tag:blogger.com,1999:blog-75305352024-03-18T18:40:05.554+10:30SPACE AGE ARCHAEOLOGYIn 2003 I began work on a research project that has taken me to places that I never imagined: the cultural heritage of space exploration. Now I am determined to bring to light the secrets at the heart of the Space Age.Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.comBlogger413125tag:blogger.com,1999:blog-7530535.post-70405361873739522332024-02-23T19:26:00.006+10:302024-02-24T11:21:35.777+10:30The Odysseus lunar lander carried an artwork to the Moon. What does this mean?<p style="text-align: justify;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HnDGk9K1mNUVtV294q-TgsK9NFf84-zjOWJUYXVXgcZz8QjhJDaYycTrV_KtbBLJwckz5mJvNSyvf9eSAgW68gxvdoOa7kpW2nsm98K8JDbkgIZKFtoISpZWwINBIYYHQ-H2gQLouK6uwy7iVKvjjvRhpE0Z1kcQ0vLtW8XFlt2XjkTn2z3C/s694/Baker_Banana%201927%20Wikipedia.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="694" data-original-width="440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HnDGk9K1mNUVtV294q-TgsK9NFf84-zjOWJUYXVXgcZz8QjhJDaYycTrV_KtbBLJwckz5mJvNSyvf9eSAgW68gxvdoOa7kpW2nsm98K8JDbkgIZKFtoISpZWwINBIYYHQ-H2gQLouK6uwy7iVKvjjvRhpE0Z1kcQ0vLtW8XFlt2XjkTn2z3C/w203-h320/Baker_Banana%201927%20Wikipedia.jpeg" width="203" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Josephine Baker being fabulous, 1927.<br />Source: Wikimedia Commons<br /><br /></td></tr></tbody></table><br /><div style="text-align: justify;">The <a href="https://en.wikipedia.org/wiki/Intuitive_Machines_Nova-C" target="_blank">Nova-C lander</a>, which touched down on the Moon on the 23rd of February 2024, is carrying a very interesting object – <a href="https://jeffkoonsmoonphases.com/" target="_blank">125 silver mini-moon</a>s a couple of centimetres in diameter, stacked in a transparent box and bolted to the side of the spacecraft. Each mini-moon represents a famous person who made a difference in the world. They include the people you’d expect, like <a href="https://www.nobelprize.org/prizes/peace/1979/teresa/biographical/" target="_blank">Mother Theresa</a>, but some unconventional choices too, like <a href="https://en.wikipedia.org/wiki/Josephine_Baker" target="_blank">Josephine Baker,</a> the French-American dancer of the Jazz Age who was also a civil rights activist, and the Russian ballet dancer <a href="https://petipasociety.com/anna-pavlova/" target="_blank">Anna Pavlova</a> who gave her name to the famous Aussie dessert. </div><p></p><p style="text-align: justify;"><span style="text-align: left;">Artist <a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" target="_blank">Andy Warhol</a> is also in there, and it’s the second time he’s been to the Moon. In 1969, the Apollo 12 mission carried a tiny ceramic plaque called <a href="https://www.metmuseum.org/art/collection/search/814608" target="_blank">Moon Museum</a> with the works of six artists inscribed on it. Warhol contributed a crude drawing. </span></p><p style="text-align: justify;"><span style="text-align: left;">This artwork was conceived by the US artist <a href="https://jeffkoons.com/" target="_blank">Jeff Koons.</a> It has three components: the miniature moons going to the real Moon, much larger versions which remain on Earth, and digital moons in the form of NFTs (Non-Fungible Tokens). Like the mission itself, the artwork is a partnership between the artist and various other organisations. </span></p><p style="text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibnnzrmUPrYIi3c8Z1KywOuKOrCejF7Vh0LJ0T_isq_Y2Q7PVEM0fHMlJ-ClLFzO7U7adn_M04FurF0clcyQ_Rp5y3EUnhhU7jXXBShWYrC_fupl1vu0zFVDPibEQ4fv5auCrzuynjqPq8orpq_fLei_wgropKl1-wwcHpS_ufqbGeUB_SO5RR/s2000/Jeff%20Koons%20moon%20phases.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1507" data-original-width="2000" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibnnzrmUPrYIi3c8Z1KywOuKOrCejF7Vh0LJ0T_isq_Y2Q7PVEM0fHMlJ-ClLFzO7U7adn_M04FurF0clcyQ_Rp5y3EUnhhU7jXXBShWYrC_fupl1vu0zFVDPibEQ4fv5auCrzuynjqPq8orpq_fLei_wgropKl1-wwcHpS_ufqbGeUB_SO5RR/s320/Jeff%20Koons%20moon%20phases.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jeff Koons' Moon Phases installed on the Odysseus lander. <br />Source: Jeff Koons/Instagram</td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: cnn_sans_display, helveticaneue, Helvetica, Arial, Utkal, sans-serif; text-align: start;"></span></td></tr></tbody></table><div style="text-align: justify;">I find it intriguing, but it also raises some concerns. Recently the Peregrine Mission One lander was launched towards the Moon. It had <a href="https://orbitaltoday.com/2024/01/09/inside-peregrine-mission-one-payload-unexpected-things-vulcan-has-sent-to-the-moon/" target="_blank">numerous private payloads</a>, including a lot of digital art and 13 time capsules. Sadly the spacecraft didn’t make it, and burned up on re-entering Earth’s atmosphere. </div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;">As more private missions go to the Moon, we’re likely to see more inclusions of symbolic and digital objects.
But there’s no oversight of what they are, or obligation for private companies to inform the public. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">For now it’s all been positive objects aimed at commemoration or inspiration. But what if, for example, conspiracy theorists or extremists bought payload space on a private mission and send things most people would find offensive or disturbing to the Moon? There’s nothing to stop that. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">According to the Outer Space Treaty of 1967, the Moon and all outer space is meant to be the common province of humanity: it belongs to all of us, including those we don’t like. But I’d hate to see the Moon become a dumping ground of symbols, or continue its Cold War role in a battle of ideologies. The Outer Space Treaty proclaims that space is to be used for peaceful purposes only. Peace isn’t just about the absence of weapons, and not all weapons are material.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com1tag:blogger.com,1999:blog-7530535.post-38631401417647428142023-12-12T08:38:00.003+10:302023-12-12T08:41:08.554+10:30Japanese lunar heritage and the Global Expert Group on Sustainable Lunar Activity.<p style="text-align: justify;">Whenever I talk to people about future plans for the Moon, it’s clear that the impacts of mining and other activities on the lunar environment are a major concern. </p><p style="text-align: justify;">An aim of the <a href="https://moonvillageassociation.org/global-expert-group-on-sustainable-lunar-activities-gegsla/" target="_blank">Global Expert Group on Sustainable Lunar Activity </a>(GEGSLA) is to investigate good environmental management practices on the Moon, drawing on lessons learnt on Earth, but also taking into account the distinct conditions of the Moon in terms of its natural environment, and the legal and policy framework.
Part of this is cultural and natural heritage. </p><p style="text-align: justify;">Cultural heritage can be defined as places and objects from the past that communities in the present feel should be passed onto future generations.
The study of lunar heritage was pioneered by <a href="https://anthropology.nmsu.edu/anthropology-faculty/oleary.html" target="_blank">Professor Beth Laura O’Leary</a> from New Mexico State University more than 20 years ago. The GEGSLA is drawing on the research carried out by a small group of space archaeologists, myself included, over that time. This research includes the nature of heritage values on the Moon, how we would assess them, and what we can do to ensure that they survive. </p><p style="text-align: justify;">There are currently 110 locations with human material from lunar missions since 1959. The majority of them are from the US and Russia, but other nations include India, China, Japan and Israel. These places represent over 60 years of human engagement with the Moon. None of the sites have any protection currently, although there are some objects registered under US state heritage legislation. Managing their heritage values is an important part of sustainable use of the Moon. </p><p style="text-align: justify;">Apollo 11 is the most famous lunar heritage site, but as a lesser-known example I want to talk about Japanese cultural heritage on the Moon. There are three known locations and two unknown ones. </p><p style="text-align: justify;">The <a href="https://science.nasa.gov/mission/hiten-hagoromo/" target="_blank">HITEN satellite</a> was launched in 1990. It released the Hagoromo orbiter once it arrived at the Moon. HITEN then looped around the Moon and into the <a href="https://spj.science.org/doi/10.34133/2021/6597921#:~:text=The%20ghost%20dust%20clouds%20in,properties%20of%20the%20solar%20system." target="_blank">Kordylewski dust clouds</a> at the Lagrange points L4 and L5, before being intentionally crashed in the lunar surface in 1993. Hagoromo fell out of lunar orbit eventually, but its final resting place is unknown. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5uHl6M4dQKij8OZVKe0vuzbNMsGjWxfP-DuI43gvRiwBHRQYsjmzrxY6ZSY9M1soI6h8S1AUKnrQoLWqQPewBK_t-yQeRBIgy0hVSnDdXiT6m-jQvqRC_QURBqWM_9Hpj-Z5UrSwe5wfQbw2H1_3AK5K5966lFbw2GuRlI9oOCVLqP8edfWi/s1280/hiten_main-1280.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1280" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5uHl6M4dQKij8OZVKe0vuzbNMsGjWxfP-DuI43gvRiwBHRQYsjmzrxY6ZSY9M1soI6h8S1AUKnrQoLWqQPewBK_t-yQeRBIgy0hVSnDdXiT6m-jQvqRC_QURBqWM_9Hpj-Z5UrSwe5wfQbw2H1_3AK5K5966lFbw2GuRlI9oOCVLqP8edfWi/w400-h281/hiten_main-1280.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The HITEN spacecraft with the Hagoromo orbiter attached at the top. Image: NASA</td></tr></tbody></table><p style="text-align: justify;"><br /></p><p style="text-align: justify;">A more substantial mission was <a href="https://www.isas.jaxa.jp/en/missions/spacecraft/past/kaguya.html" target="_blank">Selene,</a> launched from Tanegashima in 2007. This was composed of three orbiters: the main one nicknamed Kayuga after a lunar princess from folklore, and two smaller satellites called Okina and Ouna. Okina was a relay satellite, and both Okina and Ouna were used as a <a href="https://en.wikipedia.org/wiki/Very-long-baseline_interferometry" target="_blank">Very Long Baseline Interferometer</a> (VLBI) to measure lunar gravity. Kayuga was intentionally crashed into the Moon’s surface in 2009. Okina fell out of orbit and crashed also in 2009; but there is no accessible information on the fate of Ouna, so this is another unknown location. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4wzo1QHpHgtnrfo0-ZkXwRO6W2rGfRgeFbJM2a0812klLq4NMHsf7PcQmWlpP8GDVNV2_UY2heh8KWx-TmslBRQSCZtZB9RrDPjKo_NpzzzG4jJTAwFVZaNFu-eVCbXUixEadaiXjcsDeEgPqblx2F1-7sL-ebpbMa0jo_Ly4-nMzjxu9R96/s264/Watercolour%20of%20Kaguya%20by%20Charu.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="191" data-original-width="264" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4wzo1QHpHgtnrfo0-ZkXwRO6W2rGfRgeFbJM2a0812klLq4NMHsf7PcQmWlpP8GDVNV2_UY2heh8KWx-TmslBRQSCZtZB9RrDPjKo_NpzzzG4jJTAwFVZaNFu-eVCbXUixEadaiXjcsDeEgPqblx2F1-7sL-ebpbMa0jo_Ly4-nMzjxu9R96/w400-h289/Watercolour%20of%20Kaguya%20by%20Charu.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kaguya the Moon Princes. Watercolour by Charu.</td></tr></tbody></table><br /><p style="text-align: justify;">The archaeological sites are composed of the spacecraft – presumably crushed and damaged from impact, and the impact craters. A scientific question we can ask of locations like this is how the impact craters formed by human artefact crashes differ from those caused by natural meteorites. These places have cultural significance for Japan, but also, given that lunar material is dominated by the US and Russia, they are uncommon examples of another nation’s lunar endeavours and represent the development of Japanese space technology. </p><p style="text-align: justify;">GEGSLA is establishing principles and procedures to manage the heritage values of these places. This involves defining the values and working out management options that can be integrated in a practical way with the needs of surface operators. These build on the existing NASA <a href="https://www.nasa.gov/wp-content/uploads/2017/10/617743main_nasa-usg_lunar_historic_sites_reva-508.pdf" target="_blank">heritage guidelines </a>from 2011, which set up buffer zones to protect sites from damaging dust abrasion. There’ll also be procedures for sampling the sites for scientific study, so that we can better understand the impacts of the lunar environment on human materials. You can read the Recommended Framework and Key Elements for Peaceful and Sustainable Lunar Activities <a href="https://moonvillageassociation.org/gegsla/documents/gegsla-recommended-framework/" target="_blank">here</a>, and the Sustainable Management of Lunar Natural and Cultural Heritage <a href="https://moonvillageassociation.org/gegsla/documents/gegsla-reference-documents/" target="_blank">here</a>. </p><p style="text-align: justify;">These principles can be extended to heritage sites wherever humans have left behind material culture across the solar system. This is important because it ensures the sites are retained for future scientific study, and maintains the attachments that different communities feel towards these places, so that the Moon really is for all humanity, not just those that can afford to go there.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><i><span style="font-size: x-small;">This post is adapted from a talk given at an Asia-Pacific Regional Space Agency Forum side event organised by the GEGSLA in 2021.</span></i></p><p style="text-align: justify;"><i><span style="font-size: x-small;"><br /></span></i></p><p style="text-align: justify;"><i><span style="font-size: x-small;"><br /></span></i></p>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-50732999045334328372023-09-24T10:12:00.004+09:302023-09-24T10:14:20.564+09:30Why do we need an archaeology of space?<p style="text-align: justify;"><span style="font-family: arial;">Why do we need an archaeology of space? Haven’t we got an abundant documentary record to tell us all about spacecraft and their stories? Not, as it turns out. The documentary record is far from perfect, and even if it were, it doesn’t necessarily contain the answers to the questions we want to ask. Within a system of production, there are ideas and assumptions that are unquestioned and invisible: no-one writes about them, or records them, because they are the fabric of their worldview. It’s only later that we may look back and wonder why something was like that. So there may be no words or images that document a decision; there may only be the thing itself. And this is what makes it archaeology. </span></p><div style="text-align: justify;"><span style="font-family: arial;">For most people, archaeology is the study of what is old – from the emergence of humans a few million years ago, to perhaps a couple of thousand or a few hundred years ago. When I tell people I’m an archaeologist, the most common reactions are to express admiration for the great cultures of ancient Egypt, Greece and Rome, followed by confusion when I say that’s not what I do. (Whatever you do, don’t mention dinosaurs to an archaeologist! For the record, that’s palaeontology). </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">It can be even more perplexing to say that you work in Australia. Surely, many people (mainly Australians it has to be said) respond, there’s no archaeology in Australia? This is generally the cue to say ‘but there is at least 65, 000 years of Aboriginal occupation…not to mention over 240 years of European occupation’.
Usually that’s enough for a long conversation about archaeology, so often I don’t go on to mention that my field of research is space. It just seems too confusing when you’ve already bombarded an unsuspecting stranger with information.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">(Once my esteemed colleague Dr Lynley Wallis was asked what she did by a man in a nightclub. ‘I’m a nuclear physicist’ she replied. ‘Why on Earth did you say that?’ I asked her. ‘Isn’t it enough to be an archaeologist?’. ‘It just seemed more interesting’, she said). </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">If we get to the point where I reveal I’m a space archaeologist, it’s often assumed that means stuff that has returned to Earth, such as old satellites or even meteorites. I’ll point to the sky and say ‘No, I mean the stuff that’s still up there’. ‘But how can you do that, when you can’t even go there?’. The quintessential archaeological activity is excavation, and that’s not even remotely possible. So how can it be archaeology? </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">It seems a contradiction in terms to say that there can be an archaeology of space exploration. After all, this is recent human history, which living people have experienced and can remember. It’s more than that, too. Even though we’ve been living in the space age for over 60 years, space still has the ring of the future. The Jetsons lifestyle is always just about to happen, always waiting for that one technological breakthrough that will bring us personal jetpacks and holidays on Mars. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">But archaeology can be of the living, not just of the dead, and this means it's inextricably linked with the future. What future society can be is based on what we think it has the potential to be, and this is based on what we understand human nature to be, as demonstrated by the past. If the past is monolithic and one-dimensional, we don’t look to other futures, other possibilities. Space archaeology, I like to think, offers windows into the possibilities of the future by telling diverse stories of objects that fall outside the authorised narratives. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">It’s not just the age that makes something archaeology. Archaeology is a set of methods and theories about human interactions with the material world, whether that is the environment around us, or the multitude of objects we use to conduct our daily lives. Of course no archaeologist is going to complain about excavating a burial rich with grave goods, or a frescoed palace. But our real passion is the everyday stuff, the stone tools used to cut up a kangaroo, the earthenware pottery used to store apple cider. Counting, cataloguing, describing, and statistical analysis of artefacts allows archaeologists to discern patterns that reveal something about human actions, decisions, and sometimes even emotions. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/x5fn-iycWBs" width="320" youtube-src-id="x5fn-iycWBs"></iframe></div><br /></div><div style="text-align: justify;"><span style="font-family: arial;">As historical archaeologist Dr Heather Burke says, archaeologists are really just nosy.
The treasures we seek are not the golden masks of Agamemnon, but insights into what it means to be human. Beneath the surface, beneath even our consciousness, are the structures that shape what we do and the mark we leave upon the world. For every culture these are different. Usually archaeologists study cultures that are distant in time, and often distant geographically too, in ‘exotic’ field locations compared to the safe, comfortable industrial ‘west’. We are fascinated by the ‘other’. The novelist LP Hartley famously said ‘The past is a foreign country; they do things differently there’. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">What makes the archaeology of the contemporary past different is that it’s an archaeology of us, right here, right now. It’s not the forgotten rubbish heap of an Ice Age forager with mammoth bones and stone tools, it’s the landfill created by a culture of mass consumption and mass disposal, in which we participate. And we don’t have to rely on just the material evidence. We can ask people what they did, what they thought they were doing. These voices and memories are a parallel strand of evidence to the documentary and archaeological records. People aren’t always right about this, of course, and memory is very fallible. This is one of the areas which archaeology is different to history. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-20401185009825144252023-04-17T14:47:00.000+09:302023-04-17T14:47:57.491+09:30Space quotes by women<p style="text-align: justify;">Recently I wanted to find a good quote about space ethics. There I hit my first problem, as there wasn't much available, short of going back to primary sources and reading through huge swathes of stuff. In this process I decided that I would also like to use a quote .... by a woman. You won't be surprised to learn that most of the space quotes out there have fallen from the cherry lips of the blokes. I thought, wouldn't it be handy to have what the women said all compiled together in one place?</p><p style="text-align: justify;">So I did what any academic worth their salt does: I turned to my online friends and asked them for recommendations. This is the list that ensued. It's just a starting point, but it demonstrates a point. Thanks to everyone who contributed!</p><p style="text-align: justify;"><b>1. <a href="https://en.wikipedia.org/wiki/Peggy_Whitson" target="_blank">Dr Peggy Whitson</a>, astronaut and former Commander of the International Space Station, Chief of the Astronaut Office, and Chairperson of the Astronaut Selection Board</b></p><blockquote style="text-align: justify;">I’ve been asked many times what’s the hardest thing about space flight and I say it’s learning the language. When I became Deputy Chief at the Astronaut Office it became very obvious to me that as we were moving into long duration missions, we needed to develop our communication skills and our what we call ‘soft skills’...we were finding we were having more problems in that area than we were in technical competence.</blockquote><div style="text-align: justify;">Cambridge University Press, "World of better learning" blog, <a href="https://www.cambridge.org/elt/blog/2020/04/20/peggy-whitson-language-international-space-station/" target="_blank">interview with Lauren Pitts</a>, published 20 April 2020. <span style="text-align: left;">Contributed by Margaret Ruwoldt @emelaarghh</span></div><br /><br /><b>2. <a href="https://solarsystem.nasa.gov/people/1760/sally-ride-1951-2012/" target="_blank">Sally Ride</a>, the first US woman in space, in 2003 </b><div><blockquote>Studying whether there's life on Mars or studying how the universe began, there's something magical about pushing back the frontiers of knowledge.</blockquote></div><div>Contributed by @MBBrownSF3</div><div><br /></div><div><blockquote>The thing that I'll remember most about the flight is that it was fun. In fact, I'm sure it was the most fun I'll ever have in my life.</blockquote>Contributed by Susan McMichael @SukiWinter</div><div><br /></div><div><blockquote>The stars don't look bigger, but they look brighter</blockquote>Contributed by Megann Wilson @MoveBravely</div><div><br /></div><div><br /></div><div><br /></div><div><b>3. <a href="https://www.womenshistory.org/education-resources/biographies/mae-jemison" target="_blank">Mae Jemison,</a> first Black woman in space</b><br /><blockquote>Never be limited by other people’s imagination. Never limit other’s because of your own limited imagination!</blockquote>Contributed by Cameron Mackness @OzTravler<br /></div><div><br /></div><div><blockquote>Girls are capable of doing everything men are capable of doing. Sometimes they have more imagination than men.</blockquote>Contributed by Megann Wilson @MoveBravely</div><div><br /><br /><b>4. Dr Anne Condon, medical education adademic</b><br /><br /></div><div>Should be more of it.</div><div><br />Contributed by Dr Anne Condon @skepticalmutant. I'm not sure if she means space, or space quotes by women, but I'm taking it!</div><div><br /></div><div><br /></div><div><b>5. Dr Meganne Christian, <a href="https://www.theguardian.com/science/2022/dec/31/so-the-next-step-is-space-right-australias-first-female-astronaut-on-the-year-she-realised-limits-dont-exist?CMP=Share_iOSApp_Other" target="_blank">Australia's first female astronaut</a></b><br /><blockquote>And I just realised that what I love to do is to challenge myself. I didn’t actually find limits. I think they don’t necessarily exist as a solid thing.</blockquote>Contributed by Anne Kreger @AnneKreger</div><div><br /></div><div><br /></div><div><b>6. <a href="https://www.otherscribbles.com/" target="_blank">Becky Chambers</a>, science fiction author</b><br /><blockquote> What we want you to ask yourselves is this: what is space, to you? Is it a playground? A quarry? A flagpole? A classroom? A temple? Who do you believe should go, and for what purpose? Or should we go at all?</blockquote>Abridged quote, contributed by Dr Emma Rehn @bluerehn</div><div><br /></div><div><br /></div><div><b>7. Dr <a href="https://astronomy.com/news/2016/10/vera-rubin" target="_blank">Vera Rubin</a>, the astronomer who discovered dark matter</b><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjsvpLsBAiTZSfnzfhqoeZJODk67hfAYbbCyyg6IpdkwD79dyRhdyIhPrLbx5oRUR1O9GLTMnusO6QeZpw38tQHH3b5D6YAqDa5q6jlXgWpY8FJfs3yBicAjKSsc0Ti05e_tD5cqvJZsHu68yzLavdrmIX1cTz92yYrqI0qTYdGv6i5vbouAQ" style="background-color: white; font-family: TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 23px; margin-left: 1em; margin-right: 1em; text-align: center; white-space: pre-wrap;"><img alt="" data-original-height="1638" data-original-width="2048" height="383" src="https://blogger.googleusercontent.com/img/a/AVvXsEjsvpLsBAiTZSfnzfhqoeZJODk67hfAYbbCyyg6IpdkwD79dyRhdyIhPrLbx5oRUR1O9GLTMnusO6QeZpw38tQHH3b5D6YAqDa5q6jlXgWpY8FJfs3yBicAjKSsc0Ti05e_tD5cqvJZsHu68yzLavdrmIX1cTz92yYrqI0qTYdGv6i5vbouAQ=w479-h383" width="479" /></a></div>Contributed by Doug Ingram @dougyyi<br /><br /><b>8. <a href="https://en.wikipedia.org/wiki/Ellen_Ripley" target="_blank">Ellen Ripley</a>, alien fighter</b><br /></div><div><blockquote>What?</blockquote></div><div>Contributed by @TheoKyrillidis</div><div><br /></div><div><br /><b>9. <a href="https://www.blogger.com/blog/post/edit/7530535/2040118500982514425" target="_blank">Roberta Bondar,</a> Canada's first female astronaut</b><br /><blockquote>To fly in space is to see the reality of earth, alone. The experience changed my life and my attitude toward life itself. I am one of the lucky ones.</blockquote></div><div>Contributed by Megann Wilson @MoveBravely</div><div><br /></div><div><div><br /></div><div><b>10. <a href="https://en.wikipedia.org/wiki/Valentina_Tereshkova" target="_blank">Valentina Tereshkova</a>, first woman in space</b></div><div><div><br />Valentina Tereshkova told me that when she orbited over Australia she thought it “looked a nice place for a holiday”.<br /><br />Contributed by Margaret Twomey @AusAmbRome<br /><div><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 23px; white-space: pre-wrap;"><br /></span></div><b>11. <a href="https://en.wikipedia.org/wiki/Christa_McAuliffe" target="_blank">Christa McAuliffe,</a> teacher and civilian astronaut</b></div><div><blockquote>Space is for everybody. It’s not just for a few people in science or math, or for a select group of astronauts. That’s our new frontier out there, and it’s everybody’s business to know about space.</blockquote></div><div>Contributed by Kat Troche @kuiperkat</div><div><br /><div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n r-1s2bzr4" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 12px 0px 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><b>12. <a href="https://www.esa.int/Science_Exploration/Human_and_Robotic_Exploration/Astronauts/Samantha_Cristoforetti" target="_blank">Samantha Cristoforetti,</a> International Space Station astronaut</b></div><br />It’s probably not quite what you are after but @AstroSamantha's 'There’s coffee in that nebula' quote is an inspirational woman quoting an inspirational woman about a) space and b) coffee (an inspiration drink)* *well, a fundamental and inspirational drink.</div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><br />Contributed by @StefantheNurse<br /></div></div><div><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 23px; white-space: pre-wrap;"><br /></span></div></div></div></div>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-88193721394319655812022-06-13T21:37:00.006+09:302022-06-18T13:00:48.373+09:30Valentina Tereshkova and double standards in human spaceflight history<p style="text-align: justify;">Every year on June 16, the anniversary of <a href="https://www.space.com/21571-valentina-tereshkova.html" target="_blank">Dr Valentina Tereshkova's</a> spaceflight, where she became the first women ever to leave Earth, I generally do some social media around the event. And there's always a barrage of (mostly) men trying to take her down. Many of them are Russian. All of them spout misogynist clichés as old as time. Sometimes I engage, sometimes I don't. It depends on my mood.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_n0NgV7TwEWq3yFU6TIora4cZOfc8DEiGK4R6wNZ8ykL6XhZtZgBoLp_ZxrQ7NyBESjjKw3Rp0fSFdGSQLrR2Rj1IasP8wf1qLwYidAriYQWqNOppjt7QXjFX3FJX2C0rDa1wgizKVwupFL0VJCJcacF4bdhSMQ5ShZ5HK_3ZQFBI7x3lNg/s1660/valentina-tereshkova-in-training-for-her-vostok-mission-1963-c2a9-memorial-museum-of-cosmonautics-moscow.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1218" data-original-width="1660" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_n0NgV7TwEWq3yFU6TIora4cZOfc8DEiGK4R6wNZ8ykL6XhZtZgBoLp_ZxrQ7NyBESjjKw3Rp0fSFdGSQLrR2Rj1IasP8wf1qLwYidAriYQWqNOppjt7QXjFX3FJX2C0rDa1wgizKVwupFL0VJCJcacF4bdhSMQ5ShZ5HK_3ZQFBI7x3lNg/w320-h235/valentina-tereshkova-in-training-for-her-vostok-mission-1963-c2a9-memorial-museum-of-cosmonautics-moscow.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tereshkova training. Source: unknown</td></tr></tbody></table><p style="text-align: justify;">I didn't really want to write this post. A man who has an equal capacity to me to investigate - well more, because he has the advantage of Russian language - asked me to provide an independent assessment of Tereshkova's mission. This is a significant amount of work, but this is how it rolls when you are a feminist: you have to be responsible for all criticisms and have all the data at your fingertips, or your arguments will be dismissed.</p><p style="text-align: justify;">The only reason I'm doing this is because it may come in handy for the future, as this issue comes up so often. But I'm annoyed and slightly cranky, and I don't care if [name redacted] knows it.</p><p style="text-align: justify;">Specifically, I'm going to address the claims made in a thread by [name redacted]. </p><p style="text-align: justify;"><br /></p><h3 style="text-align: justify;">Who really stopped the Soviet women's space programme?