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LIQUID TENSION EXPERIMENT Feat. Current And Former DREAM THEATER Members: Third Album Due In Spring 2021

LIQUID TENSION EXPERIMENT , the instrumental progressive rock/metal project featuring DREAM THEATER keyboardist Jordan Rudess and guitarist John Petrucci , alongside ex- DREAM THEATER drummer Mike Portnoy and progressive rock icon Tony Levin (bass) of KING CRIMSON and PETER GABRIEL fame, has signed with InsideOut Music for the release of its third album. The effort is due in the spring, 22 years after the arrival of 1999's "Liquid Tension Experiment 2" .

InsideOut Music label manager Thomas Waber said: "What happens, when you put four of the most talented musicians on the planet in one room? LTE . We all have been waiting for this album to happen for a very long time and it makes us very proud to be releasing this album. This one is for the fans!"

Added Petrucci : "We've all known Thomas Waber for a very long time, and Jordan and I recently discovered how great it was to finally get to work together when DREAM THEATER joined the InsideOut family a few years ago. There really is no better home for LTE , and we all look forward to doing great things together!"

Said Portnoy : "Myself and John have known Thomas Waber since we met on the very first DREAM THEATER European tour in 1993... Since then, I have worked with him and InsideOut for the past 20 years with TRANSATLANTIC , THE NEAL MORSE BAND and SONS OF APOLLO . When LTE finally reunited this summer, we knew there was no other label that we could call home."

A new LIQUID TENSION EXPERIMENT teaser trailer, created by Christian Rios , can be seen below.

This past May, Rudess addressed the prospect of a LIQUID TENSION EXPERIMENT reunion while filming a video message on Cameo , which lets users hire celebrities to record brief, personalized video messages about virtually any topic.

Asked if he thinks LIQUID TENSION EXPERIMENT will ever get back together, Jordan said: "Well, the answer is we are looking at our schedules, we are organizing a time. With the [coronavirus] pandemic, it's been a little difficult to coordinate personal kind of gatherings, but it looks very good, my friend."

In February 2019, Portnoy and Rudess reunited on stage during the Cruise To The Edge to perform "Instrumedley" from DREAM THEATER / LIQUID TENSION EXPERIMENT . They were joined by NEAL MORSE BAND guitarist Eric Gillette and HAKEN bassist Conner Green .

Back in April 2015, Portnoy and Rudess both joined the British progressive metal band HAKEN on stage in New York City. Three months earlier, they were photographed having what appeared to be friendly banter at the 2015 NAMM show in Anaheim, California.

Nearly three years ago, Portnoy posted a photo of him hanging out with Petrucci in a move that clearly represented a thawing of tensions between the two musicians who had been friends for more than three decades. More recently, Portnoy laid down the drum tracks on Petrucci 's second all-instrumental solo album, "Terminal Velocity" , which was released in August through The Orchard Music on John 's Sound Mind Music record label.

In February 2019, Rudess discussed his Cruise To The Edge encounter with Portnoy during an appearance on SiriusXM 's "Trunk Nation" , which is hosted by Eddie Trunk . The keyboardist said: "I think it's really nice. People whose music you love, you wanna see them getting along. So, even from my perspective, I see John and Mike together, and I'm, like, yeah, that makes sense. They were so close. They made so much music together."

He continued: "I told Mike the other night. I said, 'The way I look at our relationship is that we've toured around the world together numerous times, we've written all this music together, we've been on tour buses everywhere. How many people in this lifetime that we're in can you be that close to and have that many experiences with?"

Although Portnoy and his former bandmates in DREAM THEATER engaged in a public war of words following his exit from the group, Rudess said that he harbors no resentment toward his longtime friend.

"When Portnoy left the band, there was tension — natural tension — because it was a big deal," Jordan told "Trunk Nation" . "But what's really important to me is finding that… especially somebody who I care about, who I had so much life experience with. And he's a really great guy. There are so many wonderful things about him. So I wanna enjoy that.

"People will say, 'Oh my God! DREAM THEATER is gonna have Portnoy back in the band.' That's not what it's about," Rudess added. "This is about people and people who spent a lot of time together being able to be close together and be friends."

