A short history of nearly everything - Bill Bryson [61]
Almost at once popularizers of science tried to come up with ways to make these concepts accessible to a general audience. One of the more successful attempts—commercially at least—was The ABC of Relativity by the mathematician and philosopher Bertrand Russell. In it, Russell employed an image that has been used many times since. He asked the reader to envision a train one hundred yards long moving at 60 percent of the speed of light. To someone standing on a platform watching it pass, the train would appear to be only eighty yards long and everything on it would be similarly compressed. If we could hear the passengers on the train speak, their voices would sound slurred and sluggish, like a record played at too slow a speed, and their movements would appear similarly ponderous. Even the clocks on the train would seem to be running at only four-fifths of their normal speed.
However—and here's the thing—people on the train would have no sense of these distortions. To them, everything on the train would seem quite normal. It would be we on the platform who looked weirdly compressed and slowed down. It is all to do, you see, with your position relative to the moving object.
This effect actually happens every time you move. Fly across the United States, and you will step from the plane a quinzillionth of a second, or something, younger than those you left behind. Even in walking across the room you will very slightly alter your own experience of time and space. It has been calculated that a baseball thrown at a hundred miles an hour will pick up 0.000000000002 grams of mass on its way to home plate. So the effects of relativity are real and have been measured. The problem is that such changes are much too small to make the tiniest detectable difference to us. But for other things in the universe—light, gravity, the universe itself—these are matters of consequence.
So if the ideas of relativity seem weird, it is only because we don't experience these sorts of interactions in normal life. However, to turn to Bodanis again, we all commonly encounter other kinds of relativity—for instance with regard to sound. If you are in a park and someone is playing annoying music, you know that if you move to a more distant spot the music will seem quieter. That's not because the music is quieter, of course, but simply that your position relative to it has changed. To something too small or sluggish to duplicate this experience—a snail, say—the idea that a boom box could seem to two observers to produce two different volumes of music simultaneously might seem incredible.
The most challenging and nonintuitive of all the concepts in the general theory of relativity is the idea that time is part of space. Our instinct is to regard time as eternal, absolute, immutable—nothing can disturb its steady tick. In fact, according to Einstein, time is variable and ever changing. It even has shape. It is bound up—“inextricably interconnected,” in Stephen Hawking's expression—with the three dimensions of space in a curious dimension known as spacetime.
Spacetime is usually explained by asking you to imagine something flat but pliant—a mattress, say, or a sheet of stretched rubber—on which is resting a heavy round object, such as an iron ball. The weight of the iron ball causes the material on which it is sitting to stretch and sag slightly. This is roughly analogous to the effect that a massive object such as the Sun (the iron ball) has on spacetime (the material): it stretches and curves and warps it. Now if you roll a smaller ball across the sheet, it tries to go in a straight line as required by Newton's laws of motion, but as it nears the massive object and the slope of the sagging fabric, it rolls downward, ineluctably drawn to the more massive object. This is gravity—a product of the bending of spacetime.
Every object that has mass creates a little depression in the fabric of the cosmos. Thus the universe, as Dennis Overbye has put it, is “the ultimate sagging mattress.” Gravity on this view is no longer so much a thing as an outcome