
The ‘atom smasher' of Auckland University
'I thought it was a scam, I thought it was a phishing email,' recalls Krofcheck, nuclear physicist at Auckland University.
'Yeah right, I've won the 2025 Breakthrough Prize in Fundamental Physics.'
Then he started to believe that it was 'bizarre enough to be real'.
The prize for Krofcheck and his 13,507 colleagues who have worked to unravel the mysteries of the universe was presented at an Academy Awards-style ceremony in LA, attended by a who's who of Hollywood and science-dom.
It recognises their years of work on the world's greatest science experiment, the Large Hadron Collider in CERN near Geneva.
Known as the largest smasher of atoms, the collider reveals information about the fundamental properties of matter, energy and the early universe.
Krofcheck played a key role in the breakthrough discovery of the Higgs boson in 2012 through his work on the Compact Muon Solenoid (CMS) detector, a giant camera that records particle collisions. The CMS detector is one of four research collaborations that the 13,508 Breakthrough Prize-winning scientists worked on.
'It must be like building the pyramid,' he jokes. 'Pharoah never thanked the slaves for building the pyramid but this is like the group award for everyone who was able to contribute building the detector, getting it to work right, taking data, analysing the data, publishing the data and finding new and wonderful things, at least for physics.'
Krofcheck's office overlooking Auckland's skyscrapers is a long way from CERN and his fellow scientists scattered around the world. In his office his shelves are stacked with books that tell the story of his lifelong curiosity about the beginnings of the universe after the Big Bang.
He has several Christmas cards from CERN pinned to his wall and on his desk a small stack of books he calls his talking point for visitors – the one on top is Alan Turing: The Enigma, the book that inspired the Benedict Cumberbatch film The Imitation Game.
'These books are like conversation starters, things that are important for our field and things that interest me about the origin of the universe, the origin of the technology we use to study nuclear and particle physics.'
Sitting on a shelf are mugs from the many laboratories and universities he has attended. One of three rocks on the windowsill is a geode, a gift from his daughter. He has one half and she has the other.
'They fit perfectly together. That's kind of a reminder, when I'm feeling frustrated or sad, I pick up my daughter's geode and know that she has the other half.'
As the only scientist in his field in New Zealand, Krofcheck is often called on to talk to the media about Fukushima's nuclear meltdown, North Korea's nuclear weapons and the Russians capturing nuclear power plants in Ukraine, so he is delighted to speak to The Detail about 'something pleasant'.
When he's at CERN he sits in a control room several kilometres from the Large Hadron Collider.
'We see signals coming from individual detectors. I look on my computer screen and I can see how big the electrical signals are, how fast the electrical signals are coming from these particles.
'We keep watching them to make sure the rate doesn't get too high, so we're collecting so much data that we can't write it fast enough. Or suddenly the signal disappears which is a disaster, which means somehow the beam has gone off target.'
Krofcheck was involved in solving that problem, alongside Professor Phil Butler of Canterbury University and his son Professor Anthony Butler of Otago University by ensuring the safe functioning of the US$550 million CMS detector.
By preventing the beam from going off target, data could be safely recorded and that in turn led to the Higgs boson discovery.
His work with the Butlers led him to the radiology company, MARS Bioimaging, which has received millions of dollars in government funding for development.
Krofcheck says that is the everyday application of the years of research at the Hadron Collider.
But for him it is pure curiosity.
'There's never an end. That's the beauty,' he says. 'I love seeing the advancing story of more and more things fitting together so you can make predictions as to why stars might behave, for example, or black holes might behave.
'We need this knowledge generated from accelerators on earth but it gives us a grasp of the bigger picture of what's happening in the universe.'
Check out how to listen to and follow The Detail here.
You can also stay up-to-date by liking us on Facebook or following us on Twitter.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


NZ Herald
08-07-2025
- NZ Herald
South Island giant moa de-extinction plans: Sir Peter Jackson teams up with Colossal Biosciences
A groundbreaking genetic engineering project, backed by movie director Sir Peter Jackson and iwi Ngāi Tahu, is aiming to bring the extinct South Island giant moa back from the dead. Work on the dramatic Jurassic Park-style de-extinction scheme is under way, the Herald has learned.