</h3><div class="css-1dbjc4n r-1awozwy r-1hwvwag r-18kxxzh r-1b7u577" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-flex: 0; -webkit-box-orient: vertical; align-items: center; background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; display: flex; flex-direction: column; flex: 0 0 48px; margin: 0px 12px 0px 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n r-18kxxzh r-1wbh5a2 r-13qz1uu" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-flex: 0; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-direction: column; flex: 0 1 auto; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; width: 48px; z-index: 0;"><div class="css-1dbjc4n r-1wbh5a2 r-dnmrzs" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 1; margin: 0px; max-width: 100%; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><a aria-hidden="true" class="css-4rbku5 css-18t94o4 css-1dbjc4n r-14lw9ot r-sdzlij r-1loqt21 r-1adg3ll r-1ny4l3l r-1udh08x r-o7ynqc r-6416eg" href="https://twitter.com/vmarkov" role="link" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; background-color: white; border-radius: 9999px; border: 0px solid black; box-sizing: border-box; cursor: pointer; display: block; flex-basis: auto; flex-direction: column; flex-shrink: 0; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; height: 48px; line-height: inherit; list-style: none; margin: 0px; min-height: 0px; min-width: 0px; outline-style: none; overflow: hidden; padding: 0px; position: relative; text-align: inherit; transition-duration: 0.2s; transition-property: background-color, box-shadow; width: 48px; z-index: 0;" tabindex="-1"><div class="css-1dbjc4n r-sdzlij r-1adg3ll r-1udh08x" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border-radius: 9999px; border: 0px solid black; box-sizing: border-box; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; overflow: hidden; padding: 0px; position: relative; z-index: 0;"><div class="r-1p0dtai r-1pi2tsx r-1d2f490 r-u8s1d r-ipm5af r-13qz1uu" style="bottom: 0px; height: 48px; left: 0px; position: absolute; top: 0px; width: 48px;"><div aria-label="" class="css-1dbjc4n r-sdzlij r-1p0dtai r-1mlwlqe r-1d2f490 r-1udh08x r-u8s1d r-zchlnj r-ipm5af r-417010" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border-radius: 9999px; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; inset: 0px; margin: 0px; min-height: 0px; min-width: 0px; overflow: hidden; padding: 0px; position: absolute; z-index: 0;"><div style="text-align: justify;"><span style="font-size: 15px;"><br /></span></div><span style="align-items: stretch; background-position: 50% 50%; background-repeat: no-repeat; border-color: black; border-image: initial; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div class="css-1dbjc4n r-1niwhzg r-vvn4in r-u6sd8q r-4gszlv r-1p0dtai r-1pi2tsx r-1d2f490 r-u8s1d r-zchlnj r-ipm5af r-13qz1uu r-1wyyakw" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; background-color: rgba(0, 0, 0, 0); background-image: url("https://pbs.twimg.com/profile_images/966441219478896640/JZHxjDw2_x96.jpg"); background-position: 50% 50%; background-repeat: no-repeat; background-size: cover; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; height: 48px; inset: 0px; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: absolute; width: 48px; z-index: -1;"></div></span><img alt="" class="css-9pa8cd" draggable="true" src="https://pbs.twimg.com/profile_images/966441219478896640/JZHxjDw2_x96.jpg" style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; height: 48px; inset: 0px; opacity: 0; position: absolute; text-decoration-line: none; width: 48px; z-index: -1;" /></div></div></div><span style="align-items: stretch; border-image: initial; box-shadow: rgba(0, 0, 0, 0.02) 0px 0px 2px inset; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; transition-property: background-color, box-shadow;"><div class="css-1dbjc4n r-1twgtwe r-sdzlij r-rs99b7 r-1p0dtai r-1mi75qu r-1d2f490 r-1ny4l3l r-u8s1d r-zchlnj r-ipm5af r-o7ynqc r-6416eg" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border-radius: 9999px; border: 1px solid rgba(0, 0, 0, 0.04); box-shadow: rgba(0, 0, 0, 0.02) 0px 0px 2px inset; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; inset: 0px; margin: 0px; min-height: 0px; min-width: 0px; outline-style: none; padding: 0px; position: absolute; transition-duration: 0.2s; transition-property: background-color, box-shadow; z-index: 0;"></div></span></a></div></div><span style="align-items: stretch; border-color: black; border-image: initial; font-size: 15px; margin-left: auto; margin-right: auto;"><div class="css-1dbjc4n r-1bimlpy r-16y2uox r-1jgb5lz r-14gqq1x r-m5arl1" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-flex: 1; -webkit-box-orient: vertical; align-items: stretch; background-color: #cfd9de; border: 0px solid black; box-sizing: border-box; display: flex; flex-direction: column; flex: 1 0 auto; margin: 4px auto 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; width: 2px; z-index: 0;"></div></span></div><div class="css-1dbjc4n r-1iusvr4 r-16y2uox r-1777fci r-kzbkwu" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-flex: 1; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-direction: column; flex: 1 0 0px; justify-content: center; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px 0px 12px; position: relative; z-index: 0;"><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; font-size: 15px; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n r-zl2h9q" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px 0px 2px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n r-k4xj1c r-18u37iz r-1wtj0ep" style="-webkit-box-align: start; -webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: justify; align-items: start; 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text-align: inherit; text-decoration-line: none; z-index: 0;"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" color="inherit" style="border: 0px solid black; box-sizing: border-box; display: inline; font: inherit; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"></span></a><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" color="inherit" style="border: 0px solid black; box-sizing: border-box; display: inline; font: inherit; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><a aria-label="Jun 16, 2020" class="css-4rbku5 css-18t94o4 css-901oao r-14j79pv r-1loqt21 r-1q142lx r-37j5jr r-a023e6 r-16dba41 r-rjixqe r-bcqeeo r-3s2u2q r-qvutc0" dir="auto" href="https://twitter.com/vmarkov/status/1272661520338599937" id="id__8c4u61h2rsw" role="link" style="background-color: rgba(0, 0, 0, 0); border: 0px solid black; box-sizing: border-box; color: #536471; cursor: pointer; display: inline; 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margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-901oao r-18jsvk2 r-37j5jr r-a023e6 r-16dba41 r-rjixqe r-bcqeeo r-bnwqim r-qvutc0" dir="auto" id="id__qmlf9p687q9" lang="en" style="background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; color: #0f1419; display: inline; font-family: TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 15px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 20px; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" color="inherit" style="border: 0px solid black; box-sizing: border-box; display: inline; font: inherit; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;">If you think this Twitts will be glorifying first women in space Valentina Tereshkova, I am sorry to disappoint you! Today we should celebrate the anniversary when Tereshkova ended space flights for all women in USSR for almost two decades!</span></div><div class="css-901oao r-18jsvk2 r-37j5jr r-a023e6 r-16dba41 r-rjixqe r-bcqeeo r-bnwqim r-qvutc0" dir="auto" id="id__qmlf9p687q9" lang="en" style="background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; color: #0f1419; display: inline; font-family: TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 15px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 20px; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;"><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" color="inherit" style="border: 0px solid black; box-sizing: border-box; display: inline; font: inherit; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; white-space: inherit;"><br /></span></div><div style="text-align: justify;">Is this really true? As it happens, the opportunities for women in space were not dependent on whether one woman performed well or not. Neither Soviet nor US culture at the time believed that women could compete in the space arena. One significant reason was that the existence of women space travellers would diminish the manliness of spaceflight. Even <a href="https://theconversation.com/apes-robots-and-men-the-life-and-death-of-the-first-space-chimp-153644" target="_blank">chimps launched into space</a> were perceived by the US male astronauts as a threat to their masculinity.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">It took the Americans until 1983 to fly a female astronaut - <a href="https://www.space.com/16756-sally-ride-biography.html" target="_blank">Sally Ride</a> on the Space Shuttle - and the USSR rushed <a href="https://www.space.com/svetlana-savitskaya-biography" target="_blank">Svetlana Savitskaya</a> onto the Salyut 7 space station the year before so they wouldn't appear to be lagging behind. To this day there have only been five Russian women in space. In 2017 I chaired a panel at a public event which included a Russian cosmonaut trainer. He said, 'Space is no place for a woman' when a question was asked about Tereshkova. (Let me tell you, not an opinion that resonated well with the Australian women in the audience - I had to shut it down fast). The most recent female cosmonaut, Yulia Peresild, reiterated that this attitude is still prevalent <a href="https://deadline.com/2021/11/the-challenge-russia-klim-shipenko-yulia-peresild-first-film-space-four-dimensional-reality-1234867822/" target="_blank">in an interview</a> last year. So is this all down to Valentina Tereshkova, her personal qualities, and the nature of her spaceflight? </div></div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; text-align: justify; z-index: 0;"><br /></div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; text-align: justify; z-index: 0;">The evidence doesn't stack up. The women's cosmonaut training programme ran from 1962 to 1969 - eight years altogether, and six AFTER Tereshkova's 1963 mission. Clearly any issues around her performance were not enough to stop the programme immediately, although none of the other women got to fly. However, the programme had been set up as a one-off, to achieve that one goal of beating the US by sending a woman into space first. As cosmonaut Valentina Ponomoreva explains it, there were no career prospects for Soviet women from the beginning:</div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; text-align: justify; z-index: 0;"><span style="text-align: justify;"><i><blockquote>We had mixed feelings: on the one hand, there was hope, on the other, skepticism. It was clear that women's role in cosmonautics had no prospects for the future. There were no specific tasks for women. The main task - priority - was fulfilled, and men would handle the rest.</blockquote></i></span></div></div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; text-align: justify; z-index: 0;">However, historians Shayler and Moule (2005:66) note that the success of Tereshkova's flight was such that an all-female cosmonaut crew was proposed. Resistance to this idea came from outside as well: 'Zvezda (the spacesuit manufacturer) was opposed to all female flight and refused to fabricate a special EVA suit' (Shayler and Moule 2005:66).</div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The narrative of 'Valentina didn't do a good job, therefore other women weren't allowed into space' is clearly too simplistic: it fails to take into account the entrenched misogyny of the time, and ignores the complex factors and events around the Soviet space programme.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div></div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><h3 style="text-align: justify;">Ideology is only ideology when it isn't patriarchal</h3><br /><div class="css-901oao r-18jsvk2 r-37j5jr r-a023e6 r-16dba41 r-rjixqe r-bcqeeo r-bnwqim r-qvutc0" dir="auto" id="id__qmlf9p687q9" lang="en" style="background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; color: #0f1419; display: inline; font-family: TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 15px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 20px; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;">2. The main reason for the launch of a woman into space in the USSR was ideological. Studies of the physiology and psychology of women in space, the creation of a female spacesuit, and other tests were secondary.</div><br /><div style="text-align: justify;">Well, as they say in the biz, no shit Sherlock. The whole Cold War space race between the US and the USSR was ideological. The US Mercury, Gemini, and Apollo astronauts had to represent a certain type of American man, projecting wholesome values about family and state (McComb 2012). The choice of Yuri Gagarin was ideological. Yuri was a working class man - a perfect Soviet cog in the machine - and his peasant roots were emphasised in the Soviet press. The decision to launch a woman was purely to achieve a first and score a victory over the US. So what? This has no bearing on the fact the Valentina Tereshkova went into space for three days on the only solo mission a woman has ever made, and returned successfully. Gagarin is not denigrated for the ideological dimensions of his selection, so there is a double standard here.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;">The politics of speaking and hearing</h3></div><div class="css-1dbjc4n" style="-webkit-box-align: stretch; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: stretch; border: 0px solid black; box-sizing: border-box; display: flex; flex-basis: auto; flex-direction: column; flex-shrink: 0; margin: 0px; min-height: 0px; min-width: 0px; padding: 0px; position: relative; z-index: 0;"><div style="text-align: justify;"><br /></div><span style="background-color: rgba(0, 0, 0, 0.03);">3. <span face="TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="color: #0f1419; font-size: 15px; white-space: pre-wrap;">Tereshkova’s landing was performed at the 49th turn of Vostok-6. She did not confirm the passage of automation commands to turn on engines for braking, separation of compartments, etc. The astronaut’s landing was carried out, as on the other Vostok ships, by ejecting the seat.</span></span><div class="css-901oao r-18jsvk2 r-37j5jr r-a023e6 r-16dba41 r-rjixqe r-bcqeeo r-bnwqim r-qvutc0" dir="auto" id="id__qmlf9p687q9" lang="en" style="background-color: rgba(0, 0, 0, 0.03); border: 0px solid black; box-sizing: border-box; color: #0f1419; display: inline; font-family: TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 15px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 20px; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; white-space: pre-wrap;"><br /></div><div style="text-align: justify;">One of the ongoing criticisms of Tereshkova's flight was her non-responsiveness to commands. According to Siddiqi (2009a:22), she did not hear the communications immediately following her orbital insertion - so there was some problem with transmission. Instead of being concerned, ground control got irritated with her. Various accounts I've read of her spaceflight talk as if she was deliberately refusing to listen or follow instructions. She was also blamed for not communicating while she was sleeping! This is frankly bizarre. Ground control were quick to find the worst possible interpretation of her communications instead of working with her. In fact she did confirm the commands for landing preparation, but through telegraph rather than voice (Siddiqi 2009b:65). </div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2HCqVQD2p3utyv8oe3hvQOwG0xIPsq4fryybd_r2qYuf_grO2x-cD2EeCiqF1nUU8p4PNHfNI1H_gxcmBI7DQa2HvgbGYB4k7Z8ftRBwZo1b1gwaxmJu4HEZokrO-XNBgYGe6i8U1IinRG_BSjsu0vGGgws8lTw05R_ZDQVnVWm4l4oKBxQ/s1200/first-woman-in-space-valentina-tereshkova.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="970" data-original-width="1200" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2HCqVQD2p3utyv8oe3hvQOwG0xIPsq4fryybd_r2qYuf_grO2x-cD2EeCiqF1nUU8p4PNHfNI1H_gxcmBI7DQa2HvgbGYB4k7Z8ftRBwZo1b1gwaxmJu4HEZokrO-XNBgYGe6i8U1IinRG_BSjsu0vGGgws8lTw05R_ZDQVnVWm4l4oKBxQ/w400-h324/first-woman-in-space-valentina-tereshkova.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tereshkova with parachute, Vostok spacecraft and locals.<br />Credit: TASS</td></tr></tbody></table><div style="text-align: justify;"><br /></div><div style="text-align: justify;">There is also debate about how sick she was during the flight. This may have had an impact on her ability to communicate. In those days, little was known about space sickness, and both US and USSR crew were reluctant to admit to feeling sick as it could affect their ability to be selected for flight. Gherman Titov, who orbited in 1961, admitted he was sick, but couldn't say it because he might not have been allowed to fly again.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">T<span style="text-align: left;">he former head of medicine services for the Soviet Air Force, Major-General Aleksandr Babiychuk, noted that Tereshkova had '</span><span style="text-align: left;">heightened sensitivity of her vestibular system' (1979:225). Contemporary studies suggest that women have different vestibular responses to men in spaceflight and are prone to space sickness (Ray 2000, Reshke et al 2014). </span></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;">Interestingly, cosmonaut Valery Bykovsky, who was orbiting in the Vostok 5 at the same time, was meant to sing a duet with Tereshkova. He didn't respond, and she sang a little by herself. I don't see anyone using this as evidence against him.</span></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;"><div style="text-align: justify;">Tereshkova was not able to make a test orbital insertion manoeuvre on her first attempt, and it was rescheduled. This may have been hampered by a rather unexpected realisation. As we know now, her spacecraft had <a href="https://www.theguardian.com/science/2015/sep/17/first-woman-in-space-valentina-tereshkova" target="_blank">not been programmed to descend</a> and in fact started moving away from Earth before the problem was rectified. This must have been terrifying. Ponomoreva noted that mission problems were routinely concealed, and this was the case here too - Tereshkova did not reveal this until 30 years later. She was finally able to perform the manoeuvres on her 47th orbit (Siddiqi 2009b:65).</div><div style="text-align: justify;"><br /></div></span></div><div style="text-align: justify;"><span style="text-align: left;">So you see what has happened here. Instead of her sickness, intermittent communications, and a major cock-up being treated as mitigating circumstances, Tereshkova is blamed for a character defect. For being a woman.</span></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><h3 style="text-align: justify;"><span style="text-align: left;">Even back on Earth she couldn't catch a break</span></h3></div></div></div><p><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">4. </span><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">Tereshkova was discovered only after 7 hours - a fighter pilot spotted it. She was caught sitting on a parachute and eating food from locals. Kamanin omits this episode in his notes, however, notes that Valentina handed out her products from the space stock. Korolev was furious.</span></p><div style="text-align: justify;">First of all I would like you to note the language of this tweet. 'Only after seven hours' - as if she was somehow responsible for this time delay. How long was it before Yuri was found? So she had seven hours to kill after three days of feeling horribly sick in space and not eating much. Then we have her 'caught sitting on a parachute and eating food from locals'. 'Caught'? Like a naughty school girl? </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">But read between the lines here. She landed safely. She was alive, but didn't know how long it would take her to be found. Friendly locals find her, having observed the descent. They offer the cosmonaut heroine home-cooked food. She must have been starving at this point! She returns the favour with some of her stock (the cosmonauts had back-up food in case there was an emergency and they had to stay in space longer, or it took a long while to find them on the ground). I don't know the rules of Russian hospitality, but such an exchange is a ritual feature of welcome around the world. It sounds like she was doing a great job of PR with the locals. </div><div style="text-align: justify;"><br /></div><div>Korolev was furious that she had not waited for medical tests before eating, and there was no way to tally up how much of her rations she had eaten. However, one account suggests that there were many rescue staff around when she was giving the extra food away, and no-one seemed concerned to prevent it (Siddiqi 2009b:68). </div><div><br /></div><div>A factor to consider here is that none of the women's cosmonaut corps came from a military background. Ponomaryeva notes that '<i>Military discipline in general was for us an alien and difficult concept'. </i><span style="text-align: justify;">Unlike the obedient male soldiers of space, Valentina showed a little initiative and got into trouble for it.</span></div><div><span style="text-align: justify;"><br /></span></div><div><span style="text-align: justify;">The relationship with food is a big deal in this narrative as we'll see in later accusations.</span></div><div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;">Dude, where's my pencil?</h3><div><p style="text-align: justify;"><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">7. </span><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;"><b>Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. </b>Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food. Korolev after the flight "So I ever deal with women again! Never!"</span></p><div style="text-align: justify;">There's a lot going on in this tweet so I'm going to break it into three parts. Let's start with the broken pencils. I don't know if you have ever tried to literally 'break' a pencil, but let me tell you it's not easy to snap them in half like a twig. So what was the nature of this breakage?</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>The pencils used in the Soviet space programme were wooden-shafted, rather than retractable or mechanical ones. They were grease or chinagraph pencils - less flammable and less likely for the 'lead' to break than regular graphite pencils. However, they also wrote like crayons and weren't easy to use. Pencils remained an ongoing problem. <a href="https://www.sydney.edu.au/science/news-and-events/2021/01/22/fisher-space-pen.html" target="_blank">According to </a><a href="#" style="box-sizing: border-box; text-align: start;">cosmonaut Anatoly Solovyev</a><span style="box-sizing: border-box; text-align: start;">, who was flying missions in the 1970s and 1980s, </span><i>'pencil lead breaks … and is not good in space capsule: very dangerous to have metal lead particles in zero gravity'.</i><br /></div><div><br /></div></div><div style="text-align: justify;">We can see the double standard here as well. Yuri <a href="https://historyofinformation.com/detail.php?id=3030" target="_blank">lost his pencil</a>, which stopped his ability to take notes during his flight. This, apparently, wasn't a problem. It wasn't because he was a terrible cosmonaut, but because the pencil had't been attached well enough to the notebook. </div></div><div style="text-align: justify;"><div><br /></div><div>Notice how Tereshokova's broken pencils immediately become her fault - a character failing. What does it mean? She was heavy-handed, careless, clumsy, an automaton without a brain. Clearly there were two pencils because of issues with previous missions (of which there had been five). The two pencils multiplies the magnitude of her pencil crime and means it couldn't possibly be an issue with the pencils themselves. I mean, imagine! Pencils with lead that breaks! It's unheard of .....</div><div><br /></div></div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;">Deadly sins: gluttony</h3><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">7. </span><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. <b>Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food.</b> Korolev after the flight "So I ever deal with women again! Never!"</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Again note the language of the tweet and how this has been built up. The implication is that she was a guts, she ate too much, just as she did after landing. She was profligate and greedy, like a thoughtless child who gets sick from eating too many sweets. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">It seems that sweets were standard on missions. Yuri had <a href="https://www.telesurenglish.net/news/Ground-Control-to-Gargarin-Unknown-Conversation-Emerges-20160413-0034.html" target="_blank">63 'dragees'</a> on his flight, and Korolev joked with him that he'd become fat. My research suggests that the dragees may have been the popular Soviet Red Lobster sweet. Tereshkova didn't find them very helpful; she said that <i>'I’m
drinking a lot. [I feel] nauseous from the
sweets, so the sweets aren’t satisfactory'</i> (Siddiqi 2009b:64). She also stated in her report that she vomited once from the effects of eating lemon and sprat pirozhkis, rather than space sickness (Siddiqi 2009b:66-67). But see how this morphs from an observation of cause and effect - how her body reacted to the food provided - to blame? As if Tereshokova made herself sick.</div><div style="text-align: justify;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5jxvn0lgeOSVhHh5JeovMa1TqxqhnrRV5JaMIzRNh89cuS3WB5_agf4aXk2xK8kyXdnHrzX8YJ5DaE3II_axDtl6vrcR_o2AZ1SMspy-nHKscPdJrZ7sP4Ajt3rhs8D3oMsF6p-J8EhwEQ-a-vUtm-Y67s3i0C9k2-xQbJXojqcRO9GmfqQ/s336/Red%20lobster%20ruski%20Way.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="336" data-original-width="336" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5jxvn0lgeOSVhHh5JeovMa1TqxqhnrRV5JaMIzRNh89cuS3WB5_agf4aXk2xK8kyXdnHrzX8YJ5DaE3II_axDtl6vrcR_o2AZ1SMspy-nHKscPdJrZ7sP4Ajt3rhs8D3oMsF6p-J8EhwEQ-a-vUtm-Y67s3i0C9k2-xQbJXojqcRO9GmfqQ/s320/Red%20lobster%20ruski%20Way.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Red Lobster dragee. Image: Ruski Way Deli<br /><br /></td></tr></tbody></table><div style="text-align: justify;">There are worlds of woman-blaming reactions to food embedded in this tweet. Women are supposed to have light, ladylike appetites. We know that the women's food intake was policed and judged. Shayler and Moule (2005:49) note that one of the other cosmonauts, Zhanna Yorkina, was disliked by Nicolai Kamanin, the head of the Soviet cosmonaut corps, as she 'was too fond of chocolate and cakes'. Later, they note that Yorkina did not do a stellar performance on a 3-day simulated test inside the Vostok as she had only eaten a third of her rations and was weak (2005:53). </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Read through a feminist lens, there is no way for the women to get this right. Having an appetite indicates an unladylike physicality; but not eating is also controlled. There is a heavy policing of female consumption, and again you see it is related to character, not circumstance.</div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;"><br /></h3><h3 style="text-align: justify;">The metonymous woman</h3><p style="text-align: justify;"><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">7. </span><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food. <b>Korolev after the flight "So I ever deal with women again! Never!"</b></span></p><div style="text-align: justify;">Korelev's reaction is pure misogyny, and typical of a situation which women and other marginalised groups across the world face over and over. For any minority or marginalised group, one representative has to stand in for the whole class of people. If that one person is perceived to fail, then the whole class is held to be incapable of the achievement. One woman is meant to demonstrate whether all women as a class are capable of something. I will state as strongly as I can here THAT THIS DOES NOT APPLY TO MEN. A male failure does not mean people shaking their heads and saying, 'well, men are just not cut out for this'. But this is exactly what happened to Tereshkova. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Let's invert it for a moment. What if Korolev had been unhappy with something that Yuri had done? Would he have said that he'd never work with men again? Of course not; men are not expected to carry this burden in the same way as women. Listen up, men, you might not know about this because it doesn't affect you. But it affects how women are judged all the time.</div><div style="text-align: justify;"><br /></div>The odds were stacked against the women from the beginning. According to cosmonaut Ponomareva, who was nearly selected instead of Tereshkova, </div><div><br /></div><div style="text-align: justify;"><i>It is well known that Korolev's attitude toward the presence of women at work and especially on the launching pad was very negative. He believed that on a launching pad, like on a ship, a woman brings misfortune.</i></div><div><br />And it wasn't just Korolev; it was all the male cosmonauts too, and the military units associated with the programme. </div><div><br /><div style="text-align: justify;">A related phenomenon is that if a problem happens with a man, it will be attributed to events beyond his control. If it happens to a woman, it becomes her fault. There's endless amounts of second chances for men: it's how the mediocre survive. A woman has to be outstanding, and even that isn't always enough.</div><div style="text-align: justify;"><br /></div><h3 style="text-align: left;">Time-travelling: later actions invalidate earlier ones</h3></div><div><div><p><span face="TwitterChirp, -apple-system, system-ui, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: rgba(0, 0, 0, 0.03); color: #0f1419; font-size: 15px; white-space: pre-wrap;">8. </span><span color="inherit" style="background-color: rgba(0, 0, 0, 0.03); font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; white-space: inherit;">Valentina Tereshkova had a very successful political carrier throughout her life. She served under all communist leaders starting from Krushev. Recently she proposed Amendment to the Russian Constitution to reset Putin's terms after his 20 years in power.