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Posts Tagged ‘space’

14 NOVEMBER, 2013

November 14, 1963: The First-Ever Footage from Space

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“Through the magic of the camera, earthlings take their first ride into space.”

On November 14, 1963, the Titan II intercontinental ballistic missile shot into space from the South Atlantic at 17,000 miles per hour. This unmanned booster would eventually carry the Gemini space capsules, NASA’s second manned mission to space, succeeding Mercury and preceding Apollo. But what made that fateful November morning particularly noteworthy was something else: Mounted on the second stage of the missile was a camera that offered a preview of what the astronauts would see from space and provided the first-ever footage from the cosmos.

This vintage newsreel captures the historic moment in 59 seconds:

The curvature of the Earth is plainly visible. Through the magic of the camera, earthlings take their first ride into space.

This humble yet monumental black-and-white clip comes as a particularly poignant testament to our progress on the eve of NASA’s big Cassini reveal — an extraordinary mosaic of images captured with Cassini’s bleeding-edge cameras aimed at Saturn, including a view of Carl Sagan’s legendary “pale blue dot” and the first-ever view of the Earth and Moon in a single image viewed from the outer Solar System:

For more awe at our continuous cosmic adventure, see this visual history of space in 250 milestones.

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01 NOVEMBER, 2013

How to Watch the Un-sunlike Sun: Solar Eclipse Tips from Pioneering Astronomer Maria Mitchell

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“It is always difficult to teach the man of the people that natural phenomena belong as much to him as to scientific people.”

Rarely does the dated phrase “heavenly bodies” come more vibrantly alive than in the event of a solar eclipse, when the Moon passes in front of the Sun from the vantage point of our planet and leaves our earthy hearts astir with awe for a few fleeting moments of transcendent presence with “the heavens” and their majestic motion. But to observe a solar eclipse is itself an art, one to which pioneering astronomer and reconstructionist Maria Mitchell was particularly privy.

In Maria Mitchell: Life, Letters and Journals (public library; free download) — which also gave us the her timeless insight on science and life, the story of her seminal comet discovery, and her reflections on education and women in science — Mitchell recounts with her characteristic blend of good-natured wit and wisdom her experience of observing the 1878 solar eclipse, for which she traveled to Denver along with several of her former female students:

In the eclipse of this year, the dark shadow fell first on the United States thirty-eight degrees west of Washington, and moved towards the south-east, a circle of darkness one hundred and sixteen miles in diameter; circle overlapping circle of darkness until it could be mapped down like a belt.

[…]

Looking along this dark strip on the map, each astronomer selected his bit of darkness on which to locate the light of science.

But for the distance from the large cities of the country, Colorado seemed to be a most favorable part of the shadow; it was little subject to storms, and reputed to be enjoyable in climate and abundant in hospitality.

My party chose Denver, Col. I had a friend who lived in Denver, and she was visiting me. I sought her at once, and with fear and trembling asked, ‘Have you a bit of land behind your house in Denver where I could put up a small telescope?’ ‘Six hundred miles,’ was the laconic reply!

I felt that the hospitality of the Rocky mountains was at my feet. Space and time are so unconnected! For an observation which would last two minutes forty seconds, I was offered six hundred miles, after a journey of thousands.

Mitchell goes on to extract from the experience some practical advice on the art-science of such heavenly observation:

Persons who observe an eclipse of the sun always try to do the impossible. They seem to consider it a solemn duty to see the first contact of sun and moon. The moon, when seen in the daytime, looks like a small faint cloud; as it approaches the sun it becomes wholly unseen; and an observer tries to see when this unseen object touches the glowing disc of the sun.

When we look at any other object than the sun, we stimulate our vision. A good observer will remain in the dark for a short time before he makes a delicate observation on a faint star, and will then throw a cap over his head to keep out strong lights.

When we look at the sun, we at once try to deaden its light. We protect our eyes by dark glasses—the less of sunlight we can get the better. We calculate exactly at what point the moon will touch the sun, and we watch that point only. The exact second by the chronometer when the figure of the moon touches that of the sun, is always noted. It is not only valuable for the determination of longitude, but it is a check on our knowledge of the moon’s motions. Therefore, we try for the impossible.