Rudess acknowledged that some of his other DREAM THEATER bandmates have "their own feelings" about maintaining a connection with their former drummer. "But Mike and I enjoyed hanging out and chatting about old times and all the stuff," he said. "So it was really cool."

In November 2017, Mike told Loud that he left DREAM THEATER because he wanted to expand his musical horizons. "[I didn't] want to go to my grave and just be the drummer from DREAM THEATER ," he said. "I knew there was way more to what I had to offer."

Photo credit: Tony Levin

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The return of Liquid Tension Experiment

After Mike Portnoy left Dream Theater few people thought they'd see prog supergroup Liquid Tension Experiment again. But in 2021 that's exactly what happened!

"There’s definitely magic and chemistry with this group of guys, that’s undeniable,” says Jordan Rudess . “Even the first day when we started to jam, oh yeah, we’re back.” The group of guys in question is Rudess, guitar monster John Petrucci , master of the bass and Chapman Stick Tony Levin , and prog’s reigning drum champ Mike Portnoy , known together as Liquid Tension Experiment . The last time this quartet released an album Bill Clinton was in the White House, the euro had just debuted as an international currency, and The Matrix was in cinemas. It’s taken a long time to get the band back together, a situation no doubt complicated by Portnoy’s departure from Dream Theater back in 2010, but then last year the drummer played on Petrucci’s solo album, Terminal Velocity . 

“If it wasn’t for music as a creative outlet, I think I’d go completely mad,” says Petrucci when asked how he’s coping with being off the road for so long. But the upside to the suspension of touring has been the opportunity to resurrect the long-dormant LTE. 

“It didn’t take this long because of lack of desire,” he reveals. “Those first two albums were a lot of fun, but man, everybody is just so busy. It was even hard for me to find the time to do a solo album, after 15 years I finally did a second solo album, so the silver lining of this horrible pandemic is everybody was home, not on tour, and had time.”

“The other big part of it certainly was that we went through a turbulent time in the Dream Theater world when Mike left, we couldn’t do it in that period because there was just so much going on,” says Rudess. “Quite honestly, I’ve been a big proponent of doing this whenever it was possible. I’d always say to everybody every now and then, ‘Hey, we should really do LTE. Come on guys, let’s do it!’”

While Petrucci and Portnoy were working on Terminal Velocity , texts started flying back and forth about regrouping LTE. “We keep talking about it, I said, ‘Sure, as soon as I’m done with my album’,” says Petrucci. “I don’t think they believed me, but I kept my promise. Eventually there were no more excuses. Pandemic, everything’s shut down, everyone’s home, no tours. ‘Guys, let’s do it’, life’s too short.”

So, in the summer of 2020, for the first time in more than two decades, Liquid Tension Experiment reassembled to write new music. The venue they chose was Dream Theater’s HQ in New York, which might have been awkward for a certain ex-Dream Theater drummer, but that wasn’t the case at all. “He actually recorded drums for my solo album here,” says Petrucci. “I think he was genuinely excited. When he was in the band, we talked about building something like this, but we were never able to do it, so he came in, he was like, ‘This place is so cool!’ He was actually like, ‘I have some stuff I can contribute to put on the walls!’ There was no awkwardness at all.”

Aside from an arrangement of Gershwin’s Rhapsody In Blue , all the tracks on Liquid Tension Experiment 3 are new compositions born from the writing session last summer. Aware of the long layoff, Rudess was keen to arrive at Dream Theater’s HQ with some ideas ready to go. “I was feeling like, it’s been a long time and I really want this to be great and I want to make sure that I can contribute some good stuff,” says Rudess. “What would happen if I went into the studio [and said], ‘Oh no, I can’t think of anything!’ That would really suck! So, I started to put together some ideas.”

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Even while on vacation with his family in the weeks before LTE got together, Rudess had a little keyboard with him to put down ideas. “While they were playing in the sun, I was at this keyboard,” he says. “I was inspired because I knew it was coming and my objective was to come up with some stuff, but mostly I wanted to make sure that we covered that melodic side of LTE. Every day I’d put down ideas, four measures, eight measures, then I felt like I was prepared at least to offer something just in case I couldn’t think of anything in the moment.” 