</span></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyev38FjE84RWF0-mJ-6_cskNqrlnHGWOt4aCRPECGEBrJRkO2bbjambIQ1gZvh2BNFAfVSwhmR8c2R1maj_6ZFlI7w5rPHzA0fJ8JRtSM-RKj-BidPDISWkTKMforvN4LwvOdr2KJYOt4rfcJ_SnSGAr8acUwVXzn1Jot-7HZpiywJmInIA/s600/Flowers%20for%20TEreshkova%20Bridgeman.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="391" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyev38FjE84RWF0-mJ-6_cskNqrlnHGWOt4aCRPECGEBrJRkO2bbjambIQ1gZvh2BNFAfVSwhmR8c2R1maj_6ZFlI7w5rPHzA0fJ8JRtSM-RKj-BidPDISWkTKMforvN4LwvOdr2KJYOt4rfcJ_SnSGAr8acUwVXzn1Jot-7HZpiywJmInIA/s320/Flowers%20for%20TEreshkova%20Bridgeman.jpeg" width="209" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Flowers for Tereshkova. <br />Image; Bridgeman</td></tr></tbody></table><p></p><p style="text-align: justify;">What we have here is an expectation that Tereshkova demonstrate a feminine purity that would not be expected of a male cosmonaut. She went from one arena where women are judged by double standards to another - if Russian politics is anything like UK, US, European and Australian. Her support of a dubious regime is somehow meant to invalidate her spaceflight. </p><p style="text-align: justify;">Interestingly, all of the four first female cosmonauts have gone into politics. Svetlana Savitskaya was elected to Duma in 1996 and is still active. She is, apparently, a committed communist who lamented the fall of the Soviet Union. But she's allowed to receive credit for her space achievements. </p><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: justify;"><span style="text-align: left;">The hysterical robot</span></h3></div><div style="text-align: justify;">In these narratives, there's no concern or praise for Tereshkova, only blame. Did she have a perfect spaceflight? Evidently not. Does she deserve to be made personally responsible for this in the way the men were not? No she doesn't. Women can't just be people, with all their hopes, dreams and faults. They have to stand in for 'womankind' and all women are judged, if they are not perfect. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Let's think about this. Yuri is said to have been very courageous, and he was - at that stage the world had no idea of the mental or physiological effects of being in space. He might have returned having lost his mind. He might have found out that swallowing is impossible in space. There were just so many unknowns. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">By the time Valentina went to space, we knew humans could survive, but we didn't know what the effects on the female body were. So perhaps Valentina knew she wouldn't lose her mind, but she was taking a big risk too. Doesn't this require some courage? </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And don't think, as Ponomoareva's testimony shows, that she wasn't aware of what was at stake. Korolev, the male cosmonauts and the military were waiting for any excuse to disband the women's programme. Knowing all of this, what could she say or not say about her experience? [Name redacted]'s tweets make her out to be a thoughtless oaf with only a veneer of civilisation. But isn't just the opposite equally plausible, that the woman who later became a successful politician was keenly aware of all the nuances, and was playing her own game to ensure that she came out of the system intact? </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In the US, there were people very ready to take up this version of Valentina's flight to justify their own misogyny. They said that the Soviet space philosophy of relying on automation rather than piloting skills meant that she didn't need any particular qualities to do it - anyone could have flown a spacecraft in those circumstances! But didn't this apply to the men too? According to Connors et al (1985:148),</div><div style="text-align: justify;"><span style="text-align: left;"></span></div><blockquote><div style="text-align: justify;"><span style="text-align: left;">Cosmonaut Valentina Tereshekova's orbital flight in 1963 has been dismissed as a political stunt, and her contributions to space exploration discounted, ostensibly because unlike the U.S. spacecraft of the era, the Russian craft were almost entirely controlled from the ground (Cunningham and Herskowitz, 1977; Oberg, 1981). The same critique has not been applied with equal force to Yuri Gargarin and other of Tereshekova's male contemporaries.</span></div></blockquote><p style="text-align: justify;"><span style="text-align: left;">Siddiqi (2009b:71) sums it up well:</span></p><p style="text-align: justify;"></p><blockquote><p style="text-align: justify;">In a highly patriarchal society, the standards by which women were judged (especially when they did activities typically associated with men) were far higher than for men. Cosmonaut German Titov, for example, had suffered from some form of space sickness during his Vostok-2 flight <span style="text-align: left;">and was unable to be fully alert during his flight, yet he was not made a pariah or penalised for such failings.</span></p><p style="text-align: justify;"></p></blockquote><div style="text-align: justify;">Shayler and Moule (2005:90) relate the reactions of NASA Flight Director Chris Kraft, who</div><div style="text-align: justify;"><span style="text-align: left;"></span></div><blockquote><div style="text-align: justify;"><span style="text-align: left;">expressed the opinion that Tereshkova was 'an absolute basket case when she was in orbit', and that the Russians were 'damn lucky to get her back ... She was nothing but hysterical while she flew.' </span></div></blockquote><p style="text-align: justify;">Others in the US took up the mantra of the hysterical woman. If you're not aware of how this epithet, in currency for well over two thousand years, is weaponised against women, well, there's plenty of literature on this so you can go and look it up yourself. It's the oldest trick in the book for diminishing and demonising women across every facet of life. So tedious, so very, very tedious. And there is no evidence that Tereshkova was 'hysterical', at all.</p><div style="text-align: justify;">Spaceflight is extremely demanding and requires exceptional courage when Yuri does it. Spaceflight is so easy a pencil-breaking toddler could do it when it's Valentina. You can't have it both ways, my dudes. </div><div><br /></div><div><div><h3>Yeah I'm so over this bullshit</h3></div></div><div><div style="text-align: justify;">You see my methodology here. 1. Don't take any statement at face value. 2. Look at the broader context. 3. Apply the same standards to the male cosmonauts and Tereshkova. 4. Examine the language closely and identify the underlying values or ideologies. <span style="text-align: justify;">The point is we can't have an accurate assessment of Tereshkova's performance until we have separated the misogyny from the facts. </span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Why is this such an embedded narrative in space, nearly 60 years later? In whose interests is it to continue the denigration of Dr Valentina Tereshkova? Is it because there's no other way to justify the deliberate exclusion of women unless you can blame women themselves for it? </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div></div><h4 style="text-align: left;">References</h4><span style="font-size: x-small;">Babicychuk, A.N. 1979 Chelovek, nebo, kosmos. Moscow, Voyenizdat,<br /><br />Connors, Mary M., Albert A. Harrison and Faren A. Akens 1985 Living Aloft. Human Requirements for Extended Spaceflight. NASA SP-483<br /><br />McComb, E.C., 2012. Why can't a woman fly?: NASA and the cult of masculinity, 1958–1972 (Doctoral dissertation, Mississippi State University).<br /><br />Ray, C.A., 2000. Effect of gender on vestibular sympathoexcitation. <i>American Journal of Physiology-Regulatory, Integrative and Comparative Physiology </i>279(4),: R1330-R1333.<br /><br />Reschke, M.F., Cohen, H.S., Cerisano, J.M., Clayton, J.A., Cromwell, R., Danielson, R.W., Hwang, E.Y., Tingen, C., Allen, J.R. and Tomko, D.L., 2014. Effects of sex and gender on adaptation to space: neurosensory systems. <i>Journal of Women's Health</i> 23(11): 959-962. <br /><br />Shayler, David and Ian Moule 2005 <i>Women in Space - Following Valentina.</i> Chichester: Praxis/Springer</span></div><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;">Siddiqi, Asif 2009a Transcripts give new perspective on Vostok-6 mission. The first woman in Earth orbit. Part 1. <i>Spaceflight </i>51:18 - 27</span></div><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;"><span>Siddiqi, Asif 2009b </span><span>Transcripts give new perspective on Vostok-6 mission. </span><span>The first woman in Earth orbit. Part 2. </span><i>Spaceflight </i><span>51:64-71</span></span></div><div><span style="font-size: x-small;"><span><br /></span></span></div><div><span style="font-size: x-small;">Tereshkova, V., 1985. Soviet women in the anti-war movement. <i>Social Sciences</i> 16: 202.</span><br /><br /><span style="font-size: x-small;">Interview with Valentina Ponomareva by Slava Gerovitch, Moscow, May 17, 2002 </span><a href="https://authors.library.caltech.edu/5456/1/hrst.mit.edu/hrs/apollo/soviet/interview/interview-ponomareva.htm" style="font-size: small;">https://authors.library.caltech.edu/5456/1/hrst.mit.edu/hrs/apollo/soviet/interview/interview-ponomareva.htm</a></div><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;"><br /></span><br /></div>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-76541240980930020662021-01-17T19:25:00.009+10:302021-01-17T20:25:11.624+10:30Between the house and the stars: the life of Varvara Sokolova who married Konstantin Tsiolkovsky<h3 style="text-align: justify;">Introduction</h3><div style="text-align: justify;">
One day I realised that I had been writing a lot about <a href="https://en.wikipedia.org/wiki/Konstantin_Tsiolkovsky" target="_blank">Konstantin Tsiolkovsky</a>, but it had never occurred to me wonder about his wife or partner. Was she involved in his work? What was her life like?</div>
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Most of the sources in English merely mention that he married Varvara Yevgrafovna Sokolova (or Sokolovaya). He met her in the town of Borovsk, 70 miles south of Moscow, where he was a teacher. Varvara is described as the daughter of a local preacher or priest (eg French and Burgess 2007: 21). They got married in Borovsk in 1880 (French and Burgess 2007:21). The number of children reported from their marriage varies from two to seven. This is pretty much all you'll see in most English language sources. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">More frequently, Varvara Sokolova is not mentioned at all or is written out of the story altogether. In the 1957 film '<a href="https://www.youtube.com/watch?v=9CX0oSjwLqI" target="_blank">The Road to the Stars'</a>, Tsiolkovsky is represented as a bachelor. He sleeps alone in a single bed. This is an ancient trope where women are associated with the flesh and the weakness of the body, and hence are inimical to rationality and the work of the mind. </div><div style="text-align: justify;">
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Was there more to her story? Of course I am somewhat hampered by lack of access to the Russian literature, but it turns out there are quite a few resources in translation, as well as scholarly work. All the same, we have to read Varvara Sokolova into the spaces of the house and the gaps in the narratives which centre around her husband. <i>Seeing </i>her is a work of feminist enquiry.</div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;">Old Believers in Borovsk</h3><div style="text-align: justify;">Varvara Sokolova was born in 1857 and lived in the town of Borovsk in Kaluga province, with her father Evgraf Nikolayevich Sokolov. Her mother had died and she had no siblings. Probably, after leaving school, Sokolova kept house for her father. They lived by the Protva river. According to <a href="http://www.russianspaceweb.com/tsiolkovsky_bio.html" target="_blank">Anatoly Zak</a>, Borovsk was a provincial backwater, with </div><blockquote class="tr_bq" style="text-align: justify;">a reputation as a town of truck farmers and traders, whose drunken fistfights and belief in witchcraft made them the laughingstock of the neighboring towns. <span style="text-align: left;"> </span></blockquote><div style="text-align: justify;">It was also a stronghold of Old Believers, and <span style="text-align: left;">Varvara's father was an Old Believer priest (Shubin 2016:25).</span> These were people who rejected the changes made by the Patriarch Nikon to the rituals and liturgy of the Orthodox Church in the mid-1600s, and continued to practice the old rites. While Old Believers were initially persecuted, Catherine the Great passed an Act in 1762 allowing them to practice freely, although they could not work in the civil service until 1905 when Tsar Nicholas II introduced an Act of religious freedom. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">It's likely that a priest did not earn much. To supplement their income, the Sokolovs rented out rooms in their house on the river. </div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-k4vuKzZi_ro/X_F3DPLVMsI/AAAAAAAABfc/soKtFp4ygoYZpB5OtkYEbaK129fka3KdACLcBGAsYHQ/s1200/1200px-Borovsk_St_Boris_and_Gleb_across_Protva_04.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://1.bp.blogspot.com/-k4vuKzZi_ro/X_F3DPLVMsI/AAAAAAAABfc/soKtFp4ygoYZpB5OtkYEbaK129fka3KdACLcBGAsYHQ/w400-h300/1200px-Borovsk_St_Boris_and_Gleb_across_Protva_04.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The town of Borovsk (image from Wikipedia)</td></tr></tbody></table><br /><div style="text-align: justify;">Varvara completed high school, but does not seem to have trained for any profession. At 22, she was living with her father when Tsiolkovsky (also born in 1857) arrived in 1880 to take up a teaching post. He needed somewhere to live and he wanted to be by the river. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><a href="https://en.wikipedia.org/wiki/Alexander_Belyaev">Aleksandr Romanovich Belyaev</a>, a science fiction writer know as 'Russia's Jules Verne', recorded interviews with Varvara later in her life. She described the young man who would propose to her and the day of the wedding (Shubin 2016: 234):</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div>
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<div style="text-align: justify;">This is Tsiolkovsky's <a href="https://sk-arsenal.ru/en/konstantin-ciolkovskii---monizm-vselennoi.html" target="_blank">account of the marriage</a>:</div><div style="text-align: justify;"><span style="background-color: white; color: #333333; font-family: Arial; font-size: 12px; text-align: start;"><br /></span></div><div style="text-align: justify;"></div><blockquote><div style="text-align: justify;">It was time to marry, and I married without love, hoping that such a wife would not turn me around, would work, and would not prevent me from doing the same. This hope was justified. Such a friend could not drain my strength: firstly, she did not attract me, and secondly, she herself was indifferent and unemotional. So she retained strength and ability to mental activity until she was old. I attached only practical value to marriage. We went to marry for four miles, on foot, did not dress up, did not let anyone into the church. Then returned - and no one knew anything about our marriage. On the wedding day, I bought a lathe from a neighbor and cut glass for electric cars.</div></blockquote><div style="text-align: justify;">
Tsiolkovsky promised Varvara a life full of hard work with few social pleasures. He refused a dowry, saying his earnings would be enough for them to live on. Soon after marrying, they moved from Varvara's father's house to their own place in Borovsk. It cannot have been a boring life. The young married couple may not have held parties, but visitors regularly came to the house to look at Tsiolkovsky's <a href="https://sk-arsenal.ru/en/konstantin-ciolkovskii---monizm-vselennoi.html" target="_blank">toys and experiments</a>, which brought him a level of notoriety. According to Tsiolkovsky, </div></div><blockquote><div style="text-align: justify;">In my house, electric lightning flashed, thunders rang, bells rang, paper dolls danced ... Visitors admired and marveled at the electric octopus, which grabbed everyone with its feet by its nose or fingers, and then it got hair stood on end and sparks popped up from any part of the body. As if alive, he wandered from room to room, following the air currents, rising and falling.</div></blockquote><div><div style="text-align: justify;">Presumably Varvara saw her father regularly and perhaps she attended church. In 1881, she gave birth to their first child, a daughter they named Lyubov, meaning 'love'. This may have represented the intensity of feeling that this tiny being evoked in them, as it does not seem to have been a symbol of their marriage. Lyubov was two years old when her brother Ignaty was born in 1883. Two more sons followed, Alexander in 1885 and Ivan in 1888. Eight years after their marriage, Varvara was managing a household with a laboratory and four children, and with several house moves in between as well.</div><div style="text-align: justify;"><br /></div><h3 style="text-align: justify;">The Kaluga years </h3><div style="text-align: justify;">In 1892, Tsiolkovsky took up a new teaching position in the provincial capital city of Kaluga (French and Burgess 2007:21). In one of their early houses in Kaluga, Tsiolkovsky built one of the first wind tunnels in Russia in 1897 for aerodynamic experiments (Gorbushin and Volobuyev 2014). The scientific installations in all of the Tsiolkovsky households must have provided a backdrop for the children to dream and imagine, and a project for Varvara to manage as she went about the day's duties of cleaning, cooking, washing and child rearing.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">After initially living in town, Eduard and Varvara took a log house on the outskirts of the city in 1905. After this there were no more house moves; the family stayed in the same house until 1933.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>According to Anatoly Zak at <a href="http://www.russianspaceweb.com/tsiolkovsky_bio.html" target="_blank">Russian Space Web</a>, the house was a two story wooden cottage which was purchased in 1905. It has a small garden. Inside, it had white walls and simple wooden furniture. A large chimney on the ground floor was covered in traditional decorated Russian tiles. From the hallway, there was a steep staircase (later dubbed the 'space stairway' by visiting cosmonauts). It led to a trapdoor. On the other side was his workroom and laboratory. Elena Timoshenkova, a granddaughter of Tsiolkovsky and Varvara, told Zak that </div><blockquote class="tr_bq">His children knew when this door was closed, nobody could go upstairs to bother him. He was very strict with his children, but became much softer with the grandchildren.</blockquote><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AIncjazVxbY/YAPRfU__BOI/AAAAAAAABgI/B6Ea2eJHjcUAFArPDiSdpVVEe2wPdCuHwCLcBGAsYHQ/s1163/Tsiolkovsky%2Bhouse%2BKaluga%2Bart%2Bstation.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="1163" height="305" src="https://1.bp.blogspot.com/-AIncjazVxbY/YAPRfU__BOI/AAAAAAAABgI/B6Ea2eJHjcUAFArPDiSdpVVEe2wPdCuHwCLcBGAsYHQ/w400-h305/Tsiolkovsky%2Bhouse%2BKaluga%2Bart%2Bstation.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Tsiolkovsky 'log cabin' in Kaluga. <br />Image courtesy of https://www.artstation.com/artwork/e0AQKZ<br /><br /> </td></tr></tbody></table></div><div style="text-align: justify;"><span style="text-align: left;">Life continued to be austere, as Tsiolkovsky spent all his money on furthering his research. As Belyaev says, 'The amount of his income that he dedicated to his experiments was a sacrifice he made on behalf of heaven' (Shubin 2016:235). In one account, Tsiolkovsky divided his salary in half, giving Varvara one half for the children and household and keeping the rest to finance his experiments. As the number of children grew, making ends meet must have been a challenge for Varvara.</span></div><div><br /></div><div style="text-align: justify;">Three more children followed in Kaluga: Leontiy in 1892, Maria in 1894, Anna in 1897. Now there were seven children (but we don't know about miscarriages, stillbirths or other children who did not survive). Lyubov was 11 when they moved to Kaluga, and 16 by the time Anna was born. In different ways, it seems all the children were co-opted into being spectators, helpers and servants in their father's pursuit of the stars. The children all attended local schools. When Lyubov completed school, she studied to become a teacher like her father. She also acted as her father's secretary. An <a href="https://rustolat.ru/en/tehnika/osnovnye-daty-zhizni-i-tvorchestva-k-e-ciolkovskogo-kratkaya.html" target="_blank">unknown source </a> describes Varvara and Lyubov as 'his first and faithful helpers'. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Leontiy lived for just a year. He was the first child in the family to die, in August 1893, on his birthday it seems. Ivan and Anna were also 'sickly', a commonly-used term for children who were constantly ill and did not thrive. This could mean respiratory illnesses, or even tuberculosis. </div><br /><div style="text-align: justify;">Tsiolkovsky was very pleased by Ignaty who was interested in maths and physics. Lyubov, in her memoirs, says that Ignaty was very aware of how the family was struggling financially, and started to earn money when he was 16. Ignaty worked every summer as a tutor to save enough money to support his own university studies. While at university in Moscow in 1902, he committed suicide by taking potassium cyanide. He sent the remainder of the money to his father, who gave it to Lyubov so she could continue her studies to become a teacher. Tsiolkovsky blamed himself for the death (Costin 2020) but there is no record of how Varvara felt about the death of a second child.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>Ivan had some chronic condition from childhood. He completed school, and studied accounting, but his illness made him incapable of work. Instead, according to Lyubov, he helped Varvara with the household chores; perhaps this was the first time the children's labour was diverted to help her rather than their father. But Ivan also became his father's lackey along with Lyubov. He ran errands to the post office and the printers, proof-read, and helped with experiments. Tsiolkovsky wrote that he 'was an active and meek employee of my family' (Kostin 2020). </div><div><br /></div><div><div><span style="text-align: left;">As the eldest, Lyubov was immediately drawn into her father's work, becoming an assistant and secretary. She was no doormat, though. In 1911, when she was 30, she was arrested for revolutionary activities. Her memoirs must have much more detail, but clearly she was released and able to return to her family.</span> </div><div><br /></div></div><div><span style="text-align: left;">In a letter to Maria, Anna gave a snapshot of daily life in the Kaluga house in the spring of 1914. 'In our house, as always after dinner, silence. Dad sleeps in the dining room. Mum in the middle room by a window embroiders on a hoop'. In 1915, she wrote "Dad reads, Mum is standing by a couch in the middle [room] and talking to me, textbooks are open on the table around me, we just had dinner' (Kostin 2020). It was a quiet, domestic scene, even as events hurtled towards revolution and civil war.</span></div><div><br /></div><div>The Russian Revolution, from the abolition of the monarchy in 1917 to the establishment of the Soviet republic in 1923, brought more hardship to the family. The disruption of food production and distribution caused by the Revolution led to widespread hunger culminating in the famine of 1921-1922. Ivan died in 1919 of food poisoning from bad sauerkraut. </div><div><br /></div></div><div style="text-align: justify;">The tragedies continued. There was not enough money for Alexander to go to university so he studied to become a teacher. He married, moved to the Ukraine, and committed suicide in 1923 (Costin 2020). Anna <span style="text-align: left;">had married a Communist party member in 1920, but </span><span style="text-align: left;">became ill with tuberculosis and died at the age of 24. </span></div><div><br /></div><div style="text-align: justify;">Maria became a teacher, married, and went to live in a village near Kaluga. During the civil war, she and her husband sent assistance to Tsiolkovsky and Varvara. In 1929, Maria and her family moved in with her parents to help them. She took over the financial and household management, as well as raising her six children (Kostin 2020). The house was filled with children again, but this time Varvara was not bearing most of the burden herself. A photo which is sometimes presented as Tsiolkovsky with Varvara and the children is more likely to be Maria and her six children, taken during this period..</div></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-YWJiFR1PUtA/YAPU2Jj8DNI/AAAAAAAABgU/RGoTiwEkhTks6AzHkiOXSTtv3cA5Z5nMQCLcBGAsYHQ/s400/Family%2Bphoto%2BScience%2BPhoto%2BLibrary.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="328" data-original-width="400" height="328" src="https://1.bp.blogspot.com/-YWJiFR1PUtA/YAPU2Jj8DNI/AAAAAAAABgU/RGoTiwEkhTks6AzHkiOXSTtv3cA5Z5nMQCLcBGAsYHQ/w400-h328/Family%2Bphoto%2BScience%2BPhoto%2BLibrary.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Varvara, Eduard and Maria's family. Image courtesy of Science Photo Library.</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Tsiolkovsky and Varvara lived in the wooden house until 1933, when they were given a newly repaired house by the Kaluga Soviet (Maksimov 2007:327). Maria moved to the new house too with Lyubov to manage the finances, visitors and enquiries. </div><div><div><br /></div><div style="text-align: justify;">After Tsiolkovsky's death in 1935 at the age of 78, Varvara was awarded a substantial government pension. Perhaps now she had money to spend on herself for the first time in her married life. But the shades of war were gathering over Europe. Varvara died in 1940 (Shubin 2016:233) so she missed the <a href="https://rusmania.com/central/kaluga-region/kaluga/history" target="_blank">invasion of Kaluga</a>. The Soviet army were forced to retreat and Kaluga fell to the Nazis on October 13 1941. Less than three months later they were expelled, but not before burning many houses in their retreat. Fortunately, the Tsiolkovsky house on the edge of town survived.</div><div style="text-align: justify;"><br /></div><div><h3 style="text-align: justify;">Representing Varvara</h3><div style="text-align: justify;">In the biographical information, there seems to be an investment in Varvara being a simple Russian housewife with few interests. Belyaev notes that she had completed high school, but expressed herself in 'elementary' language. He further says Tsiolkovsky's work was 'interesting to her, a novelty' (Shubin 2016: 235). Perhaps there are other interpretations to be derived, however. In Belyaev's quotes, cited in Shubin 2016, Varvara seems much more perceptive and humorous (see below). Belyaev also says that the entire family was included in Tsiolkovsky's space aspirations, and he discussed his research with Varvara (Shubin 2016: 235). She offered advice and was clearly engaged with his work, much more than a mere domestic servant.</div>
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<a href="https://1.bp.blogspot.com/-7QjP69O45lE/Xr-YdpdqpdI/AAAAAAAABaw/J-6vGgjZhPE8gORv1M0RysPTUVIpqikogCLcBGAsYHQ/s1600/Shubin%2Bp%2B235.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1188" height="364" src="https://1.bp.blogspot.com/-7QjP69O45lE/Xr-YdpdqpdI/AAAAAAAABaw/J-6vGgjZhPE8gORv1M0RysPTUVIpqikogCLcBGAsYHQ/s640/Shubin%2Bp%2B235.png" width="640" /></a></div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In a eulogy for Tsiolkovsky written by Belyaev five years after and in the year of Varvara's death, Varvara is described as his 'faithful companion' as if she were a dog. Belyaev said, </div><div style="text-align: justify;"><blockquote>Her death forces us to remember the private and family life of the Tsiolkovskys, which is very informative. Much depended on his personal life, including so much of his scientific work. His family home was also his study, office, laboratory and workshop' (Shubin 2016: 233).</blockquote></div>
<div style="text-align: justify;">This is a nice acknowledgement that the 'lone genius' did not exist in a vacuum; despite the privations of their life, Tsiolkovsky's capacity to create was supported by the hard work of Varvara and the devotion of the children. The family portrait (above) shows Vavara as careworn and dour, a diminutive figure swamped by husband and grandchildren. Her life is unremarkable for a woman of her time, expected to subordinate her identity to the needs of others. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>The contrast between male and female, Heaven and Earth, and body and mind were also appealing to commentators on their life. As Belyaev said, <br /><blockquote class="tr_bq">She was concerned with domestic matters and daily chores, while at the same time her husband lived in outer space among the stars (Shubin 2016:234)</blockquote><div>Any intellectual contribution that Varvara may have made is elided in the element of drama provided by this contrast. But perhaps we can see her influence at places in his work. In one of his discussions about life in a microgravity space habitat, he mentions that women's skirts might be impractical as they would float up; and he talks about how awful conditions in the latrines would be. Perhaps these snippets came from dinner time conversations, Varvara offering her thoughts with the wry humour we see in her oral history with Belyaev. If so, Tsiolkovsky was impressed enough with her insights to include them in his book.</div><div><br /></div><h3>A dispassionate life</h3></div></div><div style="text-align: justify;">Although Tsiolkovsky was determined not to be distracted by sex and passion, most of the sources I have cited above lead one to believe that there was still much love and respect in the family. A different story is told by Michael Hagemeister:</div>
<blockquote class="tr_bq" style="text-align: justify;">
Tsiolkovskii’s private life was grey and monotonous. He described his
choice of wife, Varvara Evgrafovna Sokolova, the daughter of a priest, as
‘unfortunate’ (neudachno) and their offspring as ‘deplorable’ (pechal’nye).
