Brain Pickings

Posts Tagged ‘NASA’

06 JUNE, 2014

Amusingly Cryptic Warning Signs from NASA’s Jet Propulsion Laboratory, Autotuned

By:

A serendipitous adventure in science communication.

When artist, designer, and educator David Delgado first arrived at NASA’s Jet Propulsion Laboratory to work with the artist-in-residence there, he was immediately struck by the strange signs around the space, often cryptic and seemingly nonsensical. He found himself captivated by the disconnect between the dry, mundane language of these cautions and the immensely interesting processes, materials, and operations they were trying to describe. A solitary keyhole, almost alien in its arbitrary placement, bears the label “lazer bypass” — something partway between Alice in Wonderland and Alice in Quantumland, or the set of a science fiction movie.

When his friend Lee Overtree, Artistic Director of the wonderful arts education nonprofit Story Pirates, came to visit, he too took amused notice of the signs. Using Delgado’s photographs, he decided to compose a song using the app Songify to autotune his reading of the warning text from the various signs.

I recently bumped into Delgado at the World Science Festival, where he told me the story of their sign-turned-song, as an aside to an unrelated conversation about Ray Bradbury’s conversation with Carl Sagan and Arthur C. Clarke. I was instantly smitten with this geeky labor of love. So, with high permission all the way up from NASA’s Media Office, here is the end result for our shared delight:

More of Delgado’s original photographs of the signs below:

Complement with NASA’s formal Art Program, featuring Serious Art by such luminaries as Andy Warhol, Annie Leibovitz, and Norman Rockwell, then take a tour of JPL’s predecessors with these gorgeous vintage photos of NASA facilities.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





You can also become a one-time patron with a single donation in any amount:





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.

18 MARCH, 2014

Marketing the Moon: How NASA Sold Space to Earth

By:

When the mission became the message and NASA undertook the monumental task of explaining rocket science to an audience looking to the stars.

It wasn’t until the soft beep…beep…beep of the Sputnik satellite reached Earth on October 4, 1957 that the Soviet Union could declare the first unequivocal success of their space program. The Soviets had launched Sputnik in secret, and the news took the United States by surprise. It was Soviet policy that every launch would be kept secret unless it was successful, and that its public would only be fed propaganda. The Soviet government would deny ever having attempted a manned lunar landing until 1990, and cosmonauts who died in the line of duty were erased from the public record. (The details of the training-accident death of Yuri Gagarin, the first cosmonaut to orbit the earth, were covered up until 2013.)

One year after the surprise launch of Sputnik, the National Aeronautics and Space Administration (NASA) was founded. The U.S. space program was determined to be markedly different from the Soviets — it would be an “open program” in which facts and data would flow freely between the agency and the public using an extensive public relations program, explain authors David Meerman Scott and Richard Jurek in Marketing the Moon: The Selling of the Apollo Lunar Program (public library). It was a radical proposition: NASA, not the military, would release information and information would be released before, not after, a mission — an antithesis to the typical military strategy of confidentially. Tragedy would be reported alongside success.

Despite the somewhat cynical title, Marketing the Moon is not simply a story of the “selling” of the space program or the “spinning” of the NASA public relations machine — rather, it’s a rigorous and unvarnished look at one of the largest and most successful disseminations of science education in the twentieth century.

Reporters at Cape Canaveral during the launch of one of the Mercury missions

How could rocket physics, geology, astronomy, and more be explained to the lay person? How could the chain of information — from the lab to the Public Affairs Office to the TV producer to the host to the viewer at home — retain accuracy and clarity? Using rare press materials from the early days of NASA as well as the Apollo program — press releases, reference material, news bulletins, and photographs of reporters at work — Scott and Jurek show that the launch of a fact was as precarious as the launch of a missile: both could spectacularly fail to reach their targets.

The staff of the Public Affairs Office at Mission Control in Houston, 1965

The Public Affairs Office would control the consistency of the information, not its message. From the beginning, the office hired ex-newsmen to work as reporters inside the agency, determining which stories the public should know and in language that would be accessible — reporters knew what reporters would need. It was a move that today might be labeled “brand journalism,” but at the time was a revolutionary step for a government agency that needed its story told accurately and efficiently.