Happily, the years apart had done nothing to diminish the creative and personal dynamism between the players. “It couldn’t have been smoother and easier,” says Petrucci. “It’s like we never left. On the first two albums, Tony brought in his espresso machine, he’d make espressos for everybody, so he brought it in again. The next thing you know we’re jamming, and it was like no time had passed. There was no weirdness or anxiety, it was completely smooth, the chemistry was all there.”

LTE’s writing process is based around improvisation. The guys jam and record everything they play, then listen to what they’ve done to pick out their favourite ideas. “Jams are funny,” says Petrucci. “Somebody has an idea and you start to hear everybody understand the idea. It starts out of focus then it slowly comes into focus and, as you’re jamming, people start to understand the groove. Then you have to take it and say, ‘Let’s see, what was I doing there, how can I make this into an actual part?’”

Rudess picks out the tune Beating The Odds as a salient example of how an LTE track is delivered into the world. It began with a riff from Petrucci. “It seemed almost like a commercial guitar riff, if you will,” says Rudess, “Really rocking, not necessarily prog but he was doing something with the time signature that we were all blinking, going, ‘What? What are you doing?’ It made us smile, at first it was a little bit of a challenge to understand what was happening but once we got it, we laughed and started to play, like ‘That’s really cool!’”

Asked how everyone had developed as musicians over the intervening years and how the chemistry had evolved, Petrucci replies, “It’s hard to say. There are subtleties. That’s a long period of time for musicians to develop their style and craft. I think there are things that really didn’t change on some level, like everybody’s musical personalities are very much intact, but I don’t know. Maybe everybody got better? There was just a lot of collaboration, songwriting confidence, and Tony was bringing in more ideas than ever before. We honed and developed our sounds. In other ways, nothing changed. The drum kit Mike used was my drum kit that he got for me, for my home studio. For my solo album he couldn’t get drums here because of the pandemic, so I’m like, ‘I’ll just bring this Tama kit that you got me’, so I was the drum roadie. Then he brought in supplemental drums, like old Dream Theater Octobans [tube toms], so in some ways nothing changed at all.”

One constant that remains is the desire to improve, something shared among the four members of the supergroup. While they might not be the young lions who cut the first two LTE records, they’re still hungry for a challenge and looking for growth. “I’m always thinking I’ve got to really practise,” says Rudess, noting the two different sides to his musical identity. “I use music as a healing force personally. I can settle into that space where I’m comfortable making the music and letting it out. There’s that comfort part, but there’s also the part that’s always reaching for more and is never truly comfortable and never going to say, ‘Okay, I’ve already proved myself so there’s nothing left for me to do.’”

It’s a sentiment shared by Petrucci, who’s not content to rest on his laurels and LTE3 is a reminder of the prodigious talents of everyone involved, from the blistering onslaught of Hypersonic to the richness of the arrangement in Key To The Imagination . “The funny thing about all of us is we never stop wanting to challenge ourselves. Nobody is lazy in that sense,” he says. “I always think your music and what you put out should always try to grow and get better and better, the sound of your recordings, the sound of your guitar tone, your playing, your songwriting, and this was no different. Nobody was in any way, shape or form complacent or lazy. In fact, everybody is even more toned. You’ve got 74/75-year-old Tony Levin playing like a 20-year-old on the Stick and upright bass. The guy has no limits, so it’s awesome.”

When LTE emerged in the late-1990s, instrumental prog was something of a niche within the genre. Nowadays, from The Aristocrats to Plini , intense instrumental music is a growing movement, but can LTE ever match the popularity of the members’ better-known bands? 

“LTE is a very unusual group as far as the kind of reach that we have,” says Rudess. “Through all the years hearing how many musicians were influenced by LTE, I hear from all these new bands, ‘Oh yeah, LTE is what got me into it.’ It’s pretty amazing. But that said, it’s instrumental music so I don’t think it’s really possible to have it be as wide-reaching as something with vocals like Dream Theater. It’s instrumental music, how far can it really go? Hey, I hope this next album is everywhere, but I don’t think instrumental music necessarily has that kind of reach.”

