man and Little Boy:

At top, Wagnon's diagram of Little Boy from Hansen's 1988 U.S. Nuclear Weapons. At bottom, a screenshot from the 1989 film, Fat Man and Little Boy, shows Oppenheimer pondering essentially the same image.

At top, Wagnon’s diagram of Little Boy from Hansen’s 1988 U.S. Nuclear Weapons. At bottom, a screenshot from the 1989 film Fat Man and Little Boy shows Oppenheimer pondering essentially the same image.

Anyway, I am getting off the thread a bit. Unmaking the Bomb, aside from having an awesome cover, is about fissile materials: enriched uranium and separated plutonium, both of which can be readily used in the production of nuclear weapons. The authors outline a series of steps that could be taken to reduce the amount of fissile materials in the world, which they see as a bad thing both for non-proliferation (since a country with stockpiles of fissile materials can basically become a nuclear power in a matter of weeks), disarmament (since having lots of fissile materials means nuclear states could scale up their nuclear programs very quickly if they chose to), and anti-terrorism (the more fissile materials abound, the more opportunities for theft or diversion by terrorist groups).

The Princeton crew is also quite active in administering the International Panel on Fissile Materials, which produces regular reports on the quantities of fissile materials in the world. Numbers are, as always, hard for me to visualize, so I have been experimenting with ways of visualizing them effectively. This is a visualization I cooked up this week, and I think it is mostly effective at conveying the basic issues regarding fissile materials, which is that the stockpiles of them are extremely large with respect to the amounts necessary to make weapons:

world fissile material stockpiles

Click the image to enlarge it. The small blue-ish blocks represent the approximate volume of 50 kg of highly-enriched uranium (which is on order for what you’d need for a simple gun-type bomb, like Little Boy), and the small silver-ish blocks are the same for 5 kg of separated plutonium (on order for use in a first-generation implosion weapon). One can play with the numbers there a bit but the rough quantities work out the same. Each of the “big” stacks contain 1,000 smaller blocks. All references to “tons” are metric tons (1,000 kg). The “person” shown is “Susan” from Google SketchUp. The overall scene, however, is rendered in Blender, using volumes computed by WolframAlpha.

I made this visualization after a few in which I rendered the stockpiles as single cubes. The cubes were quite large but didn’t quite convey the sense of scale — it was too hard for my brain, anyway, to make sense of how little material you needed for a bomb and put that into conversation with the size of the cube. Rendering it in terms of bomb-sized materials does the trick a bit better, I think, and helps emphasize the overall political argument that the Unmaking the Bomb authors are trying to get across: you can make a lot of bombs with the materials that the world possesses. If you want the run-down on which countries have these materials (spoiler: it’s not just the ones with nuclear weapons), check out the IPFM’s most recent report, with graphs on pages 11 and 18.

To return to the original thread: the bomb model I used for the cover of Unmaking the Bomb is one I’ve been playing with for a while now. As one might imagine, when I was learning to use Blender, the first thing I thought to try and model was Fat Man and Little Boy, because they are subjects dear to my heart and they present interesting geometric challenges. They are not so free-form and difficult as rendering something organic (like a human being, which is hard), but they are also not simply combinations of Archimedean solids. One of my goals for this academic year is to develop a scaled, 3D-printed model of the Fat Man bomb, with all of the little internal pieces you’d expect, based on the work of John Coster-Mullen. I’ve never done 3D-printing before, but some of my new colleagues in the Visual Arts and Technology program here at the Stevens Institute of Technology are experienced in the genre, and have agreed to help me learn it. (To learn a new technology, one always needs a project, I find. And I find my projects always involve nuclear weapons.)

For a little preview of what the 3D model might end up looking like, I expanded upon the model I developed for the Unmaking the Bomb cover when I helped put together the Unmaking the Bomb website. Specifically, I put together a little Javascript application that I am calling The Visual Atomic Bomb, which lives on the Unmaking the Bomb website:

The Visual Atomic Bomb screenshot

I can’t guarantee it will work with old browsers (it requires a lot of Javascript and transparent PNGs), but please, give it a shot! By hovering your mouse over the various layer names, it will highlight them, and you can click the various buttons (“hide,” “show,” “open,” “close,” “collapse,” “expand,” and so on) to toggle how the various pieces are displayed. It is not truly 3D, as you will quickly see — it uses pre-rendered layers, because 3D is still a tricky thing to pull off in web browsers — but it is maybe the next best thing. It has more detail than the one on the cover of the book, but you can filter a lot of it on and off. Again, the point is to emphasize the centrality of the fissile material, but to also show all of the apparatus that is needed to make the thing actually explode.

I like to think that Chuck Hansen, were he alive today, would appreciate my attempt to take his original diagrammatic representation into a new era. And I like to think that this kind of visualization can help people, especially non-scientists (among which I count myself), wrap their heads around the tricky technical aspects of a controversial and problematic technology.