Apollo at 57 (a repost)

Today marks 57 years since humans first landed and walked on another world. All my life I have wondered, “When will we go back?” I’m thrilled to know that, even with everything else that’s going wrong, we’re working on doing just that. We’re going back, and Apollo wasn’t just a thing we did one time. It really was a start.

Here is my annual repost:

 

Sam Seaborn: There are a lot of hungry people in the world, Mal, and none of them are hungry ‘cause we went to the moon. None of them are colder and certainly none of them are dumber ‘cause we went to the moon.

Mallory O’Brian: And we went to the moon. Do we really have to go to Mars?

Sam Seaborn: Yes.

Mallory O’Brian: Why?

Sam Seaborn: ‘Cause it’s next. ‘Cause we came out of the cave, and we looked over the hill and we saw fire; and we crossed the ocean and we pioneered the west, and we took to the sky. The history of man is hung on a timeline of exploration and this is what’s next.

–from “Galileo Five”, season two of The West Wing, written by Aaron Sorkin

Anniversaries are a good thing, even if they’re leavened with the weight of years of thwarted expectations and deferred dreams, as the First Lunar Landing’s is: Why have we never gone back? Why are we stuck in low-Earth orbit? Was it all just politics and none of it the call of the stars?

But such anniversaries are a bit of a balm in times such as these, when humanity seems bound and determined to roll back on itself like some kind of distended, drunken serpent consuming its own tail in a weird and awful version of an ouroboros. We can look back on the Apollo missions as a reminder of the kinds of things humanity can do when the primary motive isn’t necessarily profit.

I was born in September 1971, which means that I have never lived in a world where the Moon was not a place where humans have gone. I hope that I live to see a day when the Moon is no longer the only place other than Earth that we’ve gone.

 

From Pale Blue Dot by Carl Sagan:

It’s a sultry night in July. You’ve fallen asleep in the armchair. Abruptly, you startle awake, disoriented. The television set is on, but not the sound. You strain to understand what you’re seeing. Two ghostly white figures in coveralls and helmets are softly dancing under a pitch-black sky. They make strange little skipping motions, which propel them upward amid barely perceptible clouds of dust. But something is wrong. They take too long to come down. Encumbered as they are, they seem to be flying — a little. You rub your eyes, but the dreamlike tableau persists.

Of all the events surrounding Apollo 11‘s landing on the Moon on July 20, 1969, my most vivid recollection is its unreal quality. Neil Armstrong and Buzz Aldrin shuffled along the gray, dusty lunar surface, the Earth looming large in their sky, while Michael Collins, now the Moon’s own moon, orbited above them in lonely vigil. Yes, it was an astonishing technical achievement and a triumph for the United States. Yes, as Armstrong said as he first alighted, this was a historic step for the human species. But if you turned off the byplay between Mission Control and the Sea of Tranquility, with its deliberately mundane and routine chatter, you could glimpse that we humans had entered the realm of myth and legend.

We knew the Moon from our earliest days. It was there when our ancestors descended from the trees into the savannahs, when we learned to walk upright, when we first devised stone tools, when we domesticated fire, when we invented agriculture and built cities and set out to subdue the Earth. Folklore and popular songs celebrate a mysterious connection between the Moon and love. The word “month” and the second day of the week are both named after the Moon. Its waxing and waning — from crescent to full to crescent to new — was widely understood as a celestial metaphor of death and rebirth. It was connected with the ovulation cycle of women, which has nearly the same period — as the word “menstruation” (Latin mensis = month, from the word “to measure”) reminds us. Those who sleep in moonlight go mad; the connection is preserved in the English word “lunatic”. In the old Persian story, a vizier renowned for his wisdom is asked which is more useful, the Sun or the Moon. “The Moon,” he answers, “because the Sun shines in daytime, when it’s light out anyway.” Especially when we lived out-of-doors, it was a major — if oddly tangible — presence in our lives.