“We don’t have any false hopes, ‘Oh, how are we going to sell a million?’” says Petrucci. “The cool thing is that within the community we’re in with the Dream Theater fanbase and Mike’s fans, Tony’s unbelievably illustrious career and fanbase, people know about it. The word gets out, in fact so much so that there is no central Liquid Tension Experiment website or anything, it’s all done on our own platforms and the record label’s. We all agreed that’s the best way, just let people know it’s there.”

“Personally, and for all of us, it’s an important thing to keep going because we love to play,” says Rudess. “That kind of balance between the instruments is creatively, artistically something that’s of value to all of us, and it’s great that people can respond to that and enjoy it.”

“It’s not really a focus of something like this,” says Petrucci about the commercial potential of LTE, “but who doesn’t want their music to be heard by as many people as possible for the sheer reason it’s about sharing? Especially when you’re proud of something, I really want you to hear this.” 

This article originally appeared in issue 118 of Prog Magazine.

After starting his writing career covering the unforgiving world of MMA, David moved into music journalism at Rhythm magazine, interviewing legends of the drum kit including Ginger Baker and Neil Peart. A regular contributor to Prog, he’s written for Metal Hammer, The Blues, Country Music Magazine and more. The author of Chasing Dragons: An Introduction To The Martial Arts Film, David shares his thoughts on kung fu movies in essays and videos for 88 Films, Arrow Films, and Eureka Entertainment. He firmly believes Steely Dan’s Reelin’ In The Years is the tuniest tune ever tuned.

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Liquid Tension Experiment

Aliases: Liquid Trio Experiment .

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The best album credited to Liquid Tension Experiment is Liquid Tension Experiment which is ranked number 9,750 in the overall greatest album chart with a total rank score of 121.

Liquid Tension Experiment is ranked number 3,777 in the overall artist rankings with a total rank score of 244.

• Members: N.B. The member list may not contain a full list of members (and there may be notable omissions). If a member has never released a solo album, or their solo albums do not appear on BEA, they will not be able to be listed as a member. These omissions are not meant to cause offense to anybody. The member list is solely meant as an additional navigation aid to browse between the items listed on the site.
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They make me fly away

Virtuoso musicianship of the finest caliber.

These musicians blew me away; they were one of my first listens into prog music in general. I became hooked.

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• Why We’re Unique

Compare the surface tension of various liquids

Introduction: (initial observation).

I have seen leaking faucets and leaking roofs many times. It is still amusing and interesting to see how the drops of water form, slowly grow, and finally fall.

Sometimes, I look at them for a long time and try to predict the exact moment that each drop will fall. Also sometimes, water drops remain hanging there for a long time and make me wonder what is holding them? Why doesn’t the drop fall?

Obviously, there is some sort of stickiness between the water molecules and the leaking object that keeps the water drops hanging there.

Later in a camping trip I saw mosquitoes that land on the water. I could see that their weight has actually pushed the water surface inward. I wondered why they didn’t get wet and why their legs didn’t go under the water.

My final observation that I think has something to do with the tension between molecules is when I touched some paint and I had to wash my hands with some solvents. I immediately noticed that the layer of solvent on my hand is much thinner than the layer of water.

This project is an opportunity to research on the tension between molecules of various liquids.

This project guide contains information that you need in order to start your project. If you have any questions or need more support about this project, click on the “ Ask Question ” button on the top of this page to send me a message.

If you are new in doing science project, click on “ How to Start ” in the main page. There you will find helpful links that describe different types of science projects, scientific method, variables, hypothesis, graph, abstract and all other general basics that you need to know.  

Project advisor

Information Gathering:

Find out about the tension between molecules of different liquids. Read books, magazines or ask professionals who might know in order to learn about the surface tension, its causes, properties, hazards, and benefits.

Keep track of where you got your information from.