The children were sick and two sons committed suicide. Tsiolkovskii
fled from the depressing confinement, the feeling of humiliation and
material worries into his world of inventions and creations and into
the dreams of flying and eternal human happiness. On the other hand,
he was indifferent towards his family, as long as they did not disturb
his work. In his youth, he already regarded himself as a genius (‘I am
such a great man as has never been before, nor will ever be’). (Hagemeister 2008:28)</blockquote>Tsiolkovsky had an ideal of married life, but reality did not align with it through the unfortunate fact that women are human and men are too:<br /><blockquote class="tr_bq">The biblical ‘legend’ of the birth of Jesus from the Virgin Mary was also interpreted by Tsiolkovskii as an ‘ideal of the future woman, who will provide children, but will not be subject to animal passions’ (Hagemeister 2011:31). </blockquote><div style="text-align: justify;">The sources for this are 'Tsiolkovsky's autobiographical recordings, held in the
archive of the Academy of Sciences, as well as a personality study, written in
1937 by the famous neurologist Samuil Blinkov' (Hagemeister 2011: 36). More of the autobiography is quoted <a href="https://sk-arsenal.ru/en/konstantin-ciolkovskii---monizm-vselennoi.html" target="_blank">here</a>: </div><div><div style="text-align: justify;"></div><blockquote><div style="text-align: justify;">Was it good: marriage life without love? Is marriage just enough respect? Who gave himself to higher goals is good for that. But he sacrifices his happiness and even the happiness of the family. I did not understand the latter then. But then it showed up. From such marriages, children are not healthy, successful and joyful, and all my life I lamented the tragic fate of children.<span style="text-align: left;"> </span></div></blockquote><blockquote><div style="text-align: justify;">I put the blessing of the family and loved ones on the forefront. All for high. I did not drink, did not smoke, did not spend a single extra penny on myself: for example, on clothes. I was always almost starving, poorly dressed. I moderated mysefl in everything to the last degree. My family also suffered with me ... I was often annoyed and maybe made the life of others difficult, nervous.</div></blockquote><div><p><span style="text-align: justify;">In this passage, he acknowledges that the austere and passionless marriage he embraced was not a recipe for either his happiness, or that of Varvara and the children. I don't think we should be expecting a coherent or consistent view, though; and perhaps we can't also assume that Varvara experienced anything in the way Eduard imagined.</span></p><p><span style="text-align: justify;">Despite his apparent belief that sexual passion sapped the intellect, Tsiolkovsky clearly was not willing to forgo the experience. Contraception was not an option in 19th century Russia. The ages of the Tsiolkovsky children indicate that the couple had an active sex life from the time of their marriage in 1880 for at least sixteen years afterwards. Tsiolkovsky pretended that neither he nor Varvara were interested, but clearly at least one of them was.</span> We don't know what Varvara thought, but Tsiolkovsky's inner conflicts must have been another aspect of her complex tasks of household and laboratory management, along with the sick and depressed children. It was a hard life indeed.</p><p style="text-align: justify;">How much of Tsiolkovsky's views about relationships and sex were shaped by his <a href="https://en.wikipedia.org/wiki/Russian_cosmism" target="_blank">Cosmism</a>? Tsiolkovsky was already a Cosmist by the time he arrived in Borovsk, having been influenced by Nikolai Federov who worked in the library where Tsiolkovsky spent most of his time in Moscow. Fedorov had an idea about 'positive chastity', which was 'the redirection of sexual energy towards the restoration of life to the dead' (Hagemeister 1997:193). The seven Tsiolkovsky children are firm evidence that Tsiolkovsky did not embrace this idea to the extent that Federov disciple Alexander Gorsky, who did not consummate his marriage, did.</p><p style="text-align: justify;">But my aim here is not to get bogged down in Russian cosmism; I'm only interested in it to the degree Tsiolkovsky's beliefs affected Varvara's life. Clearly there is much more to be explored here.</p><p style="text-align: justify;"><br /></p><h3 style="text-align: left;">Eyes in the Sky</h3><div style="text-align: justify;">Varvara is not silent or forgotten. The artist <a href="https://annahoetjes.nl/" target="_blank">Anna Hoetjes</a> made a film installation in 2018 for which Varvara was the narrator. In <a href="https://bonnierskonsthall.se/en/utstallning/cosmological-arrows-journeys-through-inner-and-outer-space/a-conversation-with-anna-hoetjes/" target="_blank">an interview</a>, Hoetjes said:</div><div><div style="text-align: justify;"></div><blockquote><div style="text-align: justify;">Hardly any information can be found on her. My interest wasn’t so much to reconstruct her real life, but rather to create a fictional life for her. To introduce her as an authority, an eye witness, an explorer, adventurer and pioneer. To let her act out the hypothetical theories of her husband, who no doubt relied on his wife’s labour in some way or another while creating his visions. People who see Eyes in the Sky often assume that Varvara’s narrative is based on existing diaries or interviews, no matter how far fetched, fictional and body-horrific her experiences in my piece are. </div> <div style="text-align: justify;"><span style="text-align: left;"></span></div></blockquote><p> She explains further:</p><div style="text-align: justify;"><blockquote>The fact that women carried out endless calculations at the beginning of the 20th century, but were never included in the fantasy of an actual space journey, became so problematic for me that I started designing my own female space pioneer. In this work the wife of the 'Kosmist' and space pioneer Konstantin Tsiolkovsky, Varvara, is the first person to travel into space, where she leave behind her eyes.</blockquote><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AG9YouRfR1I/YAPmgRK42DI/AAAAAAAABg8/1z6FRcCtsookSm6CUE5zKa5mEYaWEkMCQCLcBGAsYHQ/s1750/Eyes-in-the-Sky_Still-4_Anna-Hoetjes_2018_1750.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1166" data-original-width="1750" height="266" src="https://1.bp.blogspot.com/-AG9YouRfR1I/YAPmgRK42DI/AAAAAAAABg8/1z6FRcCtsookSm6CUE5zKa5mEYaWEkMCQCLcBGAsYHQ/w400-h266/Eyes-in-the-Sky_Still-4_Anna-Hoetjes_2018_1750.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Still from Eyes in the Sky by Anna Hoetjes, 2018.</td></tr></tbody></table><div><br />As a feminist space scholar, my job is to interrogate the deeper story behind commonly accepted accounts. This is only a start: if only Lyubov's memoir were translated! I'd also like to re-read Tsiolkovsky's works to find more traces of Varvara. No doubt I have got much wrong in this account. All the same, the first step has been taken simply by centring Varvara in the story. Taking inspiration from Anna Hoetjes' work, I imagine evenings when Varvara escaped outside the house to gaze at the stars and dream her own dreams. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div></div><h3 style="text-align: left;">References</h3></div>
<div style="text-align: justify;">Costin, A.V. 2020 Konstantin Eduardovich Tsiolkovsky. A Short Biography. https://nvuti-info.ru/en/krasota/konstantin-eduardovich-ciolkovskii-kratkaya-biografiya-konstantin/</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
French, Francis and Colin Burgess 2007 <i>Into that silent sea: trailblazers of the space era 1961-1965.</i> Lincoln: University of Nebraska Press</div>
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Gainor, Chris 2008 <i>To a Distant Day. The Rocket Pioneers</i>. Lincoln: University of Nebraska Press<span style="background-color: white; font-size: 14.9725px; text-align: left; white-space: pre;"> </span></div><div style="text-align: justify;"><span style="background-color: white; font-size: 14.9725px; text-align: left; white-space: pre;"><br /></span></div>Gorbushin, Anton and Valery S. Volobuyev 2014 The first aerodynamic balances in Russia. AIAA<br />https://www.researchgate.net/publication/310796914_The_First_Aerodynamic_Balances_in_Russia</div><div><br />
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Hagemeister, Michael 2011 The Conquest of Space and the
Bliss of the Atoms: Konstantin
Tsiolkovskii. In Eva Maurer, Julia Richers, Monica Rüthers
and
Carmen Scheide (eds) <i>Soviet Space Culture. Cosmic Enthusiasm in Socialist Societies.</i> Palgrave MacMillan pp 26-41</div>
<div style="text-align: justify;"><br /></div>Hagemeister, Michael 1997 Russian Cosmism in the 1920s and today. In Bernice Glatzer Rosenthal, ed. The Occult in Russian and Soviet Culture., pp 185-202. Ithaca, N.Y.: Cornell University Press</div><div><br /></div><div><span style="text-align: justify;">Maksimov, A.J. 2007 150th anniversary of K.E. Tsiolkovsky. Founder of Cosmonautics. </span><i style="text-align: justify;">Thermophysics and Aeromechanics </i><span style="text-align: justify;">14(3): 317-328</span></div><div><br /><div>
Shubin, Daniel H. 2016 <i>Konstantin Eduardovich Tsiolkovsky. The Pioneering Rocket Scientist and His Cosmic Philosophy.</i> New York: Algora Publishing</div>
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Zak, Anatoly <a href="http://www.russianspaceweb.com/tsiolkovsky_bio.html">http://www.russianspaceweb.com/tsiolkovsky_bio.html</a></div>
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<a href="http://www.russianspaceweb.com/tsiolkovsky_kaluga.html">http://www.russianspaceweb.com/tsiolkovsky_kaluga.html</a></div>
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<br /><br /><br /></div></div>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com2tag:blogger.com,1999:blog-7530535.post-73102221991797462262020-11-22T19:48:00.001+10:302020-11-22T19:48:47.923+10:30A space junk bestiary: yo-yo de-spin weights<p style="text-align: justify;">Among the oldest pieces of space junk in Earth orbit are de-spin weights from the US series of TIROS weather and TV satellites. I've been noticing them in debris catalogues for years, and decided it was time to find out what they were really all about. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8If2ZHedge4/X0ICJoZsu5I/AAAAAAAABds/h_5BlkVLYMYEu3gAXgSk8eKBq47Gk1tLACLcBGAsYHQ/s428/TIROS%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="428" src="https://1.bp.blogspot.com/-8If2ZHedge4/X0ICJoZsu5I/AAAAAAAABds/h_5BlkVLYMYEu3gAXgSk8eKBq47Gk1tLACLcBGAsYHQ/s0/TIROS%2B1.jpg" /></a></div><p style="text-align: justify;"><br /></p><p style="text-align: justify;">TIROS 1 was launched in 1960 - just three years after Sputnik 1. The satellite is now 60 years old! <a href="https://www.nesdis.noaa.gov/content/celebrating-world%E2%80%99s-first-meteorological-satellite-tiros-1" target="_blank">TIROS</a> stands for Television Infrared Observation Satellite Program. One aim of the satellite was to see if Earth observation from space would work, and could be used for weather reporting and prediction. The other was to test television broadcast potential - so you can see that it is one of the progenitors of two very significant satellite-based industries today.</p><p style="text-align: justify;">The satellite was a cylindrical drum covered in solar panels with short, angled antennas. It returned one of the earliest pictures of Earth from outside.</p><p style="text-align: justify;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GaAYMHV_DW8/Xzy67_MDgFI/AAAAAAAABdU/a292-rnFahkGepbgZ7IA__eDkTTkXwXggCLcBGAsYHQ/s800/324271main_tiros_full%2BNASA.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="480" src="https://1.bp.blogspot.com/-GaAYMHV_DW8/Xzy67_MDgFI/AAAAAAAABdU/a292-rnFahkGepbgZ7IA__eDkTTkXwXggCLcBGAsYHQ/w640-h480/324271main_tiros_full%2BNASA.jpg" title="Image courtesy of NASA" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image courtesy of NASA<br /></td></tr></tbody></table><p>There were 10 satellites in the first TIROS series, after which they continued as TIROS-N in collaboration with the US National Oceanic and Atmospheric Administration (NOAA). Of these 10, five are still in Low Earth Orbit as pieces of space junk.</p><p style="text-align: justify;">So what about these de-spin weights?</p><p style="text-align: justify;">When rockets are launched, a key consideration is keeping them stabilised so that they don't <a href="https://howthingsfly.si.edu/flight-dynamics/roll-pitch-and-yaw" target="_blank">pitch, roll or yaw</a>, and end up in a crater in the ground instead of in orbit. One way to stabilise them is to spin them perpendicular to their long axis. This method of stabilisation was frequently used for the launch of small, lightweight spacecraft (Cornille 1962:1). The problem with that is when the satellite is released, it has the same spin as the rocket, which is generally too high for it to function. So you have to reduce the spin and reset the satellite. This is what the de-spin weights are for. There might be one or two weights. Two weights are called yo-yo weights, and one is just a yo-weight. </p><p style="text-align: justify;">Fortunately, I did not have to figure this out all by myself, as the Practical Engineer has done a pretty great job of <a href="https://practical.engineering/blog/2016/3/21/yoyo-de">explaining the principles</a>, as you will see in the video.</p><p style="text-align: justify;">This is a description of the mechanism from Fedor (1961:1):</p><p></p><blockquote style="text-align: justify;">The yo-yo de-spin mechanism is essentially two pieces of wire with weights on the ends ... These wires are symmetrically wrapped around the equator of the satellite and the weights are secured by a release mechanism. At a pre-selected time after satellite spin-up and release from the launching vehicle, the weights are released, thus discarding enough momentum to reduce the spin of the satellite to the desired value.</blockquote><p></p><p style="text-align: justify;">The weights are not only released, but discarded as mission-related debris. This kind of discard is now discouraged in guidelines for mitigating space debris. </p><p style="text-align: justify;">Something I wonder about is whether the weights still in orbit belong to the TIROS satellites remaining in orbit, or whether they belong to a re-entered TIROS? Did the de-spin weight tend to re-enter with corresponding satellite? Is the orbit an indicator? </p><p style="text-align: justify;">So many questions! Did the USSR use this mechanism for satellite stabilisation? There are certainly no USSR de-spin weights catalogue from this period that I could find.</p><p style="text-align: justify;">And what did they look like? Those illustrated in Fedor (1961) look (from the grainy image) to be rectangular, maybe about an inch long. Fedor (1961) also uses a unit of measurement called the slug-ft/2 and I don't even know what it is. OK, I looked it up and <a href="https://en.wikipedia.org/wiki/Slug_(unit)">this</a> is what it is.</p><p style="text-align: justify;">Where else can we find de-spin weights? The Explorer series used them. Here is a marvellous illustration of them working on Explorer 11, launched in 1961 (from Cornille 1962).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DBMpZY78khs/X7ofpfvNVtI/AAAAAAAABe0/SJxfpZneZTsdWy_zgb7oN8l3KAprOWVdwCLcBGAsYHQ/s1486/From%2BCornille%2B1962.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1198" data-original-width="1486" height="323" src="https://1.bp.blogspot.com/-DBMpZY78khs/X7ofpfvNVtI/AAAAAAAABe0/SJxfpZneZTsdWy_zgb7oN8l3KAprOWVdwCLcBGAsYHQ/w400-h323/From%2BCornille%2B1962.png" width="400" /></a></div><br /><p style="text-align: justify;">This is a de-spin weight from 1962 British satellite <a href="https://en.wikipedia.org/wiki/Ariel_1" target="_blank">Ariel 1</a>. Note that this one doesn't have a rigid cord, but a tightly coiled spring (also from Cornille 1962). The 'stretch' yo-yo design was patented by Cornille and Fedor in 1970. This example has, to my mind, a rather sinister snake-like aura as if it might suddenly spring to life and start seeking you out with its eyeless head and whipping tail.</p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4-0edeMCZVs/X7ohK1ES2dI/AAAAAAAABfA/4BOT7Mev2VkmnSqfhubWBllkimRM27nFgCLcBGAsYHQ/s1476/Ariel%2B1%2Bfrorm%2BCornille%2B1962.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1476" height="214" src="https://1.bp.blogspot.com/-4-0edeMCZVs/X7ohK1ES2dI/AAAAAAAABfA/4BOT7Mev2VkmnSqfhubWBllkimRM27nFgCLcBGAsYHQ/w400-h214/Ariel%2B1%2Bfrorm%2BCornille%2B1962.png" width="400" /></a></div><br /> <p></p><p style="text-align: justify;">The <a href="https://www.jpl.nasa.gov/missions/dawn/" target="_blank">Dawn mission to Vesta and Ceres</a>, launched in 2007, used de-spin weights, as the launch rocket's 3rd stage was spin-stabilised. I wanted to know where the weights ended up. Fortunately my friend Ady James knew where to look for them and located <a href="https://www.jpl.nasa.gov/blog/2007/9/september-12-2007" target="_blank">this blog post</a> by Dawn Mission Director and Chief Engineer Marc Rayman for me:</p><blockquote style="text-align: justify;">After the third stage has finished firing, it remains securely attached to Dawn for another 4 minutes 50 seconds. Although the stage is stabilized by spinning, the spacecraft does not operate that way; yet by this time, they would be spinning together at 46 rpm, too fast for the latter’s control system. Therefore, starting 5 seconds before separation, the third stage activates a surprisingly simple system to slow its rotation rate. Wrapped around the Delta are two cables, each 12.15 meters (39 feet 10 inches) long. At the end of each is a 1.44-kilogram (3-pound-3-ounce) weight made of aluminum and tungsten. When the cables are released, the spin causes them to unwind. As they carry the weights farther and farther out, the spin slows down because of the same principle that makes an ice skater spin faster by pulling her arms in or slower by extending them to her sides. After 4 seconds, when they are fully unwound, the cables unhook from the spacecraft. With their weights still attached, they enter independent orbits around the Sun; perhaps one of them will be studied by a future solar system archeologist.</blockquote><p style="text-align: justify;">Well there you go, he was right as that's exactly what I'm doing! This post adds some interesting details. The weight is let go by releasing the cable, so the cable is still attached to it. I wonder if it remains taut after release? The cables are 12 metres, more than the length of two tall women end-to-end. No information about the shape of the weights, but we do have materials - aluminium and tungsten. Why tungsten, a metal in short supply on Earth? There is no need to make these weights durable as their only purpose is to be heavy. Perhaps tungsten adds the required weight for size. How does this alloy react to space weather, plasmas and bombardment? Is it contributing aluminium particles to the space environment? Could they combine with the atomic elements so common in the space environment to form new compounds? Al2O3 (aluminium oxide) or tungsten oxides?</p><p style="text-align: justify;">The weights would, one presumes, behave like a meteorite as they are solid. And more like a metal-rich meteorite too. Would they be distinguishable through a telescope or by spectroscopy?</p><p style="text-align: justify;">So many questions.</p><p style="text-align: justify;">How many of these weights are circulating among all the space junk? Jonathan McDowell's <a href="https://www.planet4589.org/space/gcat/data/cat/satcat.html">catalogue of space objects</a> has 286 de-spin weights listed. How many of these are still in orbit is something I'll have to leave for a future calculation.</p><p style="text-align: justify;">What about the damage a collision with a de-spin weight would cause? These are dense, heavy, solid objects, and I'm going to guess for that reason would be far more destructive than something of a similar size, cross-sectional area or velocity, but made of different materials. It should also be possible to model how an impact crater from collision with one of them might differ from other pieces of space junk. This would help identify liability for the damage, as the launching state is responsible for this under UN treaties.</p><p style="text-align: justify;">Comparatively, there are not that many de-spin weights, compared say to rocket bodies, but perhaps the greater damage they can do would merit being selectively targeted for active debris removal. </p><p style="text-align: justify;">As Fedor and Cornille are rapidly becoming my yo-yo gurus, I thought I should learn a little more about them. Sadly Henry Cornille <a href="https://www.obriensullivanfuneralhome.com/obituaries/Henry-Cornille/#!/Obituary">died in 2019</a> at the age of 80. He went on to work on the Apollo programme. I couldn't find anything about Fedor online so this clearly requires deeper archival research. If you think about it, they are the pioneers of today's space tether technology.</p><p style="text-align: justify;">I've got another loose end to tie up here - the relation to the popular children's toy called the yo-yo. I realise I don't know anything about its origins. *goes and looks up* Well, this was an eye-opener, as my assumptions that it was 1960s invention turn out to be extremely wrong! The yo-yo is very ancient technology, originating in China (as indeed does rocket technology). </p><p style="text-align: justify;">This is a fetching red figure vase showing a boy playing with a yo-yo in the 5th century BCE, from the Antikensammlung museum in Berlin.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JqeqzsgExBw/Xz0L1VLTGBI/AAAAAAAABdg/Wpp1Ce3syKkEjYdjeisH_6OUVmWoedzXwCLcBGAsYHQ/s550/605px_Yo_yo_player_Antikensammlung_Berlin_F2549_881787624.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="550" src="https://1.bp.blogspot.com/-JqeqzsgExBw/Xz0L1VLTGBI/AAAAAAAABdg/Wpp1Ce3syKkEjYdjeisH_6OUVmWoedzXwCLcBGAsYHQ/s0/605px_Yo_yo_player_Antikensammlung_Berlin_F2549_881787624.jpg" /></a></div><p style="text-align: justify;">The yo-yo despin weights are a lovely thread linking physics from the past to the future. I've become quite captivated by them.</p><p style="text-align: justify;"><br /></p><h4 style="text-align: justify;">References</h4><div>Cornille, Henry J.Jnr 1962 A method of accurately reducing the spin rate of a rotating spacecraft. NASA Technical Note D-1420 </div><div><br /></div><div>Fedor, JV 1961 Theory and design curves for a yo-yo de-spin mechanism for satellites. NASA Technical Note D-708</div><p style="text-align: justify;"><br /></p>Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com4tag:blogger.com,1999:blog-7530535.post-3855314256380303702020-07-01T20:31:00.002+09:302020-07-01T20:31:31.579+09:30Ten more ways to get involved in space without leaving Earth<div style="text-align: justify;">
This post follows on from <a href="https://zoharesque.blogspot.com/2019/04/ten-ways-to-get-involved-in-space.html">Ten Ways to Get Involved in Space Without Leaving Earth</a>. When I started to put this list together, it turned out there were SO many more things you could do from the safety of terrestrial gravity and atmosphere! Some of these are also very compatible with Covid-19 isolation. So here are the next ten for your delight and edification.<br />
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<b>11. Contemplate the Moon</b><br />
Could anything be more simple than this? There is even a special night for it! <a href="https://en.wikipedia.org/wiki/International_Observe_the_Moon_Night">International Observe the Moon Night</a> is on September 26 every year. But you can do this one any time of year, any time of day or night. Just look up. Perhaps there will be a white crescent against a blue sky; perhaps a full disc glowing in the night. Just look, and think or feel whatever you want.<br />
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<b>12. Experience weightlessness</b></div>
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Ever wanted to know what it was like to be freefall, without having to pay a cool 65 million dollars to go the International Space Station, or even $5000 to go on the <a href="https://www.space.com/37942-vomit-comet.html">Vomit Comet</a>? Hell, you could even do it without any vomit at all! All you have to do is locate your nearest amusement park and find the drop tower. Dreamworld in Queensland has one that's <a href="https://www.dreamworld.com.au/rides/thrill-rides/the-giant-drop">119 m tall</a> and gives you 5 seconds of freefall. That may not seem like much reading it on a page, but believe me, you will really feel it! The tallest drop tower is the <a href="https://www.sixflags.com/magicmountain/attractions/lex-luthor-drop-doom">Lex Luthor Drop of Doom</a> in the Six Flags Magic Mountain park in California (120 m).<br />
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<b>13. Visit another world through words.</b><br />
To be transported to another world, all you need to do is read. There are some wonderful books which make you feel immersed in the environments of another planet. One of my favourites is CS Lewis' <a href="https://en.wikipedia.org/wiki/Perelandra">Voyage to Venus</a>. Sure, it's based on outdated science (Venus is a warm waterworld in this novel), but it truly makes you feel the sensory experience of skies, waters, plants that are alien and yet speak to some deep human dream.<br />
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It would be great to put together an anthology of space environmental writing - passages or short stories which really evoke otherworldly places. Science fiction readers will no doubt have plenty of their own favourite examples, but others might appreciate some pointers. It's not like I need more projects at the moment, but oh this one would be so much fun to do!<br />
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<b>14. Watch space films</b><br />
So much choice here! Settle down with an action adventure, a thriller, a documentary, a romantic comedy. OK, so there don't seem to be many romantic comedies set in space, but did you know, for example, that Notting Hill features scenes on board a space station? And soon, it seems we might have a new one actually filmed in space. NASA has confirmed that it's <a href="https://www.theverge.com/2020/5/5/21248460/nasa-tom-cruise-movie-international-space-station">working with Tom Cruise</a> to make a movie on the International Space Station.<br />
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Some of my favourite space films are Christopher Riley's <i><a href="https://www.youtube.com/watch?list=PL6k72qsMQYPmIJpt6LAQeZhD35MKxR6p2&v=RKs6ikmrLgg">First Orbit</a></i>, the classic <i><a href="https://www.newyorker.com/magazine/2018/04/23/2001-a-space-odyssey-what-it-means-and-how-it-was-made">2001: A Space Odyssey</a></i>, the space mining drama <i><a href="https://www.theguardian.com/film/2019/jul/23/how-we-made-sci-fi-film-moon">Moon</a> </i>[NB this link has spoilers], and <i>First Man</i>, which I reviewed <a href="https://theconversation.com/first-man-a-new-vision-of-the-apollo-11-mission-to-set-foot-on-the-moon-104050">here</a>.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ZqLQskCWThQ/XvwE78ICcxI/AAAAAAAABbg/E3ufU3jcu34qlai_NL-oDzhNjgWsHz7XwCLcBGAsYHQ/s1600/aelita-queen-mars-podcast-movies-scifi-soviet-1920s.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://1.bp.blogspot.com/-ZqLQskCWThQ/XvwE78ICcxI/AAAAAAAABbg/E3ufU3jcu34qlai_NL-oDzhNjgWsHz7XwCLcBGAsYHQ/s320/aelita-queen-mars-podcast-movies-scifi-soviet-1920s.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aelita, Queen of Mars (1924)</td></tr>
</tbody></table>
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Then there are the vintage classics, many of which you can watch on YouTube. My picks are <i><a href="https://en.wikipedia.org/wiki/Forbidden_Planet">Forbidden Planet</a></i>, <i><a href="https://www.youtube.com/watch?v=yoROo4Ur49c">Aelita Queen of Mars</a></i>, <i><a href="https://en.wikipedia.org/wiki/Woman_in_the_Moon">Frau im Mond</a></i>, <i><a href="https://zoharesque.blogspot.com/2019/07/cat-women-of-moon-ideas-of-space-travel.html">Cat Women of the Moon</a></i>, and <i><a href="https://www.youtube.com/watch?v=QFwlpW0Ya2Y">Plan 9 from Outer Space</a></i>. <i><a href="https://www.youtube.com/watch?v=H91BxkBXttE">Night of the Living Dead</a></i>, the original zombie apocalypse film, involves both space (the origin of the zombie plague) and contagion, so it's very appropriate isolation viewing. It holds up much better than you might imagine.<br />