The Moon was a metaphor for the unattainable: “You might as well ask for the Moon,” they used to say. Or “You can no more do that than fly to the Moon.” For most of our history, we had no idea what it was. A spirit? A god? A thing? It didn’t look like something big far away, but more like something small nearby — something the size of a plate, maybe, hanging in the sky a little above our heads. Ancient Greek philosophers debated the propositon “that the Moon is exactly as large as it looks” (betraying a hopeless confusion between linear and angular size). Walking on the Moon would somehow have seemed a screwball idea; it made more sense to imagine somehow climbing up into the sky on a ladder or on the back of a giant bird, grabbing the Moon, and bringing it down to Earth. Nobody ever succeeded, although there were myths aplenty about heroes who had tried.

Not until a few centuries ago did the idea of the Moon as a place, a quarter-million miles away, gain wide currency. And in that brief flicker of time, we’ve gone from the earliest steps in understanding the Moon’s nature to walking and joy-riding on its surface. We calculated how objects move in space; liquefied oxygen from the air; invented big rockets, telemetry, reliable electronics, inertial guidance, and much else. Then we sailed out into the sky.

The Moon is no longer unattainable. A dozen humans, all Americans, have made those odd bouncing motions they called “moonwalks” on the crunchy, cratered, ancient gray lava — beginning on that July day in 1969. But since 1972, no one from any nation has ventured back. Indeed, none of us has gone anywhere since the glory days of Apollo except into low Earth orbit — like a toddler who takes a few tentative steps outward and then, breathless, retreats to the safety of his mother’s skirts.

Once upon a time, we soared into the Solar System. For a few years. Then we hurried back. Why? What happened? What was Apollo really about?

For me, the most ironic token of that moment in history is the plaque signed by President Richard M. Nixon that Apollo 11 took to the Moon. It reads: “We came in peace for all mankind.” As the United States was dropping 7.5 megatons of conventional explosives on small nations in Southeast Asia, we congratulated ourselves on our humanity: We would harm no one on a lifeless rock. That plaque is there still, attached to the base of the Apollo 11 Lunar Module, on the airless desolation of the Sea of Tranquility. If no one disturbs it, it will still be readable millions of years from now.

Six more missions followed Apollo 11, all but one of which successfully landed on the lunar surface. Apollo 17 was the first to carry a scientist. As soon as he got there, the program was canceled. The first scientist and the last human to land on the Moon were the same person. The program had already served its purpose that July night in 1969. The half-dozen subsequent missions were just momentum.

Apollo was not mainly about science. It was not even mainly about space. Apollo was about ideological confrontation and nuclear war — often described by such euphemisms as world “leadership” and national “prestige”. Nevertheless, good space science was done. We now know much more about the composition, age, and history of the Moon and the origin of the lunar landforms. We have made progress in understanding where the Moon came from. Some of us have used lunar cratering statistics to better understand the Earth at the time of the origin of life. But more important than any of this, Apollo provided an aegis, an umbrella under which brilliantly engineered robot spacecraft were dispatched throughout the Solar System, making that preliminary reconnaissance of dozens of worlds. The offspring of Apollo have now reached the planetary frontiers.

If not for Apollo — and, therefore, if not for the political purpose it served — I doubt whether the historic American expeditions of exploration and discovery throughout the Solar System would have occurred. The Mariners, Vikings, Pioneers, Voyagers, and Galileo are among the gifts of Apollo. Magellan and Cassini are more distant descendants. Something similar is true for the pioneering Soviet efforts in Solar System exploration, including the first soft landings of robot spacecraft — Luna 9, Mars 3, Venera 8 — on other worlds.

Apollo conveyed a confidence, energy, and breadth of vision that did capture the imagination of the world. That too was part of its purpose. It inspired an optimism about technology, an enthusiasm for the future. If we could fly to the Moon, as so many have asked, what else were we capable of? Even those who opposed the policies and actions of the United States — even those who thought the worst of us — acknowledged the genius and heroism of the Apollo program. With Apollo, the United States touched greatness.