Press kits prepared for the major contractors in the Apollo programs, including IBM and Omega watches (Courtesy Richard Jurek)

Control, however, became the topic of one of the most controversial media relationships set up by NASA: the LIFE magazine / World Book contracts, which paid $500,000 to the Mercury 7 astronauts and their wives in 1959 (because then, decades before women took to the stars, women’s role in space exploration amounted to being astronaut wives), as well as a $100,000 life insurance policy that wasn’t provided by the government. It was easy to see the contract as “cashing in” on a project funded by taxpayers, but NASA had perhaps naively understood the contract as protecting the astronauts from being hounded or exploited by the media. The astronauts could only talk about their personal lives, not the missions.

The exclusive LIFE magazine coverage of the wives of the Mercury 7 astronauts

NASA created materials that addressed reporters’ needs in press releases, bylined articles, background materials, sponsored media symposiums, television newsreels, and fully produced radio broadcasts complete with interviews and sound effects. Every mission was explained pre-launch by the Public Affairs Office and reported with text and visuals far more elaborate than any press kit.

Before the Apollo 11 launch, journalists received The Apollo Spacecraft News Reference, a thick, three-ring binder with tabbed pages for easy thumbing. It included detailed diagrams of the command module, oxygen tanks, the spacesuit, and much more. It was an encyclopedia of technical information that would have been considered high-treason to release under the Soviets, but NASA considered the reference book an essential “classroom handout” for a proverbial public of fascinated students.

A series of books several hundred pages in length, that detailed technical concepts and vocabulary for reporters covering the Apollo 11 launch (Courtesy Richard Jurek)

Any advertisement that mentioned the space program had to be submitted to NASA in order to both maintain both factual accuracy and ensure that no product was directly endorsed. Contractors could advertise that their product had traveled to the moon, but not that it had been used. No astronauts could be shown in an ad, only their anonymous suited counterparts. Photographs taken in space were government-produced and therefore were in the public domain.

Advertisements couldn’t show the face of any astronaut, nor suggest the product had actually been used on a mission. This ad for Tang would have been vetted for accuracy by the Public Affairs Office.

Television proved to be one of the hardest and most important outlets for NASA to tell its story. The Public Affairs Office made sure that the producers had access to model spacecraft, maps, graphs, charts, as well as interviews with scientists and guidance about the right questions to ask. The mission was the message; the concept was easy to explain, the execution much harder. Walter Cronkite, who would propel CBS into the pole position during the Apollo 11 broadcast, relied on information from the Public Affairs Office as a much-needed crash course:

Covering the space program presented a challenge to us all… There was a great deal we had to learn about the mechanics of space flight and the idiosyncrasies of the physics of moving bodies in the weightlessness and atmosphere-free environment of space.

The CBS Evening News with Walter Cronkite during the tense coverage of the Apollo 13 mission. (Courtesy Richard Jurek)

The Public Affairs Office considered itself a champion of accurate scientific information, created to “furnish Congress and the media with the facts — unvarnished facts — about the progress of NASA programs,” explained its founder in 1959. Congress was just as important an audience, and it is an unfortunate reality that space education falls in and out of fashion with the budget of each new session. Public affairs was more than a perception, it was the life and death of the space program. When the lunar module of Apollo 11 began its fifty state tour, public relations was taken over by local affiliates, and the effect was more sideshow than science fair.

Dick Cavett interviews the Apollo 15 astronauts, 1971. (Courtesy Richard Jurek)

However, this is only the story of the public perception of NASA and the space program, not the public’s appetite for space, which has thrived for decades on the ecstatic visions of Carl Sagan, and has been reinvigorated with Neil deGrasse Tyson’s relaunch, and loving tribute, to Sagan’s Cosmos. With his clear yet poetic communication of complex scientific ideas, Tyson has championed science on all platforms and has mastered the art of the soundbite:

A soundbite is useful because it triggers interest in someone, who then goes and puts in the effort to learn more…

Communication of the work is as important as the work itself, something that Wernher von Braun knew as he stood to address the reporters at NASA’s Manned Spacecraft Center after the Apollo 11 astronauts were headed back to earth aboard the command module Columbia:

I would like to thank all of you for the fine support you have always given the program. Because without public relations and good presentations of these programs to the public, we would have been unable to do it.

For a bittersweet complement to Marketing the Moon, see Space Chronicles: Facing the Ultimate Frontier, Neil deGrasse Tyson’s urgent and poetic antidote to the precarious fate of space exploration today.

Michelle Legro is an associate editor at Lapham’s Quarterly. You can find her on Twitter.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





You can also become a one-time patron with a single donation in any amount.





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.

