The Hunt for Exomoons with Kepler (HEK): V. A Survey of 41 Planetary Candidates for Exomoons

We present a survey of 41 Kepler Objects of Interest (KOIs) for exomoons using Bayesian photodynamics, more than tripling the number of KOIs surveyed with this technique. We find no compelling evidence for exomoons although thirteen KOIs yield spurious detections driven by instrumental artifacts, stellar activity and/or perturbations from unseen bodies. Regarding the latter, we find seven KOIs exhibiting >5 sigma evidence of transit timing variations, including the 'mega-Earth' Kepler-10c, likely indicating an additional planet in that system. We exploit the moderately large sample of 57 unique KOIs surveyed to date to infer several useful statistics. For example, although there is a diverse range in sensitivities, we find that we are sensitive to Pluto-Charon mass-ratio systems for ~40% of KOIs studied and Earth-Moon mass-ratios for 1 in 8 cases. In terms of absolute mass, our limits probe down to 1.7 Ganymede masses, with a sensitivity to Earth-mass moons for 1 in 3 cases studied and to the smallest moons capable of sustaining an Earth-like atmosphere (0.3 Earth masses) for 1 in 4. Despite the lack of positive detections to date, we caution against drawing conclusions yet, since our most interesting objects remain under analysis. Finally, we point out that had we searched for the photometric transit signals of exomoons alone, rather than using photodynamics, we estimate that 1 in 4 KOIs would have erroneously been concluded to harbor exomoons due to residual time correlated noise in the Kepler data, posing a serious problem for alternative methods.Comment: 18 pages, 9 figures, 4 tables. Accepted in Ap

Filming Images or Filming Reality: The Life Cycles of Movie Directors from D.W. Griffith to Federico Fellini

Why have some movie directors made classic early films, but subsequently failed to match their initial successes, whereas other directors have begun much more modestly, but have made great movies late in their lives? This study demonstrates that the answer lies in the directors' motivations, and in the nature of their films. Conceptual directors, who use their films to express their ideas or emotions, mature early; thus such great conceptual innovators as D. W. Griffith, Sergei Eisenstein, and Orson Welles made their major contributions early in their careers, and declined thereafter. In contrast experimental directors, whose films present convincing characters in realistic circumstances, improve their techniques with experience, so that such great experimental innovators as John Ford, Alfred Hitchcock, and Akira Kurosawa made their greatest films late in their lives. Understanding these contrasting life cycles can be part of a more systematic understanding of the development of film, and can resolve previously elusive questions about the creative life cycles of individual filmmakers.