When you pack your bags for a big trip, you never know what’s in store for you. The Apollo astronauts on their way to and from the Moon photographed their home planet. It was a natural thing to do, but it had consequences that few foresaw. For the first time, the inhabitants of Earth could see their world from above — the whole Earth, the Earth in color, the Earth as exquisite spinning white and blue ball set against the vast darkness of space. Those images helped awaken our slumbering planetary consciousness. They provide incontestable evidence that we all share the same vulnerable planet. They remind us of what is important and what is not. They were the harbingers of Voyager‘s pale blue dot.

We may have found that perspective just in time, just as our technology threatens the habitability of our world. Whatever the reason we first mustered the Apollo program, however mired it was in Cold War nationalism and the instruments of death, the inescapable recognition of the unity and fragility of the Earth is its clear and luminous dividend, the unexpected final gift of Apollo. What began in deadly competition has helped us to see that global cooperation is the essential precondition for our survival.

Travel is broadening.

It’s time to hit the road again.

Someday we’ll look up with wonder again. Someday we’ll go. I firmly believe that.

 

Footage of Walter Cronkite’s live broadcast of the lunar landing. Note his happy amazement at what he gets to report, at the 1:58 mark. He takes off his glasses, shakes his head, and smiles at the person next to him. I can’t help contrasting that with another moment when, while reporting on air, he had to remove his glasses and shake his head with disbelief, less than six years prior to this moment.


And I know it’s not the right mission, but for the movie Apollo 13, James Horner managed to really catch some of the unbridled optimism of the entire Apollo era.


Seriously, humans: when are we going back, and when are we going farther?

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“Momentary masters of a fraction of a dot”

Earth, from the rings of Saturn:

“In this rare image taken on July 19, 2013, the wide-angle camera on NASA’s Cassini spacecraft has captured Saturn’s rings and our planet Earth and its moon in the same frame. It is only one footprint in a mosaic of 33 footprints covering the entire Saturn ring system (including Saturn itself). At each footprint, images were taken in different spectral filters for a total of 323 images: some were taken for scientific purposes and some to produce a natural color mosaic. This is the only wide-angle footprint that has the Earth-moon system in it.”

Via, with more info, here.

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And now, a word from Hubble

An image, actually:

Explanation:

This new image features NGC 1546, a nearby galaxy in the constellation Dorado. The galaxy’s orientation gives us a good view of dust lanes from slightly above and backlit by the galaxy’s core. This dust absorbs light from the core, reddening it and making the dust appear rusty-brown. The core itself glows brightly in a yellowish light indicating an older population of stars. Brilliant-blue regions of active star formation sparkle through the dust. Several background galaxies also are visible, including an edge-on spiral just to the left of NGC 1546.

I need continuing reminders that we live in an astonishing universe and we have astonishing ways of learning about it.

 

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Aurora

If you were anywhere north of, say, whatever latitude it is that the Pennsylvania’s northern border sits on, you were under instructions to get outside and look at the northern sky because the sun was blasting out magnetic particles that would result in potentially spectacular displays of the Aurora Borealis, or more commonly, the “Northern Lights”. The last time I saw a truly stunning display of the Aurora was back when I was in college; a bunch of us were inside doing whatever and another friend bursts in and says, “You gotta come outside and see this!” It looked like the entire sky was a blue, green, and red swirl of tie-dye. I’ve never forgotten that.

Last night’s Aurora was much more muted, at least where I live; I didn’t make any attempt to drive out into a darker spot, and while my own street is quiet and not super brightly-lit, directly north of my street is a two-mile-long stretch of car dealerships, which are brightly lit. But I went out around 9pm and looked up .The sky was clear (maybe a Karmic make-up for getting screwed on the eclipse?), but there was still some night-glow from the car dealerships to contend with, and initially I thought, “Nope, no Aurora here.” The Big Dipper was directly overhead, and the Moon was a lovely sliver as it is just starting to wax again. I thought about coming back in, but I stayed out just long enough for my eyes to adapt a little, long enough to see a few wisps of cloud directly overhead, making an interesting radial pattern. I’d never seen wisps of cloud in that pattern before, and they were actually shifting as I watched them…and that’s when I realized that I was actually looking at the Aurora Borealis.