Following links offer you valuable information about surface tension.

http://www.exploratorium.edu/ronh/bubbles/sticky_water.html

http://www.brantacan.co.uk/surface_tension.htm

http://antoine.frostburg.edu/chem/senese/101/liquids/faq/tates-law.shtml

Structure, Intermolecular Forces and Solubility (addendum)

Several experimental measures of solvent polarity exist; these include the dielectric constant (the ability of a solvent to screen charges on the solutes from interacting with each other) and the chromatographic elution strength, ε (Table 5.2). In practice the polarity of a liquid or solid substance is dependent of at least four factors:

1. The polarity of individual chemical bonds, arising from the differences in electronegativities.

2. The geometry of the molecule

3. The presence of hydrogen bond donating or accepting atoms

4. The relative proportion of polar versus nonpolar bonds in the substance.

To illustrate this point, let us examine butanoic acid, a carboxylic acid:

The carboxylic acid functional group on the right-hand side of the molecule is polar. There is a slarge electronegativity difference between carbon and oxygen, making the carbon-oxygen bonds polar. In addition, a carboxylic acid functional group is both a hydrogen bond donor and a hydrogen bond acceptor. However, the propyl group on the left-hand side of the molecule is made of C-C and C-H bonds, which are not polar. If we added more -CH2- groups to butanoic acid, it would become less polar, but if we subtracted -CH2- groups from butanoic acid, the molecule would become more polar.

Miscibility and Solubility:

If two liquids are mixed and two layers form, the liquids are immiscible in each other. If two liquids are mixed and only a single layer forms, the two liquids are miscible in each other. If a turbid solution forms, the two liquids are not miscible, but they are not as immiscible as when two layers form. The maximum amount of a solute that dissolves in a solvent is the solubility of a solute. This can be thought of as how much solute can fit into the solvent until it becomes saturated. The solute may be a liquid or a solid, whereas the solvent is usually a liquid. Even when two liquids A and B are immiscible, there is always a very small amount of liquid B in the liquid A layer, and vice versa. In other words, two immiscible liquids A and B are slightly soluble in each other.

What determines how soluble a solute is in a solvent? There are intermolecular forces (IMFs) between solute molecules, IMFs between solvent molecules, and IMFs between solute and solvent molecules. The IMFs between the solute and solvent must be as favorable as the other IMFs between molecules of solute and between molecules of solvent in order for the solute to be highly soluble. Likewise, when two liquids are miscible, the forces between the two liquids must be as favorable as each solvent’s IMFs are with itself. For example, hexane and pentane are miscible because any given hexane molecule experiences London dispersion forces with a pentane molecule almost as easily as with another hexane molecule. Water and methanol are miscible because any given water molecule can form hydrogen bonds with methanol very effectively. But water and pentane are not miscible because water interacts more strongly with itself, via hydrogen bonds, than it interacts with pentane.

Ion-dipole Forces:

One other intermolecular force that is important in the solubility of many solids and liquids are ion-dipole forces. Ion-dipole forces are the attraction between an ion (an electrically charged species) and a polar solvent. The more polar a solvent is, the stronger its attraction to ions. Ion-dipole attraction explains why sodium chloride (NaCl) is soluble in water, but is insoluble in hexane. The oxygen atoms of water bear a partial negative charge that is attracted to the positively charged sodium atom (Na+) in solution, and the hydrogen atoms of water are similarly attracted to the chlorine atom (Cl-). These attractions compensate for the loss of attractive ionic forces when sodium and chloride ions in a crystal are separated by forming a solution. Hexane does not have a partial positive or a partial negative charge, and therefore sodium chloride remains a solid when mixed with hexane.

Many organic solids are insoluble in water, but soluble in organic liquids (solvents). However, sometimes the conjugate acid or the conjugate base forms of the organic solids are soluble in water, but insoluble in organic liquids. The explanation lies within the ion-dipole forces. When an acid is neutral, the conjugate base must be negatively charged. For example, benzoic acid (below left) is soluble in organic solvents but is only slightly soluble in water. The Benzoate ion (below right), on the other hand, is soluble in water, because of strong ion-dipole attractions.

Likewise, when a base is electrically neutral, its conjugate acid is positively charged. Aniline is only slightly soluble in water. However, the anilium ion, its conjugate acid, is much more water soluble because of ion-dipole attractions.

