Question: The author of the book Black Holes, Wormholes and Time Machines is a professor of what university?

Context articles: Nuker Team
Amy Barger
Avi Loeb
Gibson Victory
Gravastar
Heino Falcke
Jim Al-Khalili
Somak Raychaudhury
Physics of the Impossible
Black Holes, Wormholes and Time Machines

The Nuker Team was formed to use the Hubble Space Telescope, with its high-resolution imaging and spectroscopy, to investigate the central structure and dynamics of galaxies.
 The team used the HST to examine supermassive black holes and determined the relationship between a galaxy's central black hole's mass and velocity dispersion.
 The team continues to conduct research and publish papers on the supermassive black holes of galaxies and clusters.
 The group was initially formed by Tod R. Lauer, then a first year postdoc.
 At the first meeting of the group held at Princeton University in June 1985, Sandra Faber was elected the group leader.
Dr. Amy J. Barger (born January 18, 1971) is an American astronomer whose discoveries have most concerned quasars, black holes, and other far distant objects.
 She helped show that the activity of black holes in nearby galaxies was greater and more recent than expected.
 She also worked with others on discoveries concerning stellar activity in distant galaxies.
 She currently is a professor at the University of Wisconsin–Madison.
Abraham (Avi) Loeb is an American theoretical physicist who works on astrophysics and cosmology.
 Loeb is the "Frank B. Baird Jr.
 Professor of Science" at Harvard University.
 He serves as Chair of the "Harvard Astronomy department", Chair of the Advisory Committee for the "Breakthrough Starshot" project - which aims to launch lightweight spacecraft towards the nearest stars using a powerful laser, founding director of Harvard's "Black Hole Initiative" - the first interdisciplinary center worldwide dedicated to the study of black holes and director of the "Institute for Theory and Computation (ITC)" within the Harvard-Smithsonian Center for Astrophysics.
 Loeb is an elected fellow of the American Academy of Arts and Sciences, the American Physical Society, and the International Academy of Astronautics, as well as Vice Chair of the Board on Physics and Astronomy of the National Academies.
 Within Harvard, Loeb serves on the President's Task Force on Diversity and Belonging, the Provost's Allston Academic Planning Committee, and the FAS Dean's Faculty Resources Advisory Committee.
 In December 2012, "TIME" magazine selected Loeb as one of the 25 most influential people in space.
 In 2015, Loeb was appointed as the Science Theory Director for the Breakthrough Initiatives of the Breakthrough Prize Foundation.
The Gibson Victory was an electric guitar produced by Gibson Guitars from 1981 until 1983 (although some sources say production lasted until 1984).
 During the late 1970s and early 1980s, musicians watched Eddie Van Halen play his Frankenstrat and questioned and rethought everything about their instruments.
 They insisted on engineering advances allowing more speed and playability of skyscraping leads and rock crushing shred.
 The master luthiers in Kalamazoo responded to these demanding guitarists by designing the Victory.
 The Victory, a superstrat, was radical departure from Gibson's image as an old-fashioned guitar maker.
 MV stood for Multi-Voice.
 X stood for ten They were created by the Gibson research and development team in Kalamazoo, MI, with the body work by Chuck Burge, and the multi-voice electronics by Tim Shaw.
 The Victory MV's were available with an optional / special order Kahler Tremolo System.
 The Victory MV's had the first three-point top-adjust bridge designed by Rendal Wall and patent granted in June 1982.
 The three post holes in the underside allowed either side of the bridge unit to be moved forwards or backwards allowing intonation of ultra light to extremely heavy string gauges, and twelve interchangeable individually-adjustable saddles, six standard nylon saddles and 6 optional brass saddles for fine adjustment of intonation and to affect tone.
 String gauge affects sound and playability.
 If you are a professional with strong fingers, using heavier strings produces greater dynamic and timbral range, more sustain, & less buzzing using slide.
 Using lighter strings allows easier bending, easier hammer-ons, pull-offs & very fast solos.