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It's always good to have a laugh about the cheesy plots and clunky pre-CGI special effects, not to mention the notions of what the future was going to be like; but many of these vintage films are also quite insightful and raise issues which are very relevant to contemporary issues in space travel and ethics.<br />
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<b>15. Best of the best of space on You Tube</b><br />
One of the best things on Space YouTube is actual live astronauts demonstrating how things work in microgravity. US astronaut <a href="https://www.nasa.gov/astronauts/biographies/donald-r-pettit/biography">Don Pettit</a> was fantastic. He made a series of videos demonstrating how to do basic tasks in microgravity, which you can watch <a href="https://www.youtube.com/watch?v=jXYlrw2JQwo">here</a>. Chris Hadfield has also made a number of excellent videos - of course, one of his most popular was playing David Bowie's <a href="https://www.youtube.com/watch?v=KaOC9danxNo">Space Oddity</a> on his guitar, which became an instant cult classic! You could start with these astronauts, but there is a wealth of material on YouTube and <a href="https://www.nasa.gov/multimedia/videogallery/index.html">NASA's channel</a> to delight in.<br />
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<b>16. Social media space</b><br />
Getting involved in space is as simple as finding some topic, organisation or person you like, and following them on Twitter, Instagram, LinkedIn, Facebook, or whatever platform works for you. As well as getting to know the community, you can talk to people, ask questions, or contribute your own thoughts. I've met many lovely people through these encounters! I'm not going to recommend anything here as there is so much, and you will do better to look for the thing that interests you the most.<br />
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Why not start your own social media account, or even blog, devoted to the space things you like best? You don't have to be an expert (although it helps not to spread misinformation - please fact check carefully!). And remember it doesn't have to be about hard core science or engineering: perhaps you like space poetry (I know I do), or vintage space-age teacups (another of my favourites). Sharing things you love with other people who love them too is one of the most enjoyable aspects of social media.<br />
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<b>17. Support a crowd-funded project</b><br />
Amateurs have been the mainstay of space since the rocket societies of the 1930s, and have been launching and tracking their own satellites since the 1960s. I'm a huge fan of citizen or community science. We don't have to leave space to the big boys (I say that deliberately). You might not have space or rocket expertise yourself, but you can support those who do and feel part of a project. Of course, it's best to be prepared for disappointment - your chosen project may not make it into space or even get off the ground. For me, it's the participation that is the important thing.<br />
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Here's a lists of space projects currently listed on Kickstarter:<br />
<a href="https://www.kickstarter.com/discover/categories/technology/space%20exploration">https://www.kickstarter.com/discover/categories/technology/space%20exploration</a><br />
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Perhaps you have a space project that you would like to resource using crowd-funding! This might be a good place to start:<br />
<a href="http://spacecrowdfund.com/">http://spacecrowdfund.com/</a><br />
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<b>18. Invite someone to give a talk to your group</b><br />
In the Covid-19 era, in-person talks have been replaced by Zoom events. These are great as they allow for remote participation, even people from other countries! They reduce costs and allow people who are not able to easily move about or leave the house the opportunity to participate.<br />
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Be conscious that people are often asked to give enormous amounts of their time for free, so it's best to have a budget for a speaker - even if the talk is online. Academics and space professionals are often expected to do some public outreach as part of their job, so this is far more critical for freelancers, those without a full-time job, or those for whom public outreach is not part of their job. I'm not saying don't ask if you don't have a budget, just be aware.<br />
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<b>19. Attend a conference</b><br />
Although conferences are usually academic or industry events, if you are able to pay the registration fee there is no reason you can't attend a space conference. You can hear all the talks, meet the people, and feel part of a community. In Australia, the annual space conference is the <a href="http://www.nssa.com.au/19asrc/">Australian Space Research Conference</a>, usually held in September-October.<br />
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<a href="https://spaceup.org/">SpaceUps</a> are wonderful 'unconferences' which you can find all over the world. The <a href="https://en.wikipedia.org/wiki/Unconference">unconference format</a> is driven by the participants: when you arrive there is usually a big board or wall where people offer talks or workshops, or ask for talks or workshops they would like. It all happens organically on the day. Usually there will be a couple of invited speakers as well.<br />
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Of course, the Covid-19 world has meant that many conferences are being run entirely online. This radically reduces the cost of travel and accommodation and all those other incidentals you incur if a conference is not in your home town. Participation has never been easier! The down side is that you don't get to meet and know people in the same way and you need a good internet connection which not everyone has.<br />
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<b>20. Download a space app</b><br />
Space is only as far away as your smartphone or device! There are so many good things out there. Here are a few that I fancy.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3mzs1fQ9B_0/XvxqbE6P1dI/AAAAAAAABbs/H10LUTpGtH8QopJ7nxzOOBrVzjgGDbcFACLcBGAsYHQ/s1600/Stellarium.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="384" data-original-width="512" height="240" src="https://1.bp.blogspot.com/-3mzs1fQ9B_0/XvxqbE6P1dI/AAAAAAAABbs/H10LUTpGtH8QopJ7nxzOOBrVzjgGDbcFACLcBGAsYHQ/s320/Stellarium.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What you see with Stellarium</td></tr>
</tbody></table>
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<a href="https://play.google.com/store/apps/details?id=com.noctuasoftware.stellarium&hl=en_AU">Stellarium</a>: point your phone at the sky, and this app will tell you all the constellations, stars, planets and space stations that are in the sky above you!<br />
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<a href="http://fireballsinthesky.com.au/download-app/">Fireballs in the Sky:</a> this is a community science that allows you to contribute your sightings of meteors, fireballs and space junk to a scientific project.<br />
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<a href="https://play.google.com/store/apps/details?id=com.lifewaresolutions.dmoon&hl=en_AU">Deluxe Moon</a>: all things Moon including gardening advice. It's got astrology information too, if that is your bag.<br />
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Want to photograph the Moon or other night sky features? <a href="https://fixthephoto.com/night-photography-app.html">These apps</a> will help!<br />
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So there you have it. No excuses to languish on Earth when there are so many ways to leave the planet without a rocket!<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-79372953479478750692020-04-25T14:40:00.001+09:302021-04-24T09:53:16.089+09:30Dr Space Junk's Pan-Galactic Birthday Party<div class="tr_bq" style="text-align: justify;">
This is an exercise I created to allow my friends to join me online (through Twitter) to celebrate my recent birthday, as the Covid-19 virus has stopped all physical parties across the world. It was such fun I thought it was worth preserving! Here it is in nine tweets.</div>
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You might need a pen and paper for this. We are going to create a pan-galactic party. I'm going to stay here on Earth for the moment, but you, my Twitter friends, are going to join me from elsewhere in the cosmos. </blockquote>
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And where might this elsewhere be? I will show you how to find out. Please take a moment to get a beverage of your choice (I'm going for some more sparkles) and instructions will follow. </blockquote>
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Step 1. Using this <a href="https://www.rangen.co.uk/world/planetgen.php">random planet generator</a>, find out which planet you are currently tweeting from. It might not be your home planet, just where you are right now. Save it or write it down! </blockquote>
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Does everyone have their planet now? Step 2. Because you are a super-galactic traveller, you also need your own starship. It will have a witty and satirical name. Of course, it's a <a href="https://en.wikipedia.org/wiki/The_Culture">Culture</a> ship! Here's <a href="https://bryanschuetz.github.io/culture-namer/">how to find</a> your starship's name. </blockquote>
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Step 3. An intrepid astronaut like you doesn't have a regular name, you have a special name befitting your status. This is how you get your astronaut name. Choose from <a href="https://www.bestlittlebaby.com/name-generators/astronaut-name-generator.html">the list</a>. </blockquote>
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Step 4. Everywhere you travel in this crazy cosmos of ours, you are accompanied by your favourite pet. What species? You decide! But <a href="https://www.randomlists.com/pet-names">choose it's name from here</a>. </blockquote>
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OK so now you have a planet, a ship, a special astronaut name, and your faithful pet. Step 5. Go to the kitchen and pick a random object. Just whatever speaks to you. </blockquote>
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Step 6. Pretend your random kitchen object is something from your ship, or the planet, or from your last stop. Describe what it does and what it's for. It could be anything. </blockquote>
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Final step! Take a picture of your space (kitchen) object. Tell me your planet, ship, astronaut and pet names, and what your object is for. I can't wait to hear the results!</blockquote>
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To give you an idea of how it works, here is one I made earlier. I'm at the planet Rada (see below), not a very hospitable place, so probably I am just orbiting it. My ship is the Rapid Offensive Unit (ROU) <i>Trade Surplus</i>, and I am Commander Jaylen Elmes. I travel the galaxies with my faithful pet Pipsy, a snorgle from the planet Bepo. (I looked up the Random Planet Generator again to find this planet).</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-quZI8M7SEXc/XqO06FrcUfI/AAAAAAAABZ8/cJdDa6MbLRIjRq4WKN5zJtPDhgI-hwPugCLcBGAsYHQ/s1600/PLanet%2BRada.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1252" data-original-width="1074" height="400" src="https://1.bp.blogspot.com/-quZI8M7SEXc/XqO06FrcUfI/AAAAAAAABZ8/cJdDa6MbLRIjRq4WKN5zJtPDhgI-hwPugCLcBGAsYHQ/s400/PLanet%2BRada.png" width="342" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Planet Rada. Perhaps I'll go home now.</td></tr>
</tbody></table>
<div>
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I always take one of these when I travel. It's a matter re-organiser. You can choose from four different fields, which will recreate the material you feed into it as crystal, antimatter, dark matter or cheese. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-vF1ha32Pte0/XqO3gKf-HXI/AAAAAAAABaI/PY3tscLlb1IHy1iJ-HZX1F4yTbavheRVwCLcBGAsYHQ/s1600/Cheese_Grater.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="382" data-original-width="221" height="320" src="https://1.bp.blogspot.com/-vF1ha32Pte0/XqO3gKf-HXI/AAAAAAAABaI/PY3tscLlb1IHy1iJ-HZX1F4yTbavheRVwCLcBGAsYHQ/s320/Cheese_Grater.jpg" width="184" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matter re-organiser, a very handy machine.</td></tr>
</tbody></table>
<div style="text-align: justify;">
So there you have it, a way to create your own galactic adventure. If you were sufficiently energetic you could write a story to go with it. I just sat back and enjoyed what my friends came up with. Many added their own witty touches to the basic structure, and I was vastly entertained! I might have been in isolation, but it was one of the best birthdays!</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-2812620506208424632020-04-13T18:33:00.000+09:302020-04-29T11:31:29.871+09:30Is Earth's core a global commons and what does this mean for outer space?<div style="text-align: justify;">
On April 6, 2020, US President Trump issued an <a href="https://www.whitehouse.gov/presidential-actions/executive-order-encouraging-international-support-recovery-use-space-resources/">Executive Order</a> rejecting the 1979 Moon Agreement and the idea that outer space is a global commons. </div>
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<div style="text-align: justify;">
What is space if it is not a <a href="https://en.wikipedia.org/wiki/Global_commons">global commons</a>? Other such commons include Antarctica, the deep sea, the atmosphere, and cyberspace. We plebs cannot be denied use and access to these places - no-one is going to be selling us oxygen to breathe, on Earth at least, and for the foreseeable future. But as the amount of carbon dioxide in the atmosphere increases, I don't think anything can be ruled out. (Note that the atmosphere on Mars might also be a global commons, but as it's not suited to human use, manufactured breathable air may be a commodity there). </div>
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I think Trump's rejection of space as a global commons is really insidious, and the precursor to carving up space between commercial interests. It got me to thinking about a place that mirrors outer space, only you couldn't get any more inner, or deeper into the gravity well. I'm talking about Earth's core.<br />
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<h3>
Journey to the Centre of the Earth</h3>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--MxEIpcGrVk/XpPckSZ26MI/AAAAAAAABZo/qsEO8lCED2EtmDGC_fr-rcpydruiFU4swCLcBGAsYHQ/s1600/center-of-the-earth-cover%2Bby%2BRoen%2BKelly.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="433" data-original-width="650" height="266" src="https://1.bp.blogspot.com/--MxEIpcGrVk/XpPckSZ26MI/AAAAAAAABZo/qsEO8lCED2EtmDGC_fr-rcpydruiFU4swCLcBGAsYHQ/s400/center-of-the-earth-cover%2Bby%2BRoen%2BKelly.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image by Roen Kelly</td></tr>
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The core has two layers. The outer core is a fluid iron-nickel layer about 2400 km thick wrapped around the inner core, a solid iron-nickel sphere, about 1220 km in diameter. They're both rotating, but in different directions. The temperature of the outer core ranges from 4000 to 6000 degrees celsius. One of the key effects of the core is to generate Earth's magnetic field, which protects us from the solar wind. Without it life on Earth would be very different.</div>
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Sure, it's a big ball of molten metal that we can't get to, but I don't see why this prevents us from thinking about it's status. Space was once inaccessible too, and Jules Verne imagined journeys to both. In 1864, he published <a href="http://www.gutenberg.org/files/18857/18857-h/18857-h.htm">Journey to the Centre of the Earth</a>, where his heroes attempt to descend to the core through lava tubes. They don't achieve their goal and there is, sadly, no hidden path straight to the centre. At this stage the nature of the core was unknown but one theory was that it was molten. It was also thought that there were large cavities inside Earth which might sustain ecosystems of different kinds (some containing prehistoric fauna). About 200 km down, Verne's intrepid explorers find a vast underground lake and caverns with their own weather systems.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bh9R7qKlhP4/XpJzaz50O-I/AAAAAAAABZc/HRnHDPIzIcMyv_LodZFeqrjMkLVo6D_1ACLcBGAsYHQ/s1600/A_Journey_to_the_Centre_of_the_Earth-1874.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="574" data-original-width="410" height="320" src="https://1.bp.blogspot.com/-bh9R7qKlhP4/XpJzaz50O-I/AAAAAAAABZc/HRnHDPIzIcMyv_LodZFeqrjMkLVo6D_1ACLcBGAsYHQ/s320/A_Journey_to_the_Centre_of_the_Earth-1874.jpg" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Source: Wikimedia</td></tr>
</tbody></table>
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The existence of the core was proven by Richard Oldham in 1906, and by the early 1930s, the analysis of seismic waves passing through Earth showed that it was indeed liquid. The solid inner core was discovered by Danish seismologist <a href="https://www.amnh.org/learn-teach/curriculum-collections/earth-inside-and-out/inge-lehmann-discoverer-of-the-earth-s-inner-core">Inge Lehmann</a> in 1936 from analysis of a New Zealand earthquake. </div>
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These days we think of Earth as solid, like a boring Easter egg. There are some very deep caves both on land and under the sea, but they're only about 2 km. </div>
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Technology may help where we can't find natural routes to the underworld. The problem is the increasing temperature and pressure as you go down through the mantle, which crushes and melts the equipment. The <a href="https://www.bbc.com/future/article/20190503-the-deepest-hole-we-have-ever-dug">deepest humans have ever drilled</a> is 12 km. That's just 0.4% of the 2900 km you'd need to go to get to the core.</div>
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All the same, the mysteries of the interior of Earth continue to influence our desires and imagination. Only in recent years have scientists started to explore the dark biosphere, microbial and wormy life which thrives in the dark fissures and seams of the deep rock. Perhaps there aren't plesiosaurs in subterranean lakes, but it seems the deep Earth is not sterile, either. And perhaps we need Planetary Protection policies for the deep layers of this, and other planets.</div>
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<h3 style="text-align: justify;">
A global uncommons?</h3>
<div style="text-align: justify;">
The next question is whether there are any resources in Earth's core that could be used by humans. We may run out of easily accessible iron ore near the surface, for example. This is one of the reasons asteroid mining is being pursued. We might not quite be equipped to deal with extracting it in liquid form, though. </div>
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<div style="text-align: justify;">
Heat from the core is already used in <a href="https://theconversation.com/explainer-what-is-geothermal-energy-12913">geothermal energy</a>, but the extraction happens close to the surface. Geothermal energy is a renewable energy source, and is regulated at a national level. </div>
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How <a href="https://www.domain.com.au/living/all-the-way-to-the-heavens-how-much-of-your-property-do-you-actually-own-20180729-h12rym-755074/">much can be owned below the surface</a> of Earth is also a matter for national regulation. In Australia before 1891, land titles extended to the core in the common law principle of <i><a href="https://en.wikipedia.org/wiki/Cuius_est_solum,_eius_est_usque_ad_coelum_et_ad_inferos">usque adcoelom et usque ad inferos</a></i>. The complete sentence is 'whoever's is the soil, it is theirs all the way to Heaven and all the way to Hell'. After 1891, states placed limits on the depths below the surface. In Victoria, for example, the Crown owns the land below 15 m to the centre of Earth. </div>
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<div style="text-align: justify;">
And what about treaties or conventions setting out the ground rules for interacting with the core, like there are for outer space? If they exist, I couldn't find them. There seems to be nothing to prevent me claiming ownership of the core, apart from the tiny annoyances of being unable to access it or enforce my ownership. (In 2010, a woman <a href="https://io9.gizmodo.com/spanish-woman-claims-ownership-of-the-sun-says-shes-go-5700607?IR=T">claimed legal ownership</a> of the Sun).</div>
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<div style="text-align: justify;">
Perhaps we could call Earth's core - and by analogy all planetary cores, and unbreathable atmospheres, a global uncommons or perhaps even dyscommons. Everyone has rights to them and the benefits that derive from them (for example, the protection of magnetic fields), but they have limited or zero commercial use for the people who think of Earth in that way (which I'd prefer not to). The uncommons may underlie the commons that are the subject of competing claims and conflicts. The commons then only comes into being when it has something of value to offer. For example, geostationary orbit is very valuable real estate, but only became so when it was possible to elevate satellites to this region. We may see something similar with cislunar space in the future.</div>
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But uncommons don't have to be metrically defined regions of Earth or space at all. As Judith Farquhar, Lili Lai and Marshall Kramer say,</div>
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The uncommons is not, in other words, an exterior to the one-world world; rather, it is a possible world that can make itself partly known in a mottled and ever-changing light and shade. (2017)</blockquote>
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The one-world world (Law 2011, 2015) is a single vision of what Earth or the cosmos is. Pretty much all of our legal and scientific approaches to space are based on a one-world world. Law argues that the dominance of this one-world world by northern hemisphere thinking (ie industrial capitalist nations) makes the raising of multiple, but simultaneous, ways of experiencing the world seem eccentric and self-indulgent. Think about this and tell me it has not sometimes been your reaction when hearing about, for example, Indigenous worldviews about space. It's not easy to train yourself out of this, to see a fractiverse, as Law puts it, rather than a universe. For me, at least, it's an ongoing project.</div>
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My final question is both about how this furthers our thinking about outer space as a global commons, and what this means for defining commons or uncommons on regions of other planets. I don't have any answers just now but I feel I'm on a path of thought that might be productive.</div>
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<b>References</b><br />
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Farquhar, Judith, Lili Lai and Marshall Kramer 2017 A Place at the End of a Road: A Yin-Yang Geography. <i>Anthropologica</i> 59(2): 216-227</div>
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<br />
Law, John 2011 <i>What’s Wrong with a One-World
World?</i> Paper presented to the Center for the Humanities, Wesleyan University,
Middletown, Connecticut on 19th September, 2011 http://www.heterogeneities.net/publications/Law2011WhatsWrongWithAOneWorldWorl
d.pdf</div>
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Law, John 2015 What's Wrong with a One-World World? <i>Distinktion: Scandinavian Journal of Social Theory</i> 16(1): 126–139<br />
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<br />Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-42087740365043853302020-01-31T15:55:00.000+10:302020-02-03T10:02:05.785+10:30Australian space icon: Mr Squiggle, the Man from the Moon<div>
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The impact of the Space Age was not just in science and technology - it was also in popular and everyday culture. If you were a kid growing up in Australia from the 1960s until the the 1990s, you would have been familiar with a children's television icon: <a href="https://en.wikipedia.org/wiki/Mr._Squiggle">Mr Squiggle, the Man from the Moon</a>. Mr Squiggle is a huge part of Australian television history, but I'm more interested in what the programme says about how space travel was perceived in the 1960s and after. </div>
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<h3>
Squiggle basics</h3>
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This is Mr Squiggle's theme tune:</div>
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Here's Mr Squiggle<br />
With lots of fun for everyone<br />
Here's Mr Squiggle, sing a happy tune<br />
You can see we're as happy as can be<br />
Mr Squiggle, the man from the Moon.</blockquote>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZsKuxmfHwWM" width="560"></iframe><br />
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Mr Squiggle was the brainchild of political cartoonist and puppeteer <a href="https://en.wikipedia.org/wiki/Norman_Hetherington">Norman Hetherington</a>. The pencil-nosed puppet's television debut was in 1959. At first Mr Squiggle was part of a six week stint on the Children's TV Club on the ABC, but soon gained his own stand-alone programme. Margaret, who married Norman in 1958, wrote the scripts for the show while Norman performed all the character voices. (Note that while Norman has his own Wikipedia page, Margaret doesn't).</div>
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Children would send in their 'squiggles', and Mr Squiggle used his pencil nose to make them into pictures, accompanied by a female sidekick. Other characters included Bill Steamshovel, Gus the snail, Merv Wallop and his nephew Wayne, Reg Linchpin, Doormat, the grumpy Rocket and a talking Blackboard.</div>
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Mr Squiggle lived at 93 Crater Crescent on the Moon and travelled to Earth every week in his rocket or by going for a 'space-walk'. He could also break out into gravity-defying 'space-walks' spontaneously in the middle of shows. Sometimes, if Rocket was very grumpy, Mr Squiggle would use an umbrella for the descent. </div>
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The action takes place in a very ordinary, regular backyard, with gum trees, in the fictional location of Bandywallop. (The Collins dictionary defines Bandywallop as 'Australian informal: noun. An imaginary town, far from civilization'). There's a rainwater tank where Bill Steamshovel hangs out, and old, weathered yards surrounded by bush. I guess part of the appeal of Mr Squiggle, as we got so much US and UK children's television, was that it was set in Australia with Australian accents and culture. </div>
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Mr Squiggle's female sidekicks were:<br />
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Miss Gina (<a href="https://www.imdb.com/name/nm0993415/">Curtis</a>) (1959-1960),<br />
Miss Pat (Lovell) (1960-1975),<br />
Miss Sue (<a href="https://www.imdb.com/name/nm0516146/">Lloyd</a>) (1975), <br />
Miss Jane (<a href="https://en.wikipedia.org/wiki/Jane_Fennell">Fennell</a>) (1975-1986), <br />
Roxanne (<a href="https://www.imdb.com/name/nm0454034/">Kimmorley</a>) (1986- 1989).<br />
Rebecca (<a href="https://www.imdb.com/name/nm0993063/">Hetherington</a>) (1989-1999)<br />
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Notice a change? Somewhere in Miss Jane's tenure, those pesky feminists [sarcasm font] got in the ABC's ear about the sexism of the female titles, which classify women according to age, marriageability, and ownership by a man. 'A few years ago, the ABC told us to start using Ms instead of Miss,' Norman said in a news interview. 'But Ms Pat doesn't have quite the same ring to it, does it? It sounds like it's short for miserable. So since 1986 we've simply had Roxanne and now Rebecca.'</div>