Scoop
03-07-2025
- Scoop
Taxpayer Funded Satellite Had 'Deep-Seated Problems' From Launch
An Auckland University physics professor says a taxpayer-funded satellite that is lost in space had persistent and deep-seated problems. The government paid about $30 million towards MethaneSAT which lost contact on 20 June and is believed to be unrecoverable. New Zealand joined the mission in 2019, hoping to boost science, track farm emissions, and grow our space sector. The mission has been plagued by delays, first to its launch date and then to the arrival of its promised data about global methane emissions. The University of Auckland has been waiting to take over the mission control at its new, partly taxpayer-funded Te Pūnaha Ātea Space Institute. The announcement of the satellite's demise came just two days after the latest deadline for handing control over to university staff and students. University of Auckland physics professor Richard Easther did not work directly on the project but says MethaneSAT has had persistent issues. He told Morning Report losing contact with the satellite was not good news. "There seems to be a consistent effort to put a sort of happy face on the situation but the concern that we have as a community is that MethaneSAT as a space craft seems to have had fairly persistent and deep-seated problems, pretty much from launch." Some of this relates to the decision to use sub systems that don't have what's known as flight heritage, he said. He said for most of the year it had been in orbit, it was not functioning properly. While some good has come out of the mission, it was a lot less than expected, he said. New Zealand Space Agency deputy head Andrew Johnson said every space mission faces risks and unfortunately some had been realised in this mission. Losing contact was "extremely disappointing news, there's no hiding that at all". But the legacy of this investment would live on, he said, like the mission control centre set up at University of Auckland. "That's now given New Zealand the capability to participate in missions in the future." Johnson said he doesn't think the MethaneSAT team mislead anyone. "The reality is all missions face issues, there is a technical judgment about what constitutes 'normal' and that's been an evolving situation but I think when they have had those issues, they have been willing to talk about them and we've certainly had plenty of discussions with them behind the scenes as well." This mission was an important step forward in New Zealand's space industry, he said. 'We have been transparent' Chief scientist at Environmental Defense Fund and mission lead for MethaneSAT Dr Steven Hamburg told Morning Report they did not know what went wrong. "We got a communication with the satellite over the North Pole on the 20th of the month and all things were normal and it was over the Pacific so when it got to Antarctica, the next station, there was no communication and we've had none since." Asked about the criticisms of lack of communication, transparency has been key to the mission, he said. "And we have been transparent. All the data's made public and we did transfer it back to the manufacturer of the bus which allowed us to try and make it more efficient in its wanted to automate a lot of processes so we could automate the amount of data that we were going to collect. "They were working on that when unfortunately we lost contact." There was a very small chance they would be able to reactivate the satellite and get it back. "We were able to observe it using another satellite to look at it and it does not currently have power and so we are working it, we continue to work it but we have to be realistic, the probability of recovery is... diminishing." There has been substantial data collected, he said. "The earth science New Zealand team is working with that data and that's really a first because of the very high precision we have with MethaneSAT, allowing us to see much lower emission rates and at very fine spacial scales, they have a look at emissions across large regions from the agricultural sector that we never had before." EDF, the environmental non-profit behind the satellite mission, says an investigation is underway. "Launched in March 2024, MethaneSAT had been collecting methane emissions data over the past year. It was one of the most advanced methane tracking satellites in space, measuring methane emissions in oil and gas producing regions across the world. "The mission has been a remarkable success in terms of scientific and technological accomplishment, and for its lasting influence on both industry and regulators worldwide. "The engineering team is conducting a thorough investigation into the loss of communication. This is expected to take time. We will share what we learn." RNZ has been asking about problems with the satellite since September and was previously told its issues were "teething problems". Asked if the public had been kept adequately informed, Minister Judith Collins said she had nothing to add and questions should go to the New Zealand Space Agency, which is part of the Ministry for Business, Innovation and Employment.