She goes on to describe the specific process of her team’s observation — one made all the more impressive by the fact that these were all women scientists in an age when the science education of girls was practically nonexistent:

One of our party, a young lady from California, was placed at the chronometer. She was to count aloud the seconds, to which the three others were to listen. Two others, one a young woman from Missouri, who brought with her a fine telescope, and another from Ohio, besides myself, stood at the three telescopes. A fourth, from Illinois, was stationed to watch general effects, and one special artist, pencil in hand, to sketch views.

Absolute silence was imposed upon the whole party a few minutes before each phenomenon.

Of course we began full a minute too soon, and the constrained position was irksome enough, for even time is relative, and the minute of suspense is longer than the hour of satisfaction. [Footnote: As the computed time for the first contact drew near, the breath of the counter grew short, and the seconds were almost gasped and threatened to become inaudible, when Miss Mitchell, without moving her eye from the tube of the telescope, took up the counting, and continued until the young lady recovered herself, which she did immediately.]

What followed was a singular blend of rigorous precision and the kind of transcendence in which Carl Sagan found the spirituality of science. Mitchell writes:

The moon, so white in the sky, becomes densely black when it is closely ranging with the sun, and it shows itself as a black notch on the burning disc when the eclipse begins.

[…]

As totality approached, all again took their positions. The corona, which is the ‘glory’ seen around the sun, was visible at least thirteen minutes before totality; each of the party took a look at this, and then all was silent, only the count, on and on, of the young woman at the chronometer. When totality came, even that ceased.

How still it was!

As the last rays of sunlight disappeared, the corona burst out all around the sun, so intensely bright near the sun that the eye could scarcely bear it; extending less dazzlingly bright around the sun for the space of about half the sun’s diameter, and in some directions sending off streamers for millions of miles.

It was now quick work. Each observer at the telescopes gave a furtive glance at the un-sunlike sun, moved the dark eye-piece from the instrument, replaced it by a more powerful white glass, and prepared to see all that could be seen in two minutes forty seconds. They must note the shape of the corona, its color, its seeming substance, and they must look all around the sun for the ‘interior planet.’

But Mitchell’s most prescient and timeless reflection in observing the eclipse speaks poetically to the spirit of today’s “citizen science”:

It is always difficult to teach the man of the people that natural phenomena belong as much to him as to scientific people.

Maria Mitchell: Life, Letters and Journals remains a fantastic read and is available as a free Kindle download, as well as in other free digital formats on Project Gutenberg.

Public domain images via Flickr Commons

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31 OCTOBER, 2013

This Is Mars: Mesmerizing Ultra-High-Resolution NASA Photos at the Intersection of Art and Science

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Unprecedented look at the ever-enchanting Red Planet, at once more palpable and more mysterious than ever.

“Whether or not there is life on Mars now, there WILL be by the end of this century,” Arthur C. Clarke predicted in 1971 while contemplating humanity’s quest to conquer the Red Planet. “Whatever the reason you’re on Mars is, I’m glad you’re there. And I wish I was with you,” Carl Sagan said a quarter century later in his bittersweet message to future Mars explorers shortly before his death. Sagan, of course, has always been with us — especially as we fulfill, at least partially, Clarke’s prophecy: On March 10, 2006, we put a proxy of human life on, or at least very near, Mars — NASA’s Mars Reconnaissance Orbiter, with its powerful HiRISE telescope, arrived in the Red Planet’s orbit and began mapping its surface in unprecedented detail.

This Is Mars (public library) — a lavish visual atlas by French photographer, graphic designer and editor Xavier Barral, featuring 150 glorious ultra-high-resolution black-and-white images culled from the 30,000 photographs taken by NASA’s MRO, alongside essays by HiRISE telescope principal researcher Alfred S. McEwen, astrophysicist Francis Rocard, and geophysicist Nicolas Mangold — offers an unparalleled glimpse of those mesmerizing visions of otherworldly landscapes beamed back by the MRO in all their romantic granularity, making the ever-enthralling Red Planet feel at once more palpable and more mysterious than ever. At the intersection of art and science, these mesmerizing images belong somewhere between Berenice Abbot’s vintage science photography, the most enchanting aerial photography of Earth, and the NASA Art Project.