10 FEBRUARY, 2014

We Are Singing Stardust: Carl Sagan on the Story of Humanity’s Greatest Message and How the Golden Record Was Born

By:

“We [are] a species endowed with hope and perseverance, at least a little intelligence, substantial generosity and a palpable zest to make contact with the cosmos.”

In 1939, just before his fifth birthday, Carl Sagan visited the New York World’s Fair, where he marveled at the Time Capsule evincing the fair’s confidence in the future — a hermetically sealed chamber, filled with newspapers, books and artifacts from that year, buried in Flushing Meadows to be revisited in some far-off future era by a future culture very different from and curious about the present. “There was something graceful and very human in the gesture, hands across the centuries, an embrace of our descendants and our posterity,” Sagan writes in Murmurs of Earth: The Voyager Interstellar Record (public library) — the fascinating chronicle of how, in the early fall of 1977, he and a team of collaborators imbued a similar time capsule with even greater hopefulness of cosmic proportions and sent it into space aboard the Voyager spacecraft as humanity’s symbolic embrace of other civilizations. On it, they set out to explain our planet and our civilization to another in 117 pictures, greetings in 54 different languages and one from humpback whales, and a representative selection of “the sounds of Earth,” ranging from an avalanche to an elephant’s trumpet to a kiss, as well as nearly 90 minutes of some of the world’s greatest music.

Sagan, in his characteristic eloquence, writes of the motivation, offering a poetic, humbling, and timelier than ever reminder of just how misplaced our existential arrogance is:

The coming of the space age has brought with it an interest in communication over time intervals far longer than any [of our predecessors] could have imagined, as well as the means to send messages to the distant future. We have gradually realized that we humans are only a few million years old on a planet a thousand times older. Our modern technical civilization is one ten-thousandth as old as mankind. What we know well has lasted no longer than the blink of an eyelash in the enterprise of cosmic time. Our epoch is not the first or the best. Events are occurring at a breathless pace and no one knows what tomorrow will bring — whether our present civilization will survive the perils that face us and be transformed, or whether in the next century or two we will destroy our technological society. But in either case it will not be the end of the human species.

He also reminds us that our existence is a cosmic accident and our lives are shaped by chance encounters, but that’s precisely what makes it all — what makes us — valuable:

There will be other people and other civilizations, and they will be different from us. Our civilization is the product of a particular path our ancestors have followed among the vagaries of historical alternatives. Had events of the distant past taken a slightly different turn, our surroundings and thought processes, what we find natural and hold dear, might be very different. Despite our every sense that things should of course be the way that they are, the details of our particular civilization are extraordinarily unlikely, and it is easy to imagine a set of historical events which would have led to a rather different civilization. . . . This lack of historical determinism in the details of a civilization means that those details are of extraordinary value, not just to professional historians but to all who wish to understand the nature of culture. I think it is this respect for the integuments of a civilization that, above all other reasons, make us sympathetic to the enterprise of time capsuling.

As for the obvious question of how arrogant it seems to assume that if other civilizations exist — something most scientists agree has a high likelihood given the vastness of the cosmos — they would be similar enough to us to be able to interpret our messages, Sagan offers some optimistic rationale:

There is an argument — perhaps it is only a hope — that we might be able to communicate with representatives of such exotic civilizations, because they, like we, must come to grips with the same laws of physics and chemistry and astronomy. The composition of a star and its spectral properties are not fundamental impositions that scientists have made on nature, but rather the other way around. There is an external reality that we ignore at our peril, and indeed much of the evolution of the human species can be described as an increasing concordance between the images within our brains and the reality in the external world. Thus, whatever the differences in starting points, there must come to be a gradual convergence in intellectual content and discipline between diverse planetary species.

And so the idea of the Golden Record was born — a piece of communication that captures the essence of our species and our civilization, and transmits it using the era’s best recording technology and spacecraft to possible others out in the unknown. Sagan’s first thought was to improve on the plaques which accompanied NASA’s Pioneer spacecraft, mankind’s first interstellar probes launched in the early 1970s, which contained some scientific information in textual form and “a sketch of two representatives of the human species greeting the cosmos with hope.” To that, Sagan wanted to add some information from molecular biology to represent what we are made of, and some other materials. He gathered together a small group of scientific consultants, each of whom would advise on the contents of the Voyager message. Some of the opinions were wonderfully poetic — B.M. Oliver, vice-president for research and development at Hewlett-Packard, captured the heart of the project beautifully:

There is only an infinitesimal chance that the plaque will ever be seen by a single extraterrestrial, but it will certainly be seen by billions of terrestrials. Its real function, therefore, is to appeal to and expand the human spirit,and to make contact with extraterrestrial intelligence a welcome expectation of mankind.