Source…

Question/ Purpose:

The purpose of this project is to compare the surface tension of various liquids.

Identify Variables:

When you think you know what variables may be involved, think about ways to change one at a time. If you change more than one at a time, you will not know what variable is causing your observation. Sometimes variables are linked and work together to cause something. At first, try to choose variables that you think act independently of each other.

The independent variable is the type (chemical formula) of liquid.

The dependent variable is the relative surface tension.

Constant is the amount of each liquid used for test.

Controlled variable is the temperature. Try to perform all experiments at room temperature.

Experiment Design:

Design an experiment to test each hypothesis. Make a step-by-step list of what you will do to answer each question. This list is called an experimental procedure. For an experiment to give answers you can trust, it must have a “control.” A control is an additional experimental trial or run. It is a separate experiment, done exactly like the others. The only difference is that no experimental variables are changed. A control is a neutral “reference point” for comparison that allows you to see what changing a variable does by comparing it to not changing anything. Dependable controls are sometimes very hard to develop. They can be the hardest part of a project. Without a control you cannot be sure that changing the variable causes your observations. A series of experiments that includes a control is called a “controlled experiment.”

Experiment 1:

The purpose of this experiment is to see if surface tension can cause heavy objects to remain on the surface of water. Density of paperclips is about 9 times more than that of water.

Before you try this you should know that it helps if the paper clip is a little greasy so the water doesn’t stick to it (rub it on your nose or forehead.) Place the paper clip on a fork and lower it slowly into the water. The paper clip is supported by the surface-tension skin of the water.

Experiment 2:

The purpose of this experiment is to compare the surface tension of various liquids. The method that we use in this experiment is to measure the area and layer thickness of certain amounts of different liquids poured on a flat glass surface. Lower tension between molecules will allow the liquid to cover a wider area and have less thickness.

Use a pipette that can measure exactly one milliliter of subject liquids. If you want to test multiple liquids at the same time, you should have the same number of pipettes (to avoid errors caused by contamination). Use the pipette and pour 1 ml of each liquid on a flat glass surface. Place the glass where you can look at it horizontally and read the height of each liquid. Use a ruler to measure the height and diameter of the circle created by each liquid. Record the results in a table like this.

One way to measure the diameter of a drop of liquid is using a compass. Open the compass equal to the diameter of the drop and then transfer this measurement to a ruler.

Height of liquid has a relation with the diameter. If you think of a layer of liquid as a cylinder (like a coin), you can use its diameter and its volume to measure its thickness.

You may also use a micrometer to measure the diameter of the liquid.

Measurement of the liquid thickness can also be achieved using some optical devices that can magnify the drop size about 10 to 40 times. You may use your own creativity to come up with new methods as well.

If you cannot measure the thickness, complete your experiments just by measuring the diameter of the drop circle.

Experiment 3:

In this experiment, we will use the weight of drops to compare the surface tension. When a drop of liquid is still hanging there, it simply means that the the weight of the drop is less than the tension between molecules that are holding it. So the weight of each drop can be used to measure the surface tension. (Note: Although the tension between molecules is obvious on the surface, it actually exists everywhere in the liquid.)

Get samples of different liquids with known density. If you don’t know the density of the liquid that you are testing, calculate it yourself. To calculate the density you need to know the weight and and the volume. By dividing weight by volume, you will calculate the density. For example if one liter of a liquid is 1.3 kilograms, its density is 1.3. Or if 7 milliliter of a liquid weight 6 grams, it’s density is 6 divided by 7 or 0.85.

Use a pipette and slowly drop 1 milliliter of each liquid and count how many drops comes out.

Record the results in a table like this:

• Since we are using one milliliter of each sample, the weight of our sample is the same as the density.
• By dividing the weight by the number of drops, we can calculate the weight of each drop.
• Instead of 0.043 grams, you could write 43 milligrams
• You may add some liquid detergent to water and use it as one of your test samples to see how liquid detergent affects the surface tension.

Experiment 4: (Just for Fun)

Surface tension driven boat.

This experiment shows how a floating object (foil boat) may be driven across a surface of water by an expanding front of soap molecules.