In a sentiment of beautiful symmetry to Eudora Welty’s meditation on place and fiction, Barral considers how these images simultaneously anchor us to a physical place and invite us into an ever-unfolding fantasy:

At the end of this voyage, I have gathered here the most endemic landscapes. They send us back to Earth, to the genesis of geological forms, and, at the same time, they upend our reference points: dunes that are made of black sand, ice that sublimates. These places and reliefs can be read as a series of hieroglyphs that take us back to our origins.

For a profound appreciation of how far we’ve come, complement This Is Mars with these beautiful black-and-white photos of vintage NASA training facilities and Carl Sagan, Arthur C. Clarke, and Ray Bradbury’s now-legendary 1971 conversation on Mars and the human mind.

Images courtesy of Aperture

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18 OCTOBER, 2013

Irving Geis’s Pioneering Scientific Illustrations and Diagrams of Imaginary Flight Paths to Venus

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What the structure of DNA has to do with interplanetary travel and the cross-pollination of art and science.

Two generations after Ernst Haeckel’s seminal biological art, American artist Irving Geis (October 18, 1908–July 22, 1997) ushered in a new era of scientific illustration, his intricate hand-drawn work shedding light on such landmark twentieth-century discoveries as the structure of proteins and DNA. When he was only 29, he was commissioned by Fortune to create this stunning drawing of the circulatory system, which would come to influence a wealth of subsequent stunning vintage illustrations of the body and which marked his foray into scientific illustration:

Though best-remembered today as the illustrator behind the 1954 classic How to Lie with Statistics (which remains an essential piece of cultural literacy, all the more relevant in today’s data-driven everything), Geis found himself mesmerized by the world of science by the beginning of the 1960s — a world that had been catapulted into an electrifying renaissance with the discovery of DNA only a few years earlier. And so Geis, formally trained as an architect and thus as far removed from science as formal education makes possible, set out to illuminate the building blocks of life using his singular skill. Soon, he began working with Scientific American and illustrating everything from cellular biology to space travel.

Geis's early sketch of a hemoglobin molecule. (Courtesy of the Irving Geis Collection, Howard Hughes Medical Institute)

Geis's illustration of the hemoglobin tetramer. (Courtesy of the Irving Geis Collection, Howard Hughes Medical Institute)

Concept sketch for Geis's 1961 painting of sperm whale myoglobin, the very first protein structure solved by X-ray crystallography, for Scientific American.

Irving Geis with his near-complete 1961 painting of the structure of myoglobin. The heme portion of the protein, depicted in red, is still lacking the oxygen molecule at its center. (Courtesy of the Irving Geis Collection, Howard Hughes Medical Institute)

In 1960, a year before he created his now-legendary myoglobin illustration for Scientific American, Geis was commissioned by the magazine to draw a series of diagrams envisioning four alternative flight paths to Venus. An article titled “Interplanetary Navigation,” premised on the idea that space flight between the planets should be a reality “within a year or two,” imagined how an earth-bound navigator would go about bringing a vehicle loaded with scientific instruments to the alluring second planet from the sun, which Scientific American deemed “the planet most likely to be visited first by an interplanetary vehicle.” (They were, of course, wrong — it wasn’t Venus, and it took another ten years to realize the interplanetary dream with Mars.)

Geis’s first task was to revise our conventional models of the cosmos with a third dimension in mind, because treating the solar system as two-dimensional “could cause a vehicle to miss its objective by a thousand miles.” So Geis took the standard two-dimensional diagram…

…and gave it a third dimension, drawing Earth’s orbit on one transparent sheet of plastic and Venus’s on another, then mounting the two sheets in a glass plate and angling them at the approximate angle at which the two planets’ orbital planes intersect each other:

Geis then inspected his three-dimensional model and decided on the best angle at which to translate it into a two-dimensional diagram. The resulting four diagrams depicted the four possible paths to Venus:

A flight path wholly in the plane of earth's orbit which is timed to make rendezvous with Venus when the planet crosses the earth's orbital plane.

A flight path wholly in the plane of Venus, with the launching of the vehicle timed at a moment when the earth crosses Venus's orbital plane.

A flight path started in the orbital plane of the earth and deflected in the orbital plane of Venus by a rocket thrust fired on a radio command from earth.

A flight path projected on a plane (hatched area) that intersects the orbital planes of the two planets, with the vehicle flying out of the earth's orbital plane and into the orbital plane of Venus.

Complement Geis’s work with this retrospective of 2,000 years of scientific images and a look at the history of medical illustration.

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