Meanwhile, beloved sci-fi author Arthur C. Clarke — who was highly invested in space exploration and had participated in a historic conversation on the subject with Sagan some years earlier — phoned in from Sri Lanka and recommended that the plaque contain the following message, intended as a statement of hope that our civilization would go on long enough for the message to be read:

Please leave me alone; let me go on to the stars.

The original proposal to NASA included this photograph of two nude human beings, which Sagan and his team selected meticulously as a non-offensive image 'neither sexist, pornographic, nor clinical,' to show potential recipients how our bodies look. NASA, however, refused to include it due to fear of potentially negative public reaction. But Sagan and this team decided to keep the silhouette of the picture in the package, feeling strongly that it represented an essential part of who we are and how reproduce.

As more suggestions rolled in, it became clear that the capsule should contain more than scientific information — it should include, rather, a full-spectrum view of humanity, including our artistic footprint. But that would require a recording technology for encoding text, image, and audio, as a visual plaque would no longer suffice. Around the same time, Sagan realized that 1977 was the 100th anniversary of Thomas Edison’s invention of the phonograph. 1977 was also the year when Peter Goldmark, inventor of the long-playing record, perished in a tragic car-crash. Thanks to this bittersweet symmetry and the suggestions of his technological advisors, Sagan decided to encode humanity’s message on a record. And thus the Golden Record was born. He considers the less obvious but no less important reason for this choice, one that honors the notion that emotion is at the heart of human creativity and the intellect alone is never enough:

I was delighted with the suggestion of sending a record for a different reason: we could send music. Our previous messages had contained information about what we perceive and how we think. But there is much more to human beings than perceiving and thinking. We are feeling creatures. However, our emotional life is more difficult to communicate, particularly to beings of very different biological make-up. Music, it seemed to me, was at least a creditable attempt to convey human emotions. Perhaps a sufficiently advanced civilization would have made an inventory of the music of species on many planets, and by comparing our music with such a library, might be able to deduce a great deal about us.

There was another reason for music, too: Because of music’s highly mathematical quality and the fact that scientists believe mathematical relationships hold up for all cultures, philosophies, biologies, and planets, this universality would suggest, as Sagan puts it, “that much more than our emotions are conveyed by the musical offerings on the Voyager record.”

Once the idea was conceived, the first set of challenges were technical. An ordinary vinyl record is made by pressing the vinyl from a mold made of a copper and nickel positive material called “mother.” A vinyl record would be vulnerable to erosion in space, but the “mother” would be considerably less so. But because nickel is ferromagnetic, it would interfere with the fine-tuned magnetic field detection experiments of the Voyager. So Sagan decided that a copper mother would be needed and reached out to the vice-president of RCA Records to help with the technical development of the record.

The Golden Record

But another technical challenge was that, limited by the compression technology of the time, they could only fit around 27 minutes of playing time on each side of a record to be played at a standard 33 1/3 revolutions per minute. One side would be musical, and the other graphical, containing pictures. That immediately put enormous pressure on them as to the selection of the music, given the space afforded was “barely enough for two movements of a single symphony.”

Once again, Sagan enlisted a team of advisors, including various musicologists, conductors, musicians, scholars, and the writer Ann Druyan, with whom he’d go on to fall in love over the course of the project and spend the rest of his life. Among them was the famed 20th-century folk music field collector Alan Lomax, who had spent decades building a classified library of virtually all recorded musical styles in the world. He became a major influence that shaped the Golden Record’s truly global sound. Sagan recalls one of his first encounters with Lomax:

When Lomax first played Valya Balkanska’s soaring Bulgarian shepherdess’ aria for Ann, she was moved to spontaneous dance. “Do you hear that, honey?” he drawled, grinning and leaning forward. “That’s Europe. That’s the first people who had enough to eat.”

[…]

We are particularly grateful to him for his help in broadening our transcultural musical perspectives, as well as in substantially enhancing the beauty of the Voyager’s musical offerings.

Eventually, Sagan and his collaborators brainstormed a way to increase the storage capacity: They had a record designed for 16 1/3 revolutions per minute, which would decrease the fidelity slightly, but would more than triple the length to a total of nearly 90 minutes, which Sagan felt would let them “at least approach doing some justice to the range, depth and magic of the world’s music.” But by the time the technical challenge had been solved, the launch date of the Voyager had drawn alarmingly near, which made the decision about what to include all the more overwhelming. Sagan offers a taste of just how dizzying that process was:

There is obviously no best answer about what music to send to the stars; there are as many answers as there are people who attempt to make such a decision.