A forever-lesson there: when going outside to look at the night sky, always wait at least five minutes. Give your eyes time to adapt!

I took a few photos with my phone, using the “Night” mode, and this one turned out best after some editing in Snapseed. I’m going to try a couple of my other shots later in Lightroom to see what I can do, but the Samsung S21 Ultra’s night mode did come through for me. I made no attempt to use my Lumix FZ1000ii for this event, as I didn’t want to break out the tripod and all of that jazz and I haven’t done any research as to what settings one needs to use to capture the Aurora. But that’s fine! Photographers like to say that “The best camera is the one you have with you,” and in this case, it was my phone.

The Big Dipper, shining through the Aurora Borealis. One of its stars isn’t bright enough to overcome the Lights.

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Farewell, Hunter

Orion the Hunter, sinking toward the horizon

This is likely my final photo of Orion the Hunter for this season; the time for the winter stars is passing quickly now. Farewell, Hunter, and good hunting in other skies until we meet again!

 

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Tone Poem Tuesday

Composer Eric Whitacre, whom I have featured several times in this space before, is an always fascinating voice to return to. I had, in fact, forgotten about him until the week before the eclipse, when I looked up classical music selections inspired by space (that were not Holst’s The Planets, which is a work with which I’ve had a strained relationship over the years). Whitacre’s name came up for a piece called Deep Field, which sounded interesting. It turns out that the background of Deep Field is even more interesting.

If you’re up on your Hubble Space Telescope lore, you’ll recognize the title Deep Field as referring to one specific image: the “Hubble eXtreme Deep Field”, and here it is:

Bigger versions are available here. By way of background:

This image, called the Hubble eXtreme Deep Field (XDF), combines Hubble observations taken over the past decade of a small patch of sky in the constellation of Fornax. With a total of over two million seconds of exposure time, it is the deepest image of the Universe ever made, combining data from previous images including the Hubble Ultra Deep Field (taken in 2002 and 2003) and Hubble Ultra Deep Field Infrared (2009).

The image covers an area less than a tenth of the width of the full Moon, making it just a 30 millionth of the whole sky. Yet even in this tiny fraction of the sky, the long exposure reveals about 5500 galaxies, some of them so distant that we see them when the Universe was less than 5% of its current age.

The Hubble eXtreme Deep Field image contains several of the most distant objects ever identified.

It’s one of the most awe-inspiring images of our Cosmos ever captured, particularly when you realize that (a) this comprises just the tinies part of what we can see from here, and (b) the Cosmos looks like that in every direction. The vastness of space-time captured here and implied by the strange smallness of this specific infinity is utterly humbling.

The XDF image inspired the making of a film celebrating the years of Hubble’s service to astronomy, and Mr. Whitacre was brought in to score the film. The result is an amazing ethereal work that builds and builds and builds with intensity, before subsiding with the entrance of a choir. The work is open and yet dense, peaceful and yet driving…it’s music that stands alongside our images of the depths of our universe.

Grammy® award-winning American composer Eric Whitacre’s symphonic work Deep Field was inspired by the world’s most famous space observatory, the Hubble Space Telescope which celebrated its 30th year in orbit in 2020, and its greatest discovery – the iconic Deep Field image. The film – Deep Field: The Impossible Magnitude of our Universe – illuminates the score by combining Hubble’s stunning imagery, including never-seen-before galaxy fly-bys, with bespoke animations to create an immersive, unforgettable journey from planet Earth to the furthest edges of our universe.

The film is a first-of-its-kind collaboration between Grammy® award-winning composer & conductor Eric Whitacre, producers Music Productions, scientists and visualizers from the Space Telescope Science Institute and multi award-winning artists 59 Productions. The score and film paint the incredible story of the Hubble Deep Field. Turning its gaze to a tiny and seemingly dark area of space (around one 24-millionth of the sky) for an 11-day long period, the Hubble Space Telescope revealed over 3,000 galaxies that had never previously been seen, each one composed of hundreds of billions of stars.

Here is Deep Field, first performed in concert at the Royal Albert Hall, and then the film with the work alongside it. This is amazing stuff.

 

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