Equipment :

Piece of foil, scissors, large (preferably flat) dish or cooking pan filled with water, drop of any dishwashing/laundry detergent or soap solution.

How to do the experiment:

Fill a large cooking pan with water, in order to create a reasonably large water surface. Get a piece of cooking foil, and smooth it by “ironing” it with a fingernail. Press the foil against some flat surface to ensure that the surface is flat. Cut a small “boat” out of foil.

The back of the boat has a channel cut through it with a small cavity at the end of the channel

Smooth the boat gently, in order to eliminate all the irregularities created by cutting.

Place the boat (!)gently(!) on the surface of water, nose pointing towards a reasonably large area of free water surface. If everything is done with care, it will hang, suspended by surface tension forces. Dip a match in detergent or soap solution, and gently deposit a (!!)small(!!) drop of the solution on the boat, so that it touches the cavity. The boat should accelerate rapidly, like a “rocket” and skid a reasonable distance before stopping.

Explanation :

When you place soap solution in contact with water, soap molecules try to spread over the surface of the water, at first, since they are confined in the cavity of the boat with only one way out they jet from the rear end of the boat creating a reaction force strong enough to drive the boat across the water. As soon as all the water surface is covered with a monolayer of soap molecules, the motion stops. To facilitate the experiment, one may place a small crystal of camphor in the cavity, instead of soap. The boat motion would last much longer.

Simple boat:

Cut the wood to a length of about one inch. Place a small piece of soap in the back of the wood, or boat. Place the boat in the water and watch to see what happens. Does the boat sink? Does it move?

Materials and Equipment:

List of material can be extracted from the experiment section.

Isopropyl Alcohol is also known as rubbing alcohol.

Results of Experiment (Observation):

Experiments are often done in series. A series of experiments can be done by changing one variable a different amount each time. A series of experiments is made up of separate experimental “runs.” During each run you make a measurement of how much the variable affected the system under study. For each run, a different amount of change in the variable is used. This produces a different amount of response in the system. You measure this response, or record data, in a table for this purpose. This is considered “raw data” since it has not been processed or interpreted yet. When raw data gets processed mathematically, for example, it becomes results.

Calculations:

You may need to calculate the density. You will also need to calculate the weight of each drop in experiment 3. Write your calculations in your report.

Summary of Results:

Summarize what happened. This can be in the form of a table of processed numerical data, or graphs. It could also be a written statement of what occurred during experiments.

It is from calculations using recorded data that tables and graphs are made. Studying tables and graphs, we can see trends that tell us how different variables cause our observations. Based on these trends, we can draw conclusions about the system under study. These conclusions help us confirm or deny our original hypothesis. Often, mathematical equations can be made from graphs. These equations allow us to predict how a change will affect the system without the need to do additional experiments. Advanced levels of experimental science rely heavily on graphical and mathematical analysis of data. At this level, science becomes even more interesting and powerful.

Conclusion:

Using the trends in your experimental data and your experimental observations, try to answer your original questions. Is your hypothesis correct? Now is the time to pull together what happened, and assess the experiments you did.

Related Questions & Answers:

What you have learned may allow you to answer other questions. Many questions are related. Several new questions may have occurred to you while doing experiments. You may now be able to understand or verify things that you discovered when gathering information for the project. Questions lead to more questions, which lead to additional hypothesis that need to be tested.

Possible Errors:

If you did not observe anything different than what happened with your control, the variable you changed may not affect the system you are investigating. If you did not observe a consistent, reproducible trend in your series of experimental runs there may be experimental errors affecting your results. The first thing to check is how you are making your measurements. Is the measurement method questionable or unreliable? Maybe you are reading a scale incorrectly, or maybe the measuring instrument is working erratically.

If you determine that experimental errors are influencing your results, carefully rethink the design of your experiments. Review each step of the procedure to find sources of potential errors. If possible, have a scientist review the procedure with you. Sometimes the designer of an experiment can miss the obvious.

References:

List of References

http://antoine.fsu.umd.edu/chem/senese/101/liquids/faq/tates-law.shtml

http://www.chemistry.co.nz/surfactants.htm

http://www.science-projects.com/NeedleExpt.htm

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