[…]

There were long debates on Gregorian chants, Charles Ives and Bob Dylan (would the music stand if the words were incomprehensible?); whether we should include more than one Bulgarian or Peruvian composition; an Apache lullaby (and the role of Apaches among Native Americans); the definition of Near Eastern music; whether to include music performed by alleged Nazi sympathizers; whether to include music performed by Pablo Casals, whose spirit we very much admired but whose records were of poor quality; which version of the Second Brandenburg Concerto. . . .

They even brushed up against the absurdities of copyright:

We wanted to send “Here Comes the Sun” by the Beatles, and all four Beatles gave their approval. But the Beatles did not own the copyright, and the legal status of the piece seemed too murky to risk.

And yet beneath all the madness lay a heartening allegory for the spirit of the project, best captured in this anecdote by Ann Druyan:

Robert Brown [the executive director of the Center for World Music in Berkeley] had placed Surshri Kesar Bai Kerkar’s “Jaat Kahan Ho” at the top of his list of world music for outer space. It was an old recording that had recently gone out of print. After hunting through a score of record stores without any success, I phoned Brown and asked him to suggest an alternative raga.

He refused.

“Well, what happens if we can’t find a copy of this one in time to get it on the record?” I pleaded. We had three more days in which to complete the repertoire. I was terribly worried that Indian music, one of the world’s most intricate and fascinating traditions, might not be represented.

“Keep looking,” he told me.

When I phoned him the following day after a series of very unrewarding conversations with librarians and cultural attachés, I was desperate.

“I promise I’ll keep looking for ‘Jaat Kahan Ho,’ but you’ve simply got to give me the name of a piece that we can fall back on. What’s the next best thing?

“There’s nothing close,” he insisted. “Keep looking.” The other ethnomusicologists we had been consulting told me to trust him. I started phoning Indian restaurants.

There’s an appliance store on Lexington Avenue in the Twenties in New York City that is owned by an Indian family. Under a card table with a madras cloth thrown over it sits a dusty brown carton with three unopened copies of ‘Jaat Kahan Ho.’`” Why I want to buy all three occasions a great deal of animated speculation on the part of the owners. I fly out of the shop and race uptown to listen to it.

It’s a thrilling piece of music. I phone Brown and find myself saying thank you over and over.

Nearly every challenge was resolved in a similarly heartening way, but nowhere more so than when it came to the eternal see-saw of greed and altruism. When RCA realized that only one song from the final selections was recorded by RCA Victor, they refused to be of further help with producing the record. Sagan and his team had chosen the music without any reference to label or manufacturer, but realized many of the selections came from Columbia Records, so they reached out to the label for help. After the greedy RCA letdown, a much-needed restoration of faith in the human spirit presented itself when the president of Columbia enthusiastically backed the project. Sagan writes with equal parts humor and humility:

It is not as easy as you might think to attract the attention of the president of a major competitive commercial record company on short notice for any enterprise, much less for volunteering corporate resources to send a record to the stars where, even if there are many potential listeners, no impact on corporate profits is likely to be made, at least in the near future. But, eventually, CBS Records, entirely as a public service, secured all the releases, mixed the music, greetings and sounds, and cut the wax masters from which the metal mothers are made. Worldwide releases were obtained in an unprecedentedly brief time. Since there was no way for CBS Records to increase corporate earnings from this project, their cooperation, although in some quarters reluctant, was on the whole truly remarkable.

(One has to wonder whether such selflessness could be expected of today’s increasingly avaricious commercial recording industry.)

The next challenge was of the bureaucratic kind. In addition to the music, Sagan and his team had decided to include a simple greeting in spoken human language. To keep it globally representative, they decided to have a “Hello” in a few dozen languages and figured approaching the United Nations would be the best way to secure the greetings. Sagan had just given an address on space exploration at the UN General Assembly the previous year and had kept in touch with some members of the UN Outer Space Committee, so he used the connection to ask for the greetings. But he was told that the Committee couldn’t itself initiate any “action,” which was only possible for the national delegations. The American Mission to the United Nations was in charge of those, but it would only act if instructed by the State Department, which would only act if so requested by NASA. The Catch-22 was that at that point, NASA hadn’t even formally agreed to include the record on the Voyager, and the State Department needed firm assurance that UN greetings would be included in order to initiate the “action.”