 Victories were built tough and stiff to easily handle the high tension of using much heavier string gauges without a truss rod adjustment.
 The Victory MV's came with a series of specially designed Humbucker Pickups carefully made one at a time on the “center focused” KZ/LP115 PAF Pickup Winder, with high sensitivity and unique tonal signature with fewer turns of wire compared to newer high production winding machines that produce more scatter and a wider magnetic aperture, Each pickup across the range is different, and specifically designed for the role it was assigned.
 Most musicians adjust the height of the individual pole pieces so they mirror the radius of the fretboard and then fine adjust by ear.
 The location of the Victory MV's pickups were carefully calculated to provide full frequency response and minimize dead spots by avoidance of string nodal points.
 The majority of harmonics coincide with where the twenty fourth fret would be located.
 If you want to play your Victory above the 22nd fret, use a ring slide.
 Humbucker pickups are inherently low noise because the interference is significantly reduced via phase cancellation, however the Victory MV’s have additional shielding connected to ground with the use of special electrically conductive black paint in the routed out area under the pickguard.
 Truly silent when it should be.
 The coil tap switch in the up position is humbucker; in the down position is single coil, indistinguishable from traditional unshielded single coils minus the noise.
 Victory MV’s are totally immune from “Strat-Itis” (simultaneous multiple discordant frequency syndrome) In other single-coil pickups, strat-Itis is an annoying out-of-tune harmonic, oscillating/warbling /shriek/dissonant sound.
 Gibson had well established business agreements for over 100 years with the best wood suppliers in the world and Gibson Luthiers had first pick to craft the Victory MV's.
 The availability of premium old growth wood with tight grain was better in the 1980s than it is today because of new laws and limited natural resources.
 The Victory MV's body and tri-laminated quartersawn neck were crafted from solid eastern hard rock maple, with a Janka Hardness ranking of 1450 pound-force, a crushing strength of 7,830 pound-force per square inch , and a tensile elasticity modulus of 1,830,000 pound-force per square inch.
 Eastern Hard Rock Maple is extremely hard, dense, and stiff, producing earthquaking sustain.
 The stacked laminate opposing wood grain neck design strengthens the overall neck, gives more tuning stabilization, and allowed the luthiers to eliminate the scarf joint at the headstock.
 Contrasting mirror image graining angles provide the best resistance against impact cracking over single piece or scarf joint necks.
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 Wood improves with age, the polymerization of sap over decades, once the wood is removed from the living tree crystalizes.
 Aged wood also loses its ability to absorb moisture, causing the wood to become more stiff and stable as it ages… the perfect recipe for a straight, high quality guitar neck, level fret board, and great sound.
 Victory MV’s have binding along the edges of the fretboard that cover the unfinished fret tangs and fret slot end gaps, slightly covering the nibs on the fret ends that can protrude.
  Binding is tedious painstaking work and requires skill to install properly, but provides a slick smooth feel, is especially nice for sliding your hand along the fretboard, and gives a dressy look.
 Not to be confused with undercut, fret over binding.
 Using glue that is stronger than the wood itself, the Victory MV's mortise-and-tenon Set-in neck and silky smooth rock-hard quartersawn Madagascan ebony fret board required better tools, more time, accuracy, attention to detail, and skill to craft, but produces a warmer fuller tone and transfers resonant energy freely and immediately due to the tight permanent coupling, and facilitates ripples of vibrational energy that round out and thicken the sound.
 (Unlike other guitars with weak removable "screw-on" necks with a metal plate, adjustment shims, and a creaky neck pocket / body gap.
 So called "bolt-on" necks have no proper neck torque specs, over-tightening the screws crushes the wood, cracks the finish, and strips the holes or screw head, requiring a toothpick or dowel to be glued in the stripped hole).