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Miss Pat is the one I remember most. She was played by <a href="https://en.wikipedia.org/wiki/Patricia_Lovell">Patricia Lovell</a>, who went on to become an influential movie producer (eg Picnic at Hanging Rock, Gallipoli).</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-VcpZ5YeBRCc/XgbXrrwlxaI/AAAAAAAABYo/bTc1t93VnuASUKEEuTRY9BiV75vOOkjWACLcBGAsYHQ/s1600/Miss%2BPat%2Bwith%2BMr%2BSquiggle.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="650" height="240" src="https://1.bp.blogspot.com/-VcpZ5YeBRCc/XgbXrrwlxaI/AAAAAAAABYo/bTc1t93VnuASUKEEuTRY9BiV75vOOkjWACLcBGAsYHQ/s320/Miss%2BPat%2Bwith%2BMr%2BSquiggle.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Miss Pat helps Mr Squiggle out of his rocket</td></tr>
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The science fiction writer <a href="https://en.wikipedia.org/wiki/Terry_Dowling">Terry Dowling</a> was a resident guest on Mr Squiggle, from 1979 to 1982. He wrote songs and performed them on the programme with his guitar. Comedian and radio personality Mikey Robins played <a href="https://aso.gov.au/titles/tv/mr-squiggle-cheer-up/notes/">Reg Linchpin</a> for a year in 1989-1990. The programme ended in 1999. </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Two books were spin-offs from the series. Margaret Hetherington wrote them, and Norman did the illustrations. They were Mr Squiggle and the Great Moon Robbery (1980) and <i>Mr Squiggle and the Preposterous Purple Crocodile</i> (1992). There was also a colouring book in 1989 - <i>Mr Squiggle and His Rocket Activity Book</i>. </span><br />
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Mr Squiggle won <a href="https://en.wikipedia.org/wiki/Penguin_Award">Penguin awards</a> in 1984 and 1989. He was the guest of honour at two science fiction conventions, and been part of two exhibitions at the Performing Arts Museum in Melbourne. The Mosman Art Gallery, in the suburb where Margaret and Norman lived, had an exhibition called <a href="https://www.flickr.com/photos/nicholas_b/albums/72157600080697628/">Mr Squiggle: Who's Pulling the Strings?</a> in 2005. In February 2019, the Royal Australian Mint, in collaboration with supermarket chain Woolworths, <a href="https://www.ramint.gov.au/publications/royal-australian-mint-celebrates-60-years-iconic-aussie-tv-show-mr-squiggle">issued a special release</a> of Mr Squiggle $2 coins to commemorate the puppet's 60th anniversary. They also held an exhibition to go with the launch.</div>
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I was living in Sydney when Mr Squiggle was on his 30th anniversary tour. I was determined to go. Me and my friends (who were mostly colleagues from the icecream shop where I worked part-time) were the only unaccompanied adults there!<br />
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Squiggle space</h3>
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Space wasn't really the point of Mr Squiggle - after all, most of the action took place on Earth, in the bush setting of Bandywallop. Space was more the backdrop. All the same, it's an indication how deeply entangled space became with everyday life in the 1960s. Mr Squiggle was launched only two years after the first satellite reached orbit, Sputnik 1 in 1957. Many people were talking about lunar exploration being just round the corner, and indeed, in 1959, the USSR has a major success with the <a href="https://nssdc.gsfc.nasa.gov/nmc/spacecraft/display.action?id=1959-014A">Luna 2</a> probe becoming the first human object to land on the Moon (or crash land, at any rate). In the meantime, the UK and Australia had already launched the first rockets from the <a href="https://en.wikipedia.org/wiki/RAAF_Woomera_Range_Complex">Woomera launch range</a> in South Australia.</div>
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In the opening sequence of the show, you didn't see Mr Squiggle's home on the Moon, at 93 Crater Crescent - just his rocket descending through the atmosphere. It was a ratty old rocket which had been patched up. Mr Squiggle was sealed inside as if it were a coffin; his tall pointed hat peeked through the nose cone and his pencil nose had a porthole allowing it to poke out too. While it's grey in the animation, the puppet rocket was a lovely shiny silver on set.</div>
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<a href="https://1.bp.blogspot.com/--C5yOdlL8gk/XgbUSB7CMEI/AAAAAAAABYc/52EFnP6RMDsSft4pavJ9F7IcmWXbmMjuQCLcBGAsYHQ/s1600/Mr%252BSquiggle%252B_%252BRocket%252B%2528animated%2529.png"><img border="0" src="https://1.bp.blogspot.com/--C5yOdlL8gk/XgbUSB7CMEI/AAAAAAAABYc/52EFnP6RMDsSft4pavJ9F7IcmWXbmMjuQCLcBGAsYHQ/s320/Mr%252BSquiggle%252B_%252BRocket%252B%2528animated%2529.png" /></a> <br />
Still from the animated opening sequence <br />
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Rocket didn't speak, but conveyed his feelings through his whistle (which you can see on the side) and a blower of the kind you have at children's parties. Rocket's whistle calls resembled birds you might hear in the bush.</div>
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Children really believed that Mr Squiggle lived on the Moon - and, apparently, that Australia Post delivered there. The Mosman Art Gallery's exhibition, Mr Squiggle: who's pulling the strings?, showed an envelope addressed in a child's hand to 'Mr Squiggle, The Moon'.</div>
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Children have always had a special relationship with the Moon. A turn-of-the-century study looked at the feelings and beliefs of North American white children. Many felt the Moon to be very close, and they looked on it as a confidante who would keep their secrets. Many of them talked to the Moon or to the man/woman in the Moon. It was part of their universe in an intimate way. (You can find out more in my <a href="https://www.newsouthbooks.com.au/books/here-comes-dr-space-junk/">recent book</a>).</div>
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It's interesting that we never see the Moon in the programme. Mr Squiggle is not the only inhabitant; after all, he has a suburban street address. Occasionally he would mention different activities such as cultural festivals (eg Settler's Week!) taking place there. There may have been a reason behind this. With so much lunar science going on, perhaps it was safer to avoid being locked into one vision of it. Perhaps it was preferable to leave the Moon in the children's imagination, as fluid and creative as their squiggles.</div>
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We might also ask what kind of being lives on the Moon. In Margaret and Norman Hetherington's vision, Mr Squiggle had particular characteristics. As Richard Bradshaw (2010) described it, he was imbued with 'the qualities of a blessed child: kindness, vulnerability and resourcefulness'. He was happy to ask Miss Pat or Miss Jane to hold his hand while he drew. The gentle Mr Squiggle was a contrast to the sinister space of Cold War politics and the shadowy aliens with their elusive UFOs.</div>
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Mr Squiggle was never presented as an alien. To the contrary: as Norman's friend, the cartoonist Steve Panozzo, <a href="https://www.abc.net.au/news/2010-12-06/man-behind-mr-squiggle-dies/2365676">remarked,</a> Margaret and Norman 'even went to a science fiction convention as special guests because Mr Squiggle is considered Australia's first astronaut.' If Squiggle was the first astronaut, then the Bandywallop back yard was Australia's second rocket launch site, as Woomera had been operating for a decade already when Squiggle made his television debut.</div>
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<h3>
Squiggle space vs real space</h3>
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Rocket was very different to the sleek rockets colonising playgrounds in this period (Gorman 2017). The trend in the US to build metal rockets as climbing apparatus for children was brought to Australia in the 1960s and 'took off', so to speak. One of my favourite playground rockets is in Ulverstone, Tasmania (home of <a href="https://www.tastrofest.com/">Tastrofest</a>). This <a href="https://geocaching.com.au/cache/ga5395">geocaching location</a> has reconfigured the Ulverstone rocket as Mr Squiggle's back-up. I don't know how common this connection was, but at least one person made it.<br />
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Mr Squiggle's ramshackle rocket was also a contrast to the hi-tech missiles, sounding rockets and satellite launchers that made Woomera one of the busiest launch sites in the world throughout the 1960s. There was much overlap and category confusion between weapons and space rockets; my colleague Fraser MacDonald has argued that children's toy rockets do something similar in confusing the categories, a way of dulling the sinister aspects of this technology, inculcating them into a set of values.</div>
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Unlike the Cold War missiles of the time, Rocket was quirky and mostly harmless. </div>
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While it doesn't emerge in the show, Norman and Margaret were certainly aware of the Space Age events unfolding around them. Norman drew a map showing Rocket travelling from the Moon to Earth and back again. In a 1989 interview by Melissa Jones in the Australian Women's Weekly, Norman said '<span style="text-align: justify;">Did you know he has clocked up more interplanetary travel, with his backwards and forwards, than the American and the Russians together?'</span></div>
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The Apollo astronauts did not encounter Mr Squiggle's lunar suburb, but Mr Squiggle certainly noticed what they were doing to his habitat. According to Jones (1989), he was extremely concerned by the litter the astronauts left behind. Squiggle was an early space environmentalist. In <a href="https://www.youtube.com/watch?v=KtE7teKEn-w">an interview with journalist Clive Robertson </a>on television that year, he alluded to the problem of space junk:<br />
<blockquote class="tr_bq">
<b>Mr Squiggle:</b> 'Do you know, the traffic problems up there are something terrible.'<br />
<b>Robertson:</b> 'What, the satellites, you mean?'.<br />
<b>Mr Squiggle:</b> 'That's it! You never know who you're going to bump into. And they have parking meteors everywhere, and then there's the Milky Way - there's so much traffic it's turning sour!'</blockquote>
This was quite prescient - now there is a field called <a href="http://www.spacedaily.com/reports/What_About_Space_Traffic_Management_999.html">Space Traffic Management</a> which is devoted to figuring out how to safely co-ordinate satellite launches and operations among the growing population of junk created from defunct and exploded spacecraft. This small exchange indicates that awareness about environmental issues in space were starting to seep into popular consciousness.<br />
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More than one character had a space connection. Talking and having attitude weren't the only characteristics which made Gus the Snail unusual: he also didn't have a shell. In the early shows, he had a television on his back in a nice meta sort of way. This was replaced with a flowerpot in later years. But the idea that Gus had the capacity to pick up radio signals remained. He had a satellite dish and his own satellite, which could be used to communicate with Mr Squiggle on the Moon. The satellite dish looked like a colander painted silver with some knobs on it: more improvised, domestic-scale space technology.</div>
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The Australian space conundrum</h3>
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Mr Squiggle is very typical of a theme I've noted in how Australians conceive space - as a backyard activity (Gorman 2011). It's low key, low scale. Although Australia was the third nation in the world to launch a satellite from within its own national borders, this achievement has never really been celebrated. In general Australians have been content to boast about collaboration with the US, particularly in the Apollo missions. Honeysuckle Creek tracking station and the Parkes radiotelescope were key facilities in all the Apollo landings from 1969 to 1972. Their roles are conflated in the very popular film <a href="https://en.wikipedia.org/wiki/The_Dish">The Dish</a> (2000). The <a href="https://www.honeysucklecreek.net/msfn_missions/Skylab/skylab_re-entry.html">dramatic re-entry</a> of Skylab in 1979 is fondly remembered by Aussies, and celebrated in Western Australia - but few people know about the amateur <a href="https://australis-oscar5.weebly.com/">Australis Oscar 5 </a>satellite launched in 1970 (celebrating its 50th anniversary this year), or the second Australian scientific satellite, <a href="https://www.unisa.edu.au/research/Institute-for-Telecommunications-Research/Projects/FedSat---historical-highlights/">FedSat 1</a>, launched in 2002. Until 2018, Australia didn't even have a space agency. The way I see it, there's something that makes us uneasy about high technology.</div>
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I guess what I find interesting about Mr Squiggle is that this theme of backyard space is already in place in 1959, and it never develops further. Squiggle doesn't get a bigger and better rocket. Miss Pat doesn't make a trip to the Moon. Events in Australian space aren't incorporated into the show, in the way that they were for US Sitcom <i>I Dream of Jeannie</i> (also very popular on Australian television). I don't want to speculate too much about cause and effect; but Mr Squiggle is an exemplar of this uneasy relationship: a reluctance to leave the bush behind. High technology is translated into something gentle and safe. Perhaps this is a form of risk aversion.<br />
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I'm not saying Australians were not interested in space - far from it. In the 1950s, there were speculations about commercial spaceports at Woomera and post delivered by rockets. People <a href="https://zoharesque.blogspot.com/2011/03/yuri-gagarins-australian-story-lost-in.html">flocked to see</a> full-scale models of Russian spacecraft at the Sydney Trade Fair of 1961. Children dreamed of being astronauts, and so did the grown-ups. Newspapers reported on scientific advances and space events all round the world. And every night, from the 1959 to 1999, Mr Squiggle brought a little bit of the Moon to Australian living rooms. Space was associated with humour, not a political existential crisis such as the US faced. Maybe Aussies were too complacent. I don't know. I've been tugging at this thread for a while now, trying to understand how Australia understood itself as a space identity.</div>
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But it's always possible that Squiggle would have rejoiced in recent developments, such as the establishment of the Australian Space Agency in 2018. He might have upped sticks from the safe old Moon and moved further afield too. 'If he [Norman] was doing it [Mr Squiggle] now, he’d go to Pluto or Mars,' Rebecca Hetherington <a href="https://www.dailytelegraph.com.au/newslocal/penrith-press/see-art-by-the-man-behind-mr-squiggle/news-story/0d0a1e9005589e8d3759f72c66817f04">told a reporter</a> in 2016.</div>
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If Mr Squiggle made the bush backyard into a space scenario, he also followed Australian bush traditions in his residence at 93 Crater Crescent. I think his statement to Roxanne (1987) captures something very charming about life in our little neck of the solar system:<br />
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'That's one of the nice things about the Moon. It's always afternoon tea time'.</div>
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<h3>
Fun Squiggle stories</h3>
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In 1993, the musician Prince changed his name to a symbol. Some called him Mr Squiggle. <a href="https://en.wikipedia.org/wiki/Richard_Wilkins_(TV_presenter)">Richard Wilkins</a> relates an interview he did with Prince in 2003:<br />
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'What about when you changed your name? That was all a bit weird. What was that all about?' 'I was both having fun and at war with the record label. They said to me, "Prince is contracted to us. You can't change your name and just be somebody else". They owned me. That's when I came up with the symbol thing'. 'We used to call you Mr Squiggle', I told him. 'That's funny', he said generously and half-heartedly. He probably didn't get the connection, since Mr Squiggle was only on TV in Australia'.</blockquote>
<span style="color: #555555; font-family: "roboto" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 14px;">In 2009, opposition politician Christopher Pyne used </span></span><a href="https://www.heraldsun.com.au/archive/news/prime-minister-gets-squiggled/news-story/83980253eed47f111eb842b2fac1103c" style="color: #555555; font-family: roboto, helvetica, arial, sans-serif; font-size: 14px;">'Mr Squiggle' to insult</a><span style="color: #555555; font-family: "roboto" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 14px;"> Prime Minister Kevin Rudd. The Prime Minister wasn't phased and commented: 'Many of us on this side of the House would always stand up for the integrity of Miss Pat and the entire crew out there on Mr Squiggle'.</span></span></div>
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PS: sorry about the weird font changes, I couldn't fix it!<br />
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<span style="font-family: "times new roman"; text-align: justify;">References</span></h4>
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Bradshaw, Richard 2010 Eulogy for Norman Hetherington 1921 - 2010. OPEN: <i>Oz Puppetry Email Newsletter</i> Issue 11</div>
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Gorman, A.C. 2018 Gravity's playground: dreams of spaceflight and the rocket park in Australian culture. In Darran Jordan and Rocco Bosco, ed. <i>Defining the Fringe of Contemporary Australian Archaeology. Pyramidiots, Paranoia and the Paranormal.</i> Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 92-107.<br />
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Gorman, A.C. 2011 The sky is falling: how Skylab became an Australian icon. <i>Journal of Australian Studies</i> 35(4):529-546</div>
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Jones, Melissa 1989 Mr Squiggle chalks up 30 years. <i>The Australian Women's Weekly</i> p 65 (reproduced at <a href="http://members.optusnet.com.au/kringunny/squiggle.htm">http://members.optusnet.com.au/kringunny/squiggle.htm</a>)</div>
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Solman, Peter 2010 Norman Hetherington Remembered. A personal recollection by Peter Soloman. OPEN: <i>Oz Puppetry Email Newsletter</i> Issue 11</div>
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Wilkins, Richard 2011 <i>Black Ties, Red Carpets, Green Rooms. </i>Chatswood: New Holland</div>
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Wilson, Peter J. and Geoffrey Milne 2004 The Space Between: The Art of Puppetry and Visual Theatre in Australia. Sydney: Currency Press<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-72927625214765130062019-12-27T15:36:00.000+10:302019-12-27T16:19:07.234+10:30Stone Age to Space Age in 1960s and 70s American sitcoms<h4 style="text-align: justify;">
<span style="font-weight: 400;">One weekend I was idling at home watching cheesy American sitcoms from the 1960s and 1970s, and I chanced across a very interesting episode of <i>The Brady Bunch</i>. I was arrested by a theme that I've written about often before: the trope which places the 'Stone Age' and the 'Space Age' in opposition. The Brady Bunch was a pretty unlikely place to stumble across a critique of this, but stranger things have happened.</span></h4>
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<span style="font-weight: 400;">This led me to recall a double episode of my favourite Space Age sitcom, <i>I Dream of Jeannie</i>, set in Hawai'i. I watched this again just as I was beginning to feel my way around my space research over a decade ago, and it's been in the back of my mind ever since. Its themes are similar to the Brady Bunch episodes, and it's interesting to see how they appear to the contemporary eye.</span></div>
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From buffalo to blast-off</h4>
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In the Brady Bunch episode <i>Grand Canyon or Bust</i> (1971), Cindy and Bobby wander off during a family holiday and get lost. They meet Jimmy, a <a href="https://www.mygrandcanyonpark.com/park/native-american-tribes">Hopi</a> boy who has run away from his grandfather.</div>
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This is in the midst of the Apollo human spaceflight program: Apollo 14 had been launched in January 1971, and Apollo 15 in July.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-StaHNoZkn_M/XXxiA3WsURI/AAAAAAAABXY/n2A_uqAXNSYTlTHxJ9f75yWwZ9DGFwAeACLcBGAsYHQ/s1600/Cindy%2BBobby%2Band%2BJimmy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="324" data-original-width="399" height="259" src="https://1.bp.blogspot.com/-StaHNoZkn_M/XXxiA3WsURI/AAAAAAAABXY/n2A_uqAXNSYTlTHxJ9f75yWwZ9DGFwAeACLcBGAsYHQ/s320/Cindy%2BBobby%2Band%2BJimmy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cindy and Bobby meet Jimmy</td></tr>
</tbody></table>
</div>
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In the third episode of this story arc, <i>The Brady Braves</i>, Mr Brady rescues the three children. Jimmy says he loves his grandfather, but ran away because his grandfather talked about the past all the time. He says, 'Mr Brady, I'm tired of being an injun [sic]. I want to be an astronaut'. In his mind, the two are mutually exclusive. The 'Stone Age' cannot meet the 'Space Age'. </div>
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When he is reunited with his grandfather, the grandfather says to Mr Brady, "He thinks because I speak of buffalo, I don't understand blast-offs". There are generational dilemmas in this phrase. The implication is that knowledge is lost in simply three generations between the grandparents and grandchildren. The youngsters don't want to know their heritage; the connection between the past and the future is not obvious to them. The grandfather thinks differently, however: for him the buffalo (a term commonly used for North American bison), a species <a href="https://www.pbs.org/wnet/nature/american-buffalo-spirit-of-a-nation-introduction/2183/">which had been decimated</a> by European invasion, is still the present, not the past. The buffalo symbolises the impacts of colonialism which young Jimmy wants to forget, but the grandfather sees the connections between the 'Space Age' and 'Stone Age'.</div>
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Later there's a ceremony in which the Brady Bunch are inducted as members of the tribe and given new names. There is an exchange of values flowing between past and present, invader and vanquished. Of course none of this is as fluffy and light in reality as in Brady Bunch world, but the episodes attempt to break down the idea that there should be a division between buffalo and blast-off - the Hopi boy can have his American Dream without giving up his heritage. It's a hopeful message about the reconciliation between Stone and Space Ages.</div>
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<h4 style="text-align: justify;">
'Pity the Indians of Outer Space'</h4>
<div style="text-align: justify;">
There's quite a few stories of American Indian reactions to the Apollo missions. They centre around the themes of Indigenous knowledge vs 'scientific' knowledge.<br />
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In series of stories (I heard one account first-hand from a US anthropologist), American Indian people tell anthropologists who ask their opinion of the Apollo lunar landings that they already knew the Moon was just a grey dusty rock. There was no need to spend billions on a mission to find out what was already known!<br />
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Another set of stories has a tribe sending a message to the lunar inhabitants, or the lunar spirits, to watch out for the visitors. They will only steal their land, or ruin the environment as Europeans have on Earth (eg Young 1983: 273).<br />
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These stories place Indigenous knowledge and scientific knowledge in opposition, and are told with the intention of mocking Western science - but the 'superstitious' knowledge of the First Nations people is also satirised. The 'Stone Age' and 'Space Age' still define the encounter. Like all good urban legends, the stories stop short of telling you what happened next. The conflict is not resolved but left hanging in the air.<br />
<br />
As Young (1983:274) argues, however, these are different registers of knowledge. Although they are juxtaposed in the metaphor, they are not commensurate. Each requires a different class of action. And First Nations people are not, by these stories, positioned as the first astronauts. They are still excluded. The Space Age is seen as unnecessary for them.<br />
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<h4 style="text-align: justify;">
I dream of a terra nullius</h4>
<div style="text-align: justify;">
There's an interesting parallel in the on-location Hawai'ian episodes of <i>I Dream of Jeannie, </i>which are basically US propaganda to justify <a href="http://www.digitalhistory.uh.edu/disp_textbook.cfm?smtid=2&psid=3159">the illegal annexation</a> of the islands. Hawai'i was an independent sovereign kingdom until the monarch, <a href="https://www.smithsonianmag.com/smart-news/five-things-know-about-liliuokalani-last-queen-hawaii-180967155/">Queen Liliuokalani</a>, was overthrown by an American conspiracy in 1893. In the 1960s, an independence movement was emerging in Hawaii just at the time when tourism was becoming a big industry. The IDOJ episodes represented space as soft diplomacy.<br />
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Hawaii was quite an important place in the US space program. NASA <a href="https://www.nasa.gov/feature/hawaii-s-role-in-nasa-s-space-exploration-programs">built a tracking station</a> on the island of Kauai, in Koke'e State Park, in 1961 to support their first human spaceflight program, Project Mercury. The station went on to support Gemini and Apollo. Neil Armstrong himself was posted to the Kauai tracking station in 1965 when he was the CAPCOM (capsule commander) for Gemini 3. It's now called the Koke'e Park Geophysical Observatory.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8bN_YdVOjx8/XZp_EfrnrtI/AAAAAAAABXk/dzIM8aJQtog5VRtl2ckySCwIECV7ERlTwCLcBGAsYHQ/s1600/NASA%2Btracking%2Bstation%2BKauai.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1228" data-original-width="1500" height="261" src="https://1.bp.blogspot.com/-8bN_YdVOjx8/XZp_EfrnrtI/AAAAAAAABXk/dzIM8aJQtog5VRtl2ckySCwIECV7ERlTwCLcBGAsYHQ/s320/NASA%2Btracking%2Bstation%2BKauai.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The tracking station on Kauai in 1965. Image credit: NASA</td></tr>
</tbody></table>
The returning Apollo astronauts dropped into the sea; and the Pearl Harbour naval base, near Honolulu, was where the recovery fleet was stationed. (You might remember that astronaut Tony Nelson finds Jeannie's bottle on a tropical beach with palm trees when he steps out of his capsule). The Apollo 11-14 crew were <a href="https://www.nasa.gov/feature/hawaii-s-role-in-nasa-s-space-exploration-programs">quarantined</a> in Honolulu.<br />
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NASA also used the stark volcanic landscapes of Hawaii to <a href="https://www.smithsonianmag.com/travel/going-moon-apollo-11-astronauts-trained-these-five-sites-180972452/">familiarise the Apollo 11 astronauts</a> with lunar geology. In January 1965, the crew traipsed over terrain shaped by lava in training exercises, including a hike to the summit of the Mauna Loa volcano.<br />
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<br />
But of course, these uniquely Hawai'ian landscapes were not a terra nullius, the legal fiction of a land belonging to no-one. They were only a lunar analogue if you stripped away all history and culture; reduced them to a narrow geology where people had never set foot before.<br />
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<h4>
'Oh, you don't think he's serious about this invasion business, do you?'</h4>
<pre style="color: #333333; font-size: 14px; left: -99999px; position: absolute; text-align: center;">Oh, you don't think he's serious about that That invasion business, do you?
Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=i-dream-of-jeannie-1965&episode=s03e15</pre>
<pre style="color: #333333; font-size: 14px; left: -99999px; position: absolute; text-align: center;">Oh, you don't think he's serious about that That invasion business, do you?
Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=i-dream-of-jeannie-1965&episode=s03e15</pre>
In <i>Jeannie Goes to Honolulu</i> (December 19, 1967), Tony and his comedic sidekick Major Roger Healey are on a 'working holiday' in Hawai'i when Jeannie joins them. The second part is <i>The Battle of Waikiki</i> (January 2, 1968). Tony expresses the desire to meet <a href="https://www.biography.com/political-figure/kamehameha-i">King Kamehameha</a>, who founded the Kingdom of Hawai'i in 1810, and of course Jeannie summons him up.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-iSbNk32meM8/XgWNqRW-ccI/AAAAAAAABYQ/T1GY6pwKLi0TthwEPJ5wRrCN-flMNPqFwCLcBGAsYHQ/s1600/Battle%2Bof%2BWaikiki%2Bohio8.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://1.bp.blogspot.com/-iSbNk32meM8/XgWNqRW-ccI/AAAAAAAABYQ/T1GY6pwKLi0TthwEPJ5wRrCN-flMNPqFwCLcBGAsYHQ/s320/Battle%2Bof%2BWaikiki%2Bohio8.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tony and Roger chat to King Kamehameha in downtown Honolulu.<br />
Image courtesy of Sitcomsonline</td></tr>
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The <a href="https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=i-dream-of-jeannie-1965&episode=s03e15">script</a> is so entangled with colonial metaphors it would take a whole essay to pull them apart. I'm not going to do it now! But there are some key points. Famously, Kamehameha was in power when Captain Cook came through and 'discovered' the islands in 1778. There's a whole narrative of space exploration which co-opts the colonisation of the Pacific by intrepid seafarers, followed by the European colonial voyages, into a supposed universal human 'urge to explore' which leads to space. Thus Hawai'i's subjugation by the US is subsumed into an arc of inevitability. The connections in this narrative are so strongly embedded in space culture that the <a href="https://www.hq.nasa.gov/alsj/">Apollo Lunar Surface Journals</a> were created in emulation of Cook's journals during his Pacific voyages.<br />
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Part of the humour resides in King Kamehameha's reactions to modern technology. 'He has a chance to see what civilization has done for his country' says Roger. The king surveys the office buildings, hotels, sidewalks and motorcycles, but he's not impressed. He insists that they are removed. The astronauts are confused. Isn't it obvious that this is better? 'He's got to be made to see that civilization has helped, and the progress that's been made here', Tony says.<br />
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Once again, Indigenous knowledge and western scientific knowledge are brought face to face. Kamehameha performs a dance and causes it to rain (with intervention from Jeannie). Dr Bellows sees an opportunity:<br />
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Dr Bellows: Don't you realize if he went to Washington with us, have you any idea what it would mean? </blockquote>
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Tony: It would certainly shake up the boys in meteorology.</blockquote>
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Dr Bellows: Well I think so! Predicting the weather is one thing, but making the weather? Why, we're just beginning to experiment!</blockquote>
Interestingly, Dr Bellows prefigures the current trend to incorporate Indigenous knowledge in land management. Of course, the joke's on him: as Tony points out, no-one would believe him about the rainmaking.<br />
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The King is in no mood to be trifled with, and proposes to raise an army to take back the islands. But the only canoes he can find are rented at $2.00 an hour to tourists, and the only spears are souvenirs for purchase in the hotel gift shop. His soldiers are the staff at the 'Living Hawai'i' museum.<br />
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While King Kamehameha plans his moves, the NASA staff all head off for a grand luau with roasted pigs and tropical fruits. Kamehameha's attack is interpreted as a performance and his army desert to participate in the luau. The King gives up in disgust.<br />
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By the end of the program, he has been brought to heel. 'I do not understand your way of life but my people seem happy. Perhaps this progress is good for them', he says. 'You make sure your civilization take care of my people.' An interesting statement in light of the social divisions unremarked upon in the episode: the local Hawai'ians are employed to serve food, sell souvenirs, hire out war canoes to white American military personnel and tourists looking for authentic tiki culture.<br />
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And so by the end of the episode, all conflict is resolved neatly, delivering political stability in advance of the Apollo 11 mission.<br />
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<h4 style="text-align: justify;">
Conclusions</h4>
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The episodes are both blunt instruments and nuanced in ways you don't expect. The Brady Bunch episode has so many cliches and stereotypes, and yet it is basically promoting the idea that the Stone Age and Space Age are not opposed: the young Hopi boy CAN become an astronaut. The buffalo and blast-off can co-exist, neither erasing the other.<br />
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<i>The Battle of Waikiki</i> is a reverie on the continuity of colonial manliness, a theme analysed by Anne McClintock in <a href="https://www.scripted.com/writing-samples/analysis-of-imperial-leather-a-review-of-anne-mcclintock-s-postcolonial-portrait">Imperial Leather.</a> King Kamehameha conquered and united the Hawai'ian islands, just like the astronauts are going to conquer space. And like the cannibal mythos, the astronauts have absorbed some of King Kamehameha's heroic qualities. They become his symbolic heirs in conquest. In doing so, they retrospectively bestow value on Indigenous cultures, which are not excluded but incorporated into the narrative while staying firmly fixed in the past.<br />
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Hawai'i is still a battleground of Stone Age/Space Age values. It's the location of the <a href="https://hi-seas.org/">Hi-SEAS</a> (Hawai'i Space Exploration Analog and Simulation) habitat, meant to simulate the experience of isolation on a long-duration space mission to Mars. The colonial refiguring of the landscape has morphed with changing USA space aspirations.<br />
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More recently, there has been controversy about the construction of a new telescope on the mountain of Mauna Kea. The easy resort of placing 'Stone Age' in the past while 'Space Age' represents the future is being challenged by protectors resisting a manifestation of colonialism masked in science. It's complex and I don't pretend to understand enough about the issues to explain them here. One commentator, however, has called the protests '<a href="https://www.vox.com/identities/2019/7/24/20706930/mauna-kea-hawaii">one of the largest uprisings of Native Hawaiians</a> in modern history'.<br />
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There are no Indigenous people in space, I have heard stated many times. Space is up for grabs with clean hands as no humans will be displaced, alienated, subjected to genocide. Space is the colonialist's wet dream.<br />
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But I would argue that it's a false framing to say that the lack of space Indigenes creates a carte blanche, a tabula rasa, a terra nullius. It's just that we don't recognise how deeply space is now inscribed with white, male, capitalist and colonialist values, as these are the default, invisible to the scientific and military cadres of which the space community is mainly composed. But because these things are defined by what they exclude, the exclusions are already present. You need a different perspective to perceive their power.<br />
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<b>References</b><br />
McClintock, Anne 1995 <i>Imperial Leather. Race, Gender and Sexuality in the Colonial Contest</i>. New York: Routledge<br />
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Young, Jane 1983 'Pity the Indians of outer space': Native American views of the space program. <i>Western Folklore</i> 46(4):269-279<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-28184038030171310792019-09-07T10:04:00.000+09:302019-09-07T10:05:13.238+09:30Words and poems by women in Dr Space Junk vs the Universe.<div style="text-align: justify;">
In my book <a href="https://www.newsouthbooks.com.au/books/here-comes-dr-space-junk/">Dr Space Junk vs the Universe: Archaeology and the Future</a>, I start every chapter with a poem or a quote by a woman. This was something I decided to do very early on in the writing process.</div>
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There were poems and poets I already knew I wanted to include, such as the inspiring Christine Rueter (<a href="https://tychogirl.wordpress.com/">@Tychogirl</a>). For other chapters, I had to do a lot of research to find the right fit. This, as you can imagine, was an incredibly rewarding process as I trawled through the internet poetry archive, discovering wonderful works and poets I had never come across before. There were some interesting Twitter conversations which led me to all kinds of beautiful writing. So much amazing poetry! I would have used them all if I could. (I'm very open to offers from a publisher to edit a book of women's space poetry....)</div>
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Then began the process of gaining permission to use the quotes. This came as a shock to me, as it's generally not necessary in academic writing. As my book was a regular bookshop book expected to make money, I had to negotiate copyright clearance. Sadly some did not come through in time and I had to find alternatives. Of that, more later.</div>
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Here are the poems/quotes as featured in the book, links to their full version, and a little explanation of what they mean for me.<br />
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<b>Introduction: Looking Up, Looking Down</b><br />
<blockquote class="tr_bq">
I’ll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination.<br />
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From Ursula K Le Guin, <i>The Left Hand of Darkness, </i>1969</blockquote>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-O3_nZoT42PU/XWc7NbnzNQI/AAAAAAAABV4/NVq2sVfdYs4yIsM3czqyvw_eirg8DFQnQCLcBGAs/s1600/Phillips-Ursula-K-LeGuin.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="653" data-original-width="649" height="320" src="https://1.bp.blogspot.com/-O3_nZoT42PU/XWc7NbnzNQI/AAAAAAAABV4/NVq2sVfdYs4yIsM3czqyvw_eirg8DFQnQCLcBGAs/s320/Phillips-Ursula-K-LeGuin.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ursula K. Le Guin. <br />
Image Credit: Dana Gluckstein / MPTV Images</td></tr>
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<i><a href="https://en.wikipedia.org/wiki/The_Left_Hand_of_Darkness"><br />The Left Hand of Darkness</a> </i>is a justly renowned novel by the great master of science fiction. She explores the impacts of sex and gender on human social systems by imagining a society where neither exists as we understand it. It's what good science fiction should be: something that gives us insight into the other, and in doing so invites reflection on the causes and consequences of our own social being.</div>
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The quote implies that facts are not enough to tell a story, and facts themselves are dependent on context. I felt this was a fitting way to open the book, as I did not want to talk just about facts. I wanted it to be about the things that usually get left out of space narratives - feelings and emotions, social context, and the everyday.<br />
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<b>Chapter 1: How I became a space archaeologist</b><br />
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And I am as far as an infinite alphabet <br />
made from yellow stars and ice, <br />
and you are as far as the nails of the dead man, <br />
as far as a sailor can see at midnight <br />
when he’s drunk and the moon is an empty cup, <br />
and I am as far as invention and you are as far as memory.<br />
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Excerpt from Susan Stewart, <a href="https://m.poets.org/poetsorg/poem/yellow-stars-and-ice">Yellow Stars and Ice,</a> 1982.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-BmtxDbhWlw4/XWh3hlZILWI/AAAAAAAABWE/UCIRyPhIiW0U5ulKXtb9zZmNUxU55MBNACLcBGAs/s1600/SusanStewart_NewBioImage2015-AmericanAcademyinBerlin.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="314" data-original-width="311" src="https://1.bp.blogspot.com/-BmtxDbhWlw4/XWh3hlZILWI/AAAAAAAABWE/UCIRyPhIiW0U5ulKXtb9zZmNUxU55MBNACLcBGAs/s1600/SusanStewart_NewBioImage2015-AmericanAcademyinBerlin.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susan Stewart.<br />
Image credit: <a href="https://poets.org/poet/susan-stewart">https://poets.org/poet/susan-stewart</a></td></tr>
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I love this poem because it's about the distance between things that can't be measured. It seems to capture a paradox of space for me. Space can't be characterised by just numbers; its vast distances can be both infinite and intimate at the same time.<br />
<br />
I love the juxtapostion of invention and memory. This reminds me of the Platonic theory of <i><a href="https://www.newworldencyclopedia.org/entry/Anamnesis">anamnesis</a></i>: that all knowledge is just remembering what we already knew before our current embodiment.<br />
<br />
It also reminds me of the story of little yellow droplets of frozen urine from the Mir space station, which sometimes became embedded in the windows of the US space shuttle.<br />
<br />
It's a magical incantation too, with shades of the tarot in the empty cup, the dead man, the Moon. Perhaps I need to go back and read the rest of the poem in this light.</div>
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<b>Chapter 2: Journey into Space</b><br />
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<span lang="EN-US">Our trajectory<o:p></o:p></span></div>
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<span lang="EN-US">the nautilus shell curved path<o:p></o:p></span></div>
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<span lang="EN-US">away from our home.<o:p></o:p></span></div>
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Poem by Christine Rueter, <a href="https://tychogirl.wordpress.com/2015/04/22/our-trajectory/">Our Trajectory</a>, 2015<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6v8OioACGv4/XWnDQCjREZI/AAAAAAAABWQ/dMPljdZ5omMDYQdQSoPh3fPqOtnuOjYWwCLcBGAs/s1600/Christine%2BRueter.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-6v8OioACGv4/XWnDQCjREZI/AAAAAAAABWQ/dMPljdZ5omMDYQdQSoPh3fPqOtnuOjYWwCLcBGAs/s1600/Christine%2BRueter.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christine Rueter. Image Credit: @tychogirl</td></tr>
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<span style="text-align: justify;">I've been inspired by Christine Rueter's poetry and artworks ever since I met her on Twitter, and she is unfailingly generous in giving me permission to use her work. I first started to think about shell-and-space metaphors when I read Gaston Bachelard's </span><a href="https://sites.evergreen.edu/wp-content/uploads/sites/88/2015/05/Gaston-Bachelard-the-Poetics-of-Space.pdf" style="text-align: justify;">Poetics of Space </a><span style="text-align: justify;">(1958). I had kind of hoped that the Poetics of Space would have a lot more of outer space in it than it did, but in fact outer space is folded into and interleaved with inner space if you look for it in this work.</span><br />
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The nautilus shell in Christine's poem is a curve both inwards and outwards. Home is the planet Earth, but also the home where I start this autobiographical chapter. The nautilus shell is the curves of orbit, the journey not to centre of Earth, <i>vide</i> Jules Verne, but into the infinite expanse of outer space.</div>
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<b>Chapter 3: Space Archaeology Begins on Earth</b><br />
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This morning this planet is covered by winds and blue. <br />
This morning this planet glows with dustless perfect light, <br />
enough that I can see one million sharp leaves<br />
from where I stand. I walk on this planet, its hard-packed <br />
<br />
dirt and prickling grass, and I don’t fall off. I come down <br />
soft if I choose, hard if I choose. I never float away. <br />
Sometimes I want to be weightless on this planet, and so ... <br />
<br />
Excerpt from Catherine Pierce, <a href="https://www.poets.org/poetsorg/poem/planet">Planet</a>, 2017.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Fv68dxXlYiE/XWnEEU2WgtI/AAAAAAAABWY/UxsiZMldBu0GUnZvQYvAb5v6VqLgGs_-wCLcBGAs/s1600/Pierce-bw.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="612" data-original-width="612" height="320" src="https://1.bp.blogspot.com/-Fv68dxXlYiE/XWnEEU2WgtI/AAAAAAAABWY/UxsiZMldBu0GUnZvQYvAb5v6VqLgGs_-wCLcBGAs/s320/Pierce-bw.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catherine Pierce. Image Credit: Brooklyn Poets</td></tr>
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In the previous chapter I had talked of the moment of getting my first glasses, at age 11, and the sudden revelation that the species of bird could be identified visually while they were in flight. The other revelation was leaves on trees, which suddenly became individual and distinct. I remember so well wearing my new glasses on the drive home from Albury, the town where the nearest optometrist was, with this new vision: marvelling at all that had previously been hidden from me.</div>
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In recent years I've become more and more interested in dust (lunar, cosmic, interplanetary), and the 'dustless light' is a contrast to, for example, <a href="https://en.wikipedia.org/wiki/Zodiacal_light">zodiacal light</a>, which is the sun's rays reflected from the particles of dust between the planets. This dust is left over, they say, from the formation of the solar system.</div>
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I interpret the 'come down soft if I choose, hard if I choose' as a statement about how gravity is experienced. It's not just an abstract quality, and equation, a way to characterise different motions and places in space. It's also something all living things interact with. Pierce reminds us that we are not helpless victims of gravity. We can choose - sometimes at least - how to engage with it. Later in the book I pickup the theme of gravity in more detail. </div>
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<b>Chapter 4: Junkyard Earth</b><br />
<br />
Strange flashes of radiation <br />
zip through your ghost eyes <br />
on this frenzied carousel <br />
hurtling round Earth. <br />
You wonder if radar will pick<br />
you up as a spectral shadow<br />
or dark mass. An unexplained <br />
phenomenon cataloged and <br />
monitored in the wasteland flux <br />
where blackness leans into the soul.<br />
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<span style="font-family: "granjon"; font-size: 11pt; font-style: italic;"><br /></span><span style="font-family: "granjon"; font-size: 11pt;">Excerpt from </span><span style="font-family: "granjon"; font-size: 11pt;">Marina Lee Sable, <a href="http://strangehorizons.com/poetry/space-junk/">Space Junk</a>, 2010. </span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-pF9db5L_XWE/XXL51UiN1jI/AAAAAAAABXI/HvPNyQUOLB82tnrK4xWErwXb-SvToMehwCLcBGAs/s1600/U%2BMiami%2Bhero-spacedebris_940x529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="529" data-original-width="940" height="180" src="https://1.bp.blogspot.com/-pF9db5L_XWE/XXL51UiN1jI/AAAAAAAABXI/HvPNyQUOLB82tnrK4xWErwXb-SvToMehwCLcBGAs/s320/U%2BMiami%2Bhero-spacedebris_940x529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Space junk. Image credit: University of Miami</td></tr>
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In the book I'm trying to convey the message that junk is never just junk: how we classify it says something about our values. This excerpt speaks about the general invisibility of space junk and its ghostly qualities. It's a visual picture of what's above our heads - a high speed whirling carousel of dark objects which you can only see when they catch the sunlight. Apart from these moments, they are in darkness and beyond human senses.</div>
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Dead satellites have been called zombies. They are not buried, they don't stay put, they move. But they have no direction; there's no-one home inside. Sable evokes a colourless wasteland populated by shadowy beings whizzing frantically without purpose: damned, condemned to orbit, their soullessness threatening our souls. Space is haunted by the ghosts our past.<br />
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<b>Chapter 5: Shadows on the Moon</b><br />
<br />
The grey unknown<br />
was acceptable for so long<br />
but then we got close<br />
and color leaked in<br />
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Poem by Christine Rueter, <a href="https://tychogirl.wordpress.com/2015/04/19/color-leaked-in/">Color leaked in</a>, 2015<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-O_RmyCZ59Yg/XWs5TExXewI/AAAAAAAABWk/zIyVfR4m50EKXvjC6EFMDat3dsphmyZmQCLcBGAs/s1600/Goethe-Colours.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="639" data-original-width="900" height="227" src="https://1.bp.blogspot.com/-O_RmyCZ59Yg/XWs5TExXewI/AAAAAAAABWk/zIyVfR4m50EKXvjC6EFMDat3dsphmyZmQCLcBGAs/s320/Goethe-Colours.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Goethe's theory of colours. Image credit: unknown.</td></tr>
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<span style="text-align: justify;">I chose this poem because it contrasts our vision of the Moon from a distance, where it appears a relentless grey, and the experience of it close up when humans finally walked there on the Apollo missions of the 1960s. There is the scientific observation of light and shadow, and then there is the embodied experience. As a former painter, I've long been intrigued by Goethe's colour theory; and although it has been heavily criticised, I think his exploration of coloured shadows has something to offer the way we understand colour on other worlds, in other atmospheres. Astronaut Alan Bean devoted his post-Apollo life to painting the colours he saw on the Moon: mauves, yellows, greens, hidden in the shadows. You can see his paintings <a href="https://www.alanbean.com/">here</a>.</span><br />
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I do hope Christine publishes a book of her poetry and artworks, because it would be truly beautiful and I would buy many copies to give to my friends.</div>
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<b>Chapter 6: The edge of known space</b><br />
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Black upon black, the fissure in the ice,<br />
The outer rim where you passed<br />
Once, but not twice.<br />
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Excerpt from Alice Gorman, <i>Eurydyssey</i>, 2018.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-inZxeAvyLTo/XWs7fq7ZPKI/AAAAAAAABWw/KNfSdet_CZ4cME6VAFS5UF-9IQRclc4pwCLcBGAs/s1600/Hyacinth%2Bblue.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="225" src="https://1.bp.blogspot.com/-inZxeAvyLTo/XWs7fq7ZPKI/AAAAAAAABWw/KNfSdet_CZ4cME6VAFS5UF-9IQRclc4pwCLcBGAs/s1600/Hyacinth%2Bblue.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glidden Fresh Hyacinth. <br />
Image credit: Encycolorpedia</td></tr>
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<br />
Originally I had wanted to use a quote from HD's Eurydice, a poem that pierces you to the core. You can find the full text <a href="https://www.poetryfoundation.org/poems/51869/eurydice-56d22fe6d049d">here</a>. However, I didn't get permission to use it in time. This left me with a dilemma. My publisher suggested finding another poem; but in the diminishing time I had left to both find one and obtain permission, it was a tall order. I was stymied, my beautiful scheme of women's words about to become unravelled.</div>
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I asked my esteemed colleague Dr Lynley Wallis for advice. Her answer was: why not write one yourself? But I'm not a poet, I replied. So? she said. I thought about it for a little while, and then thought, what have I got to lose? I can at least have a go. It doesn't matter if it's crap, it need never see the light of day....</div>
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So this is my effort above. The conceit is that it's from a longer poem - it's just that I haven't written the rest yet! I called it <i>Eurydyssey</i> to reference the inspiration of HD's Eurydice, and as a play on the Odyssey, as this chapter was about far-voyaging spacecraft. </div>
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While I wanted to make it a homage to Eurydice, I also had to avoid the risk of plagiarism. There had recently been a massive plagiarism scandal in the poetry world, and many people were discussing the issues around writing something 'after', or 'in the style of', a poem or poet. My three meagre lines were inspired by a verse in HD's Eurydice:</div>
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What had my face to offer </div>
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but reflex of the earth, </div>
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hyacinth colour </div>
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caught from the raw fissure in the rock </div>
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where the light struck</div>
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In my mental vision of this verse, there is a vivid streak of blue contrasted to the dull brown fissure in the rock. I feel this to be a primeval Earth, like the rock is new, but what lies beneath it is far, far older.<br />
<br />
The fissure in my version has riven the icy surface of Pluto, and the outer rim is the circumference of a hypothetical sphere around the planet which the New Horizons deep space probe entered briefly, before flying past - visiting only once. The rhyme of ice, twice, was unintended, but when I had written it, I thought why not?<br />
<br />
I begged my publishers for honest feedback - would I embarrass myself by using this feeble effort? Is it ACTUALLY a poem or just some words flung together? They assured me they would never let that happen, so I was very brave and put it in the book. Now I just have to think of how to write the rest of it.</div>
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<b>Chapter 7: Whose space is it anyway?</b><br />
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<span style="font-family: "arial"; font-size: 11.000000pt; font-weight: 700;">08 </span><span style="font-family: "granjon"; font-size: 11.000000pt;">morning star song, Venus rising </span><span style="font-family: "granjon"; font-size: 14.6667px;">comet dust string</span><span style="font-family: "granjon"; font-size: 14.6667px;"> </span><br />
<span style="font-family: "granjon"; font-size: 11pt;">to a lorikeet dawn, ironwood fire cracking, reverberation </span><span style="font-family: "granjon"; font-size: 14.6667px;">of the verse</span></div>
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<span style="font-family: "granjon"; font-size: 11.000000pt;">stringybark sugarbag lines of song
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<span style="font-family: "granjon"; font-size: 11pt;">Excerpt from Meredi Ortega, <a href="https://www.scienceweek.net.au/science-poetry-competition-the-winning-poem/">‘Liner Notes, Voyager Golden Record'</a>, 2013</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-l3YfCaoGWSE/XWx11gKSjXI/AAAAAAAABW8/SzWu-hdwkzoKk-wEYaSceXkpwfCRCHDWACLcBGAs/s1600/Ortega_120x120.png.200x200_q85.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="120" data-original-width="120" src="https://1.bp.blogspot.com/-l3YfCaoGWSE/XWx11gKSjXI/AAAAAAAABW8/SzWu-hdwkzoKk-wEYaSceXkpwfCRCHDWACLcBGAs/s1600/Ortega_120x120.png.200x200_q85.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Meredi Ortega. <br />
Image credit: Red Room Poetry</td></tr>
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<div style="text-align: justify;">