Otago Daily Times
27-06-2025
- Otago Daily Times
Latest zombie instalment dissects the human condition
28 YEARS LATER Director: Danny BoyleCast: Jodie Comer, Aaron Taylor-Johnson, Jack O'Connell, Alfie Williams, Ralph FiennesRating: (R16) ★★★★+ REVIEWED BY AMASIO JUTEL Twenty-eight years after the "rage virus" was liberated from an animal testing lab by eco-terrorists, the British Isles are under strict quarantine. On the mainland, the virus runs rampant, giving birth to an array of new "infecteds". Off the northeast coast of England (Lindisfarne, or "Holy Island"), Spike (Alfie Williams) and his parents, Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer), live in a fenced off survivor community, connected to the mainland via a causeway only accessible at low tide. Armed with bows and arrows, Jamie and Spike cross the causeway for a father-son rite of passage zombie hunt. A casual (and effective) exposition dump lays the Act One stakes bare — in 4 hours, the tide will be too high to return, and they'll be stuck on the mainland; a natural world that takes no prisoners. Despite the drastic change in iPhone megapixel resolution over 23 years, the 28 visual style remains distinct. Cinematographer of the original film, Anthony Dod Mantle, returns with guerrilla-style, over-the-shoulder shots and canted wides of the father-son duo, a visual metaphor to alienate them from a world where they don't belong — two decades free of humanity's blemish means humans come second. Colourful vistas depict crumbling buildings set in the vast greenery. Striking infrared sequences and freeze-frame bullet-time high-speed pans of explosions of infected blood and guts are staggering, and supplement this gruesome, genre-fare video game logic. The creature innovation of the film is the "alphas" — head-ripping, spinal cord flail-waving infected, whose exposure to the virus has juiced them up to 12-foot-tall beasts. Forced to hide under the cover of night, having missed their four-hour window home, Spike and Jamie are taunted by the looming silhouette of an Alpha on the horizon line, twice the size of any infected near it. The menacing threat is actualised in an electrifying foot race across the shin-deep causeway home. A slightly shocking tonal shift finally marks the main protagonist (masked by the strange billing order that likely is owed to a confirmed sequel), who sets out on a Wizard of Oz-style cross-country journey with a haphazard crew, through a colourful array of set pieces to the remarkable "Bone Temple". A document of the lives that have been, it's undeniably amazing scenery, complete with an eccentric "third act Fiennes" masterclass to go with. Garland's writing packages themes explored in his own work. His forensic diagnosis of humanity — folk horror and tribalism, the rule of nature and nationalism — marries well with Boyle's humanistic directorial lens, who has an approach to character direction much less subtle, perhaps even brittle, compared to recent Garland projects, Annihilation, Men and Civil War. The film straddles that line between cold diagnosis of the human condition and the viscerality of the horror and humanity in this film, profoundly so. This is no more resonant than in Spike's first venture across the causeway. Boyle deploys a stern sonic and visual pastiche to a renowned 1915 recording of Rudyard Kipling's Second Boer War poem, Boots . Overlayed with footage from the classic film Henry V , and non-fiction footage of wartime, Boyle harmonises with Garland's thematic endeavour to indicate the splintering society through tribalist strife, harkening back to the act three twist of 28 Days Later . Garland's interest in folk horror is particularly symbolic, characterising the arbitrary centring power of religion amid conflict. Masks and churches figure prominently; ritual practices denote the in-community and those who are cast out. The communal power of the church on "Holy Island" (literally) opposes the structural integrity of those on the mainland, where they're seen as decrepit and crumbling. The bookends of the film materialise this thematic idea very openly. 28 Years Later is post-post-apocalyptic horror with a deep emotional storyline, exhilarating action, and bombastic film-making, and a tale of the cold-hearted tribalism and polarisation that its writer too often pontificates about in less effective films.