 The Victory's elegant headstock shape has a fourteen degree non-scarfed break angle, and tuning machine alignment that allows for a "perfectly straight" symmetrical pull on the strings that provides optimum string down pressure on the nut for the string to seat in the nut slot but not pinch, bind, or rattle in the slot, transferring all the vibration into the nut instead of into the tuning machines.
 (Unlike other guitars that need junky string tree clips, retainers, or guides that cause friction and pings/cracking noise.)
 The Victories chamfered cutaway offers musicians with large hands better access to play in the top frets.
 The Gibson Victory MV's are not recommended for the weak, these sledge axes weigh a solid nine pounds but are perfectly balanced both on the strap or on the knee, Luthiers know guitars with more mass and density have more brilliance and sustain.
 According to Gibson, Victory MV’s were only produced in Candy Apple Red, Antique Cherry Sunburst, & Twilight Blue.
 However sometimes a retailer who did a lot of business with Gibson would be able to ask for a small number of guitars with a special finish.
 Mention has been made of Roy Orbison's special order black Victory MVX.
 The Victory MV's came standard with a rugged black Gibson branded "8170" dual lock and key padded hard case with internal storage box.
 Decode the serial number on the back of the headstock to determine if your Victory was hand made by finding the location and the date of it's manufacture.
A gravastar is an object hypothesized in astrophysics as an alternative to the black hole theory by Pawel O. Mazur and Emil Mottola.
 It results from assuming real, physical limitations on the formation of black holes.
 These limits, such as discrete length and time quanta (chronon), were not known to exist when black holes were originally theorized, so the concept of a gravastar is an attempt to "modernize" the theory by incorporating quantum mechanics.
 The term "gravastar" is a portmanteau of the words "Gravitational Vacuum Star".
Heino Falcke (born 1966) is a German professor of radio astronomy and astroparticle physics at the Radboud University Nijmegen.
 He was a winner of the 2011 Spinoza Prize.
 His main field of study is black holes.
 In 2013 a team under his lead earned a 14 million euro research grant of the European Research Council for further studies into black holes.
Jameel Sadik "Jim" Al-Khalili OBE (Arabic: جميل صادق الخليلي‎ ‎ ; born 20 September 1962) is a British Iraqi theoretical physicist, author and broadcaster.
 He is currently Professor of Theoretical Physics and Chair in the Public Engagement in Science at the University of Surrey.
 He has presented a number of science programmes on BBC television and is a frequent commentator about science in other British media.
Somak Raychaudhury (Bengali: সোমক রায়চৌধুরী ) is an Indian astrophysicist.
 He is the Director of the Inter-University Centre for Astronomy and Astrophysics (IUCAA), Pune.
 He is on leave from Presidency University, Kolkata, India, where he is a Professor of Physics, and is also affiliated to the University of Birmingham, United Kingdom.
 He is known for his work on stellar mass black holes and supermassive black holes. His significant contributions include those in the fields of gravitational lensing, galaxy dynamics and large-scale motions in the Universe, including the Great Attractor.
According to Kaku, technological advances that we take for granted today were declared impossible 150 years ago.
 William Thomson Kelvin (1824–1907), a mathematical physicist and creator of the Kelvin scale said publicly that “heavier than air” flying machines were impossible.
 “He thought X-rays were a hoax, and that radio had no future.”
 Likewise, Ernest Rutherford (1871–1937), a physicist who experimentally described the atom, thought the atom bomb was impossible and he compared it to moonshine (a crazy or foolish idea).
 Televisions, computers, and the Internet would seem incredibly fantastic to the people of the turn of the 20th century.
 Black holes were considered science fiction and even Einstein showed that black holes could not exist.
 19th century science had determined that it was impossible for the earth to be billions of years old.
 Even in the 1920s and 1930s, Robert Goddard was scoffed at because it was believed that rockets would never be able to go into space.
Black Holes, Wormholes and Time Machines is a book by physicist Jim Al-Khalili, published in 1999.
 Al-Khalili talks about a range of modern science topics, from geometry to the theory of relativity.