This, in other words, is what happens when a government is a string of middle-managers and bureaucrats whom humanity is supposed to trust for representation.

So Sagan proposed a solution: A recording studio would be set up for a couple of days at the UN Headquarters in New York, and a delegate from each member nation would drop in to record the coveted “Hello” in his or her language. “Her” turned out to be another point of challenge, and one tragically similar today: Sagan wanted an equal number of male and female voices, in order to represent the gender balance of Earth, but was quickly informed that “virtually all the chiefs of delegations were male, and it was unlikely that they would delegate the privilege of saying ‘Hello’ to the stars to anyone else.” (The male ego, indeed, is of cosmic proportions.) Other concerns were raised about what happens if a delegate is not in New York and further bureaucracy ensued. Sagan recounts with amused exasperation:

What is more, the Outer Space committee would have to vote on whether to say “Hello,” and its next meeting was to be in Europe in late June. I explained that even if greetings from the Outer Space Committee were desirable, the launch schedule of Voyager would not permit such a dilatory pace. Could we not, I was then seriously queried, postpone the Voyager launch?

Eventually, they plowed forward with a selection of 55 languages not even remotely representative of Earth. But when the delegates showed up at the UN Headquarters, it quickly became clear that none was satisfied with a simple “Hello” and each wanted to make a speech. Some read poetry from their home nation. Others spoke in Esperanto, the now-defunct “universal language.” The Nigerian delegate included the following endearing sentence:

As you probably know, my country is situated on the west coast of the continent of Africa, a land mass more or less in the shape of a question mark in the center of our planet.

Despite Sagan’s best efforts to keep the project away from the press during the time of the recording, the United Nations, unbeknownst to him, had issued a press release announcing the recording session. The next day, Sagan also discovered that Kurt Waldheim, Secretary General of the United Nations, had made a recording himself. Though the team never requested it, “the speech was so sensitively and gracefully composed, and so appropriate in its sentiments” that they felt they must include it:

As the Secretary General of the United Nations, an organization of 147 member states who represent almost all of the human inhabitants of the planet Earth, I send greetings on behalf of the people of our planet. We step out of our solar system into the universe seeking only peace and friendship, to teach if we are called upon, to be taught if we are fortunate. We know full well that our planet and all its inhabitants are but a small part of the immense universes that surrounds us and it is with humility and hope that we take this step.

Since they were including the Secretary General’s message, Sagan thought it appropriate to at least give the President of the United States the opportunity to contribute one as well. To his surprise and delight, President Jimmy Carter eagerly complied, electing to have his message — one of breathtaking optimism — as text rather than audio:

This is a present from a small distant world, a token of our sounds, our science, our images, our music, our thoughts and our feelings. We are attempting to survive our time so we may live into yours. We hope someday, having solved the problems we face, to join a community of galactic civilizations. This record represents our hope and our determination, and our good will in a vast and awesome universe.

But the most eloquent and moving encapsulation of the spirit of the Golden Record comes from Sagan himself, who extracts from the adventure in musicology a beautiful metaphor for the essence of the project in reflecting on a “charming and powerful tradition” in Javanese gamelan music, which they serendipitously discovered over the course of the research:

There is, it is said, a kind of spirit music in the world, continuously but silently playing. When a gamelan orchestra performs, it is merely making audible the present movement of the music of eternity. Perhaps all of the Voyager record can be viewed similarly — as a local and momentary expression of cosmic discourse, and exchange of greetings and music and information among diverse galactic species that has been in progress for billions of years.

Billions of years from now our sun, then a distended red giant star, will have reduced Earth to a charred cinder. But the Voyager record will still be largely intact, in some other remote region of the Milky Way galaxy, preserving a murmur of an ancient civilization that once flourished — perhaps before moving on to greater deeds and other worlds — on the distant planet Earth.

In the epilogue to Murmurs of Earth, which is an absolutely wonderful and priceless piece of cultural heritage, Sagan reflects on the legacy of the Golden Record:

One thing would be clear about us: no one sends such a message on such a journey, to other worlds and beings, without a positive passion for the future. For all the possible vagaries of the message, they could be sure that we were a species endowed with hope and perseverance, at least a little intelligence, substantial generosity and a palpable zest to make contact with the cosmos.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





You can also become a one-time patron with a single donation in any amount:





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.