Meredi Ortega won the 2013 Australian Poetry Science Poetry competition with this beautiful work about the Voyager Golden Records. While so much has been written about the Golden Records, including Carl Sagan's 1979 Murmurs of Earth, and you can find the full <a href="https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music/">playlist</a> on the JPL website, one thing the records lacked was an actual cardboard sleeve with the customary liner notes.<br />
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A few years back I was researching the Aboriginal music on the records, a fascinating trail which led me to the original tapes in the Australian Institute of Aboriginal and Torres Strait Islander Studies. In the book, I wanted to write about how Indigenous culture intersected with space industry, a perspective I felt was often lacking in the space world. This seemed like an appropriate place to use the part of Ortega's liner notes which refer to the music, two tiny bits of longer songs by the Yolgnu musicians Djawa, Mudpo and Waliparu. The verse is so evocative of Australian smells and sounds.<br />
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<h4>
Chapter 8: Future Archaeology</h4>
<blockquote class="tr_bq">
The wider our universe becomes due to science, and the furthest we go – we think we go so far when we go to the Moon – the nearer we need to come to the centre of ourselves in order to interpret this world, in order to find values, in order to give our lives meaning. </blockquote>
<blockquote class="tr_bq">
Excerpt from speech by Anais Nin, Hampshire College, 1972</blockquote>
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As an undergraduate university student, I came across the work of Anais Nin and loved it. I too kept diaries, and her early diaries in particular spoke to me. They were about the life of the mind, emotions, senses, reactions, and navigating the world as a young woman. I felt that she should be in my book somehow.<br />
<br />
Nin is a controversial figure in literary history, often overshadowed by her lover and friend Henry Miller. I'm pretty sure, though, that she is more read these days than he is. Recently I returned to her novels, and I'm blown away all over again by how she uses language to capture such fine shades of experience. Through her words you catch a glimpse of a sensory universe like no other.<br />
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This quote comes from a speech she gave at Hampshire College in the US in 1972. It captures one of the themes of Chapter 8, about how outer space is entangled with everyday space, and its emotional resonances.<br />
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This is the full speech:<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/P592zVGFA0Q" width="560"></iframe><br />
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In the course of writing the book, I also realised that I needed to read more work by women in general. But that's a story for another time.<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-60307831826672460742019-08-11T09:59:00.000+09:302020-01-04T10:07:20.543+10:30An archaeological perspective on orbital stratigraphy<div class="MsoNormal">
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One of the things I've been thinking about for a while is the the structure of the <a href="https://www.academia.edu/167541/The_archaeology_of_orbital_space">archaeological record of Earth orbit</a> - all the spacecraft that have been launched over the last 60 years, and their decay products, fragments and molecules of Earth-manufactured materials. Something people ask me occasionally is how you can do archaeology when there is no <a href="https://en.wikipedia.org/wiki/Stratigraphy">stratigraphy</a>. In terrestrial archaeology, everything eventually falls to the ground and becomes buried as winds, water and human activities erode higher places and move the sediment to lower places. Generally, the deeper you dig, the older the remains that you find.<br />
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This isn't how it works in Earth orbit. Everything's falling, for sure - but a large proportion of stuff never reaches the ground. It's all up there, the new mixed up with the old, the functioning with the defunct, the living with the dead. It's not a mirror of stratigraphy on Earth. The lower something is says nothing about how recent it is.<br />
<br />
With one exception - everything in geostationary orbit is younger than 1963, when <a href="https://space.skyrocket.de/doc_sdat/syncom-1.htm">Syncom 3</a> became the first satellite to successfully reach this critical orbit, the importance of which for telecommunications had been predicted <a href="https://celestrak.com/columns/v04n07/">since the early 20th century</a>. This is just<a href="https://www.academia.edu/1654597/Leaving_the_cradle_of_Earth_the_heritage_of_Low_Earth_Orbit_1957-1963"> seven years after the first satellite</a> though - not very long. And there's only about 40 satellites left in orbit which date from this period.<br />
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<h4>
Multigravity environments</h4>
It's more useful not to think of Earth as the standard, but as a special case in a solar system comprising many different levels of gravity and many different ways of experiencing it. For example, when we talk of microgravity in Earth orbit, it's not really that there is no gravity. The Earth is still there, pulling everything towards it as usual. It's the acceleration of falling towards it that creates the sensation of microgravity. You can experience the same thing in a droptower ride at an amusement part or the zero-gravity <a href="https://www.livescience.com/29182-what-is-the-vomit-comet.html">'Vomit Comet'</a>. You don't even have to leave Earth to have different gravity experiences!<br />
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The nature of the archaeological record varies according to the gravity you're in. In full Earth gravity, a powerful attractor, things fall. In Earth orbit, things float but can get pulled back to Earth by atmospheric drag. On the Moon, things fall, but more slowly, and less energy is needed to throw them up into orbit. At the five <a href="https://en.wikipedia.org/wiki/Lagrangian_point">Lagrange points</a> in the Earth-Moon-Sun system, things bounce around. (Indeed, just recently, they have been shown to be <a href="https://www.gizmodo.com.au/2018/10/astronomers-may-have-spotted-one-of-earths-ghostly-dust-moons/">massive dust traps</a>).<br />
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<a href="https://1.bp.blogspot.com/-WmKgmcXmOoQ/W5sTgbtO2MI/AAAAAAAABOw/vS3o_XlA-jYUj6X_H6EQLFQR52m_vRkSQCLcBGAs/s1600/Lagrange%2BPoints%2Bin%2Bthe%2BEarth%2BMoon%2Bsystem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1600" height="280" src="https://1.bp.blogspot.com/-WmKgmcXmOoQ/W5sTgbtO2MI/AAAAAAAABOw/vS3o_XlA-jYUj6X_H6EQLFQR52m_vRkSQCLcBGAs/s320/Lagrange%2BPoints%2Bin%2Bthe%2BEarth%2BMoon%2Bsystem.jpg" width="320" /></a></div>
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Lagrange points in the Earth-Moon-Sun system. Image credit: NASA</div>
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I prefer to conceptualise the way artefacts respond to variable gravity environments as a <a href="https://mathinsight.org/dynamical_system_idea">dynamical system</a>. This is a visual, mathematical way of representing how objects move over time when certain boundary conditions are set. Objects are the recipients of energy through various sources, and gravity determines how much energy the objects need to move. The dynamical system is a map of places where objects end up as they lose energy - the process of <a href="https://eic.rsc.org/feature/what-is-entropy/2020274.article">entropy</a>. Effectively, such a map is also an archaeological plan of a site or the surface of an excavation unit. (Now I wonder if we should be regarding our plans as frozen moments in a dynamical system, just one that is generally moving a lot more slowly than orbit. So the critical difference between the two regimes is not speed, but time).<br />
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These places are points of stable or unstable equilibrium. When an object falls to the ground, it's in a stable equilibrium place of low energy. To get off the ground, energy has to be added. The energy might come from someone kicking it, or a stream of water which moves it on. The Lagrange points include both stable (L4 and L5) and unstable equilibria (L1, L2 and L3). Unstable equilibrium is like balancing an egg on its pointy end: you can do it, but it's going to fall over pretty quickly. (Also, it helps if the egg is hard-boiled). Using this as a framework, Earth and Earth orbit are not completely different places with different rules, but places within the same system with different amounts of energy.<br />
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It also helps to visualise this as an Einsteinian gravity well. The bottoms of the wells are points of low energy and stable equilibrium.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-8bK5P9XoloE/W948sVli06I/AAAAAAAABO8/Db75XbLBDBs7aAj_pony9d1XCXn8o_MkACLcBGAs/s1600/Force_Field-Gravity_Well_Inter-relationship.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="407" data-original-width="800" height="162" src="https://3.bp.blogspot.com/-8bK5P9XoloE/W948sVli06I/AAAAAAAABO8/Db75XbLBDBs7aAj_pony9d1XCXn8o_MkACLcBGAs/s320/Force_Field-Gravity_Well_Inter-relationship.png" width="320" /></a></td></tr>
<tr><td class="tr-caption">A 2-D slice of a gravitational force vector field (left) is interchangeable with a 3-D gravity well (right), with the z-axis showing energy (potential). Image courtesy of Invent2HelpAll</td></tr>
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<h4>
How junk disperses, or a taphonomy of orbit</h4>
In fact, the stratigraphy of space junk does include a terrestrial component. The lowest point of energy in the orbital dynamical system is the surface of Earth: an orbit of zero <a href="https://en.wikipedia.org/wiki/Apsis">apogee and perigee</a>. The atmosphere is a barrier or boundary between different gravity regimes, as space objects can bounce off its upper surface, and those that get pulled into it tend to incinerate. However, some spacecraft parts are made of materials like stainless steel and titanium alloys, which have high melting temperatures. Other parts may have carbon-carbon insulation which provides some protection from temperature extremes. Sometimes these components scream at high speed into the atmosphere, with their flesh burning, and fall with a smoking thud to the surface. The so-called '<a href="https://nypost.com/2018/02/02/giant-balls-of-metal-are-falling-from-the-sky-all-around-the-world/">space balls</a>', titanium pressure vessels, are one of the most common spacecraft parts to survive re-entry. These spheres are the best gravity travellers; they get to come back.<br />
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Of course little of the spacecraft is likely to remain in orbit after the main body has re-entered - perhaps some molecules or broken-off bits. When we find the space balls or other Earthbound space junk, it's most likely that this is all that remains of the spacecraft. They've fallen to the point of lowest energy. This includes the s<a href="http://www.bbc.com/earth/story/20161004-the-place-furthest-from-land-is-known-as-point-nemo">pacecraft graveyard</a> at the bottom of the ocean. Earth orbit is bookended by graveyards, if you take into account the graveyard orbit a few hundred kilometres above the geostationary ring. This is where old GEO satellites go to rest in their undead way, as they can still drift down and across the orbits of living satellites.<br />
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In general the the structure of space junk is not vertical layers as we're accustomed to in archaeology. Instead, spacecraft decay fragments have an elliptical or cloud geometry. When a spacecraft is whole, all its components are on the one orbital trajectory. Now imagine a solar panel detaching from the main body. Initially, its speed and orbit will be pretty much the same as the main body. But as time passes, the orbits will diverge. If the panel is tracked by one of the Earth-based telescopes, then we will have all the data about it's orbit into the past and will be able to trace it back to the original spacecraft - as long as we keep tracking it.<br />
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If a spacecraft explodes, the debris initially forms a cloud around it. The cloud travels together for a little while and then the individual pieces, all with their own weight, size, shape and velocities, start to disperse. If you look at the orbital tracks of <a href="https://en.wikipedia.org/wiki/2007_Chinese_anti-satellite_missile_test">Fengyun 1C</a>, the Chinese satellite which was the target of a test missile shot in 2007, the debris rapidly moves apart and starts to spread out as you see here:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Image result for fengyun 1c" src="https://theblurstever.files.wordpress.com/2013/12/spacedebris.jpg?w=750" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fengyun 1C debris evolution. Image by Karl Tate @space.com</td></tr>
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Position in orbit is described using a set of six equations devised by Johannes Kepler. Usually what people use, however, is <a href="https://en.wikipedia.org/wiki/Two-line_element_set">Two-Line Elements</a> - a bit like Eastings and Northings. The position is simplified into two strings of numbers. But because of the non-linear unpredictability of orbits, the reliability of the TLEs diminishes pretty fast. After 30 days you can't be sure that the TLE will accurately predict where something is. What this means in practice is that objects have to be continually watched or tracked to know where they are. This is called persistent observation and it's not generally something archaeologists worry about on Earth. However, artefacts on the surface <a href="https://zoharesque.blogspot.com/2015/11/bus-stop-taphonomy-experiment-in.html">do move around,</a> although very slowly. You can record a concentration of stone artefacts on the surface, but if you revisit the same site a year later, half of them might be missing. Some have worked their way underground; some are covered by vegetation; others have moved under the influence of wind, water, animal movement or land use and industrial activities. Ten years into the future, there may be nothing to see. So perhaps I should apply the principle of persistent observation to terrestrial archaeology after all...<br />
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Objects in space are, of course, moving at incredibly high speeds - an average of 7-8 km per second. It's not that objects within archaeological deposits don't move; soils can act as liquids over a long time period, with a gravity-driven convection that gradually makes artefacts rise higher in the profile. Sometimes objects rise to the surface like a fish and get stranded there. Others, like stone tools with narrow sharp edges, slip back in for re-circulation. This is something archaeologists are very interested in as it says something about the integrity of the site and the relationship between objects. We're looking to that relationship to try and work out the human behavioural correlates, so we need to understand how the relationships decay over time due to natural or cultural factors, such as water movement or scavenger activity.<br />
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<h4>
It's the relationship that matters</h4>
Both inside Earth and in orbit, the way the relationships between objects within a space evolves over time is critical to working out the human behavioural component. Looking at how the space debris environment evolves, it seems that after a certain amount of time it would be impossible to reconstruct the orbital path and work out what spacecraft a piece of junk came from, if you did not already have tracking records. Let's imagine the scenario of a future human archaeologist after the records have vanished (we can't assume they will survive in their current form) or even an alien archaeologist looking at space debris to get a handle on Earth culture. They will initially use materials and style to identify which space objects belong in the same time frame or to the same culture. They'll also have to work out what differences are due to style, and which to function.<br />
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Effectively, orbital archaeologists of the future will be 'recapitulating' a period of terrestrial archaeology before there was absolute dating, when similarities in style were used to posit chronological and social relationships. This period of investigation is known as culture history, and it worked on a number of premises. The first was the definition of culture, which as <a href="https://en.wikipedia.org/wiki/V._Gordon_Childe">V. Gordon Childe</a> phrased it, was a consistently occurring suite of artefact types, features and structures that you could attribute to an ethnic group. The second was the assumption that things change over time, coming in and out of fashion. Graphs of the frequency of occurrence of different artefacts types or styles resembled battleship curves, as they were known. Something starts out at a low frequency, then its numbers increase as it becomes popular. Soon the next big thing starts to supersede it and the frequency declines until no-one makes or uses the object any more. This is pretty much what happens in the fashion industry. Using changing frequencies to date an object is called <a href="https://en.wikipedia.org/wiki/Seriation_(archaeology)">seriation</a>.<br />
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Because atmospheric drag pulls objects out of Low Earth Orbit all the time, things that survive there will be those with the greatest numbers, eg rocket bodies. This makes it a matter of sampling. Future archaeologists may not find the rare satellites as easily as the common ones. It's like the famous section in Kent G. Flannery's <i>The Early Mesoamerican Village</i>, a classic of the 1960s-1970s movement known as the New Archeology. A Real Mesoamerican Archaeologist laughs about another's failure to find the city of Teotihuacan using a particular sampling strategy. The Skeptical Graduate Student explains that this is not the purpose of a sampling strategy - and that the sample should produce results in proportion to what exists in the entire population of artefacts.<br />
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In another post I'll consider whether we can apply absolute dating techniques to space junk in orbit.</div>
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<span style="color: #44546a; font-family: "calibri" , sans-serif;"><span style="font-size: 14.6667px;">Topological stratigraphy</span></span></h4>
Terrestrial stratigraphy is locally linear and Euclidean, but orbits are non-linear and non-Euclidean. At larger scales, space is better described as the topological object called a manifold. Stratigraphy might simply be the wrong concept to describe the structure of orbiting objects. What kind of word would we use instead? Perhaps gravigraphy - written in gravity? Or orbitography, which is 'the determination and positioning of satellite orbits by a form of geodesy'?<br />
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Visualisations of space junk show Earth surrounded by white dots, like a cloud of silent bees. If you took Earth out of the middle, you would have a donut shape or torus where geostationary satellites are concentrated, and perhaps a series of intersecting tori for low to medium Earth orbit satellites. This is in stark contrast to terrestrial stratigraphy, which is conceptualised in a box-shape (even though Earth is spherical). Objects in this gravitationally-constrained tori move on elliptical paths inside the shape.<br />
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Let's put Earth back in. If we sliced a wedge vertically through through this cloud or swam, and froze the objects within it, what would we see? At the outer edge, the graveyard orbit, there'd be a thin smattering of defunct satellites. They are all dead. Below it, in the GEO range, there is thick ring of living and dead satellites. The 'type fossil' of this layer is the winged bird.<br />
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Then there is a sparse background scatter of satellites and junk until we hit the navigation satellites in the Medium Earth Orbit range. The US GPS network orbit at around 20, 000 km.<br />
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In LEO, we get the highest density of rocket bodies as well as satellites. There is a more diverse size range, from <a href="https://earth.esa.int/web/guest/missions/esa-operational-eo-missions/envisat">ENVISAT</a>, the International Space Station, to cubesats and nanosats. There is the sparsest smattering of organic material.<br />
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There's a dead zone from LEO to the height of the tallest building or structure on Earth. Birds and aeroplanes fly at different altitudes, but they don't stay there or live there. There are gases, clouds, dusts.<br />
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On the surface of Earth, the ancient is mixed up with the modern. I suppose it is more like orbit than we might think, the living and the dead jostling side by side. Organic material is dense. Movement is slow. The deeper you go under the surface, the older things become. In this subterranean sphere, everything human is dead.<br />
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In all of these layers, the past and the present are mixed up to different degrees. The closer to the present you get, the higher and deeper human culture goes. Mines and building foundations cut into the dead deep past and overlay it with modern material. This is the variable borderland between the Pleistocene, Holocene and Anthropocene, a diachronous boundary that archaeologist Matt Edgeworth and his co-authors (2015) have discussed in an insightful paper (see below).<br />
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What is a place in orbit?</h4>
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I'm relatedly curious about the concepts of setting or site in the orbital environment. Here, a 'place' is really a set of equations that defines the way an object moves - not just now but in the past and into the future. Place is a prediction, effectively. Place is movement, not stasis.<br />
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Could an
orbital pathway, in and of itself, have heritage significance? Could it be 'preserved', and what
would be the relationship between a culturally significant trajectory and the
equations that define it? Could those equations, in and of themselves, also be
considered culturally or archaeologically significant?<br />
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Perhaps in the future, there will be markers along the orbits of significant spacecraft that are not longer there, alerting anyone/thing who approaches that they are at a heritage orbit. Perhaps certain orbits - like Vanguard 1's - could be registered as significant so that nobody can launch something into the same orbit. An orbit has economic significance - so why not heritage significance too?<br />
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I think I have a lot further to go in this line of thinking. But it's a start anyway.</div>
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<span style="color: #44546a; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">References</span></h4>
Matt Edgeworth, Dan deB Richter, Colin Waters, Peter Haff, Cath Neal, and Simon James Price 2015 Diachronous beginnings of the Anthropocene: the lower bounding surface of anthropogenic deposits. <i>The Anthropocene Review</i> 2(1):33-58<br />
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Flannery, Kent G. (ed) 1976 <i>The Early Mesoamerican Village.</i> Academic Press</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-65099504316330219862019-07-31T08:38:00.000+09:302020-06-20T09:14:40.804+09:30Cat-Women of the Moon: ideas of space travel in the 1950s.<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-g6grfMXK_J4/XRg7ZqtLXxI/AAAAAAAABT4/wPqk78QIRIAoU6N6ahHxg54zmPQC5ZajwCLcBGAs/s1600/Cat%2Bwomen%2Bof%2Bthe%2BMoon.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1015" height="320" src="https://1.bp.blogspot.com/-g6grfMXK_J4/XRg7ZqtLXxI/AAAAAAAABT4/wPqk78QIRIAoU6N6ahHxg54zmPQC5ZajwCLcBGAs/s320/Cat%2Bwomen%2Bof%2Bthe%2BMoon.jpg" width="201" /></a></div>
<h4>
Introduction</h4>
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No woman has yet set foot on the Moon in reality; but in science fiction there have been plenty of female lunar explorers.</div>
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This 1953 black-and-white science fiction classic is credited with introducing the genre of female-only enclaves in space. It starred <a href="http://www.piute.org/History/Marie_Windsor.htm">Marie Windsor</a> as astronaut Helen Salinger, <a href="https://en.wikipedia.org/wiki/Carol_Brewster">Carol Brewster</a> as Alpha, leader of the cat-women, and <a href="https://en.wikipedia.org/wiki/Susan_Morrow">Susan Morrow</a> as Lambda.</div>
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The remaining cat-women were played by the Hollywood Cover Girls: Betty Arlen, Suzann Alexander, Roxann Delman, Ellye Marshall and Judy Walsh. The Hollywood Cover Girls seem to have been a <a href="https://digitalcollections.lib.washington.edu/digital/collection/sayre/id/13364/">vaudeville act.</a></div>
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I'm interested in this film for how it represents views of space and space travel in the early 1950s, four years before the launch of the first object into Earth orbit, and fifteen before humans really landed on the Moon. And also, because cat-women.</div>
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Why must we wait?</h4>
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The movie opens with with a thrilling declaration. The Freudian symbols in this passage are not subtle.</div>
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The eternal wonders of space and time, the faraway mysteries and dreams of other worlds, other life, the stars, the planets. Man [sic] has been face to face with them for centuries, yet is barely able to penetrate their unknown secrets. Some time, some day, the barrier will be pierced. Why must we wait? Why not now?</div>
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The scene then cuts away to a pale rocket ascending vertically - a very visual reinforcement of the symbolism! The rocket appears to have been launched from <a href="https://en.wikipedia.org/wiki/White_Sands_Missile_Range">White Sands Missile Range</a> in New Mexico, and this is certainly where their mission control is. In the early 1950s, White Sands was one of just a few locations in the world where rockets could be launched into space.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-DU0c7AFi3Rs/XRg9d9_ekAI/AAAAAAAABUE/ehL643oHw-ovw-CuEg-cM7I2_beZ9UxdQCLcBGAs/s1600/Sperm%2Brocket.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="756" data-original-width="1492" height="202" src="https://1.bp.blogspot.com/-DU0c7AFi3Rs/XRg9d9_ekAI/AAAAAAAABUE/ehL643oHw-ovw-CuEg-cM7I2_beZ9UxdQCLcBGAs/s400/Sperm%2Brocket.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surely it can't be just me who sees the resemblance.</td></tr>
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The propulsion method isn't entirely clear, but it has an 'atom chamber' and some kind of acid fuel. At this time, there was a lot of interest in nuclear-powered rockets. The US Atomic Energy Commission (remember there was no NASA in those days) started developing a <a href="https://en.wikipedia.org/wiki/Nuclear_thermal_rocket#United_Kingdom">Nuclear Thermal Rocket</a> in 1955. While we've gone on to have numerous nuclear-powered spacecraft, this method has not been used for Earth-to-space rocket propulsion, although it seems that there is renewed interest in this technology at the moment.<br />
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'White Sands calling Moon Rocket 4 Code 63. Can you hear us?', says mission control. Looking through the window to the outside, the crew see raw space - an inky blackness dotted with stars.</div>
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This is not a stunt!</h4>
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Helen is the navigation officer. Upon waking up from the sleep of launch (they recline on banana lounges), her first action is to take a comb and hand-mirror from a drawer. 'Remember', says the manly blond captain Laird, 'this is a scientific expedition and NOT a stunt!', looking very pointedly at Helen combing her hair. This implies that her presence is regarded by some as gimmicky - that is, she doesn't belong there, and was only included for the sake of publicity.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8_2173U7Dcw/XR_eDISH7CI/AAAAAAAABUo/XWB0YHiv8Lk7-0ozcfzY5idOjoX0hAdFACLcBGAs/s1600/Helen%2Bcombing%2Bhair.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="772" data-original-width="1166" height="211" src="https://1.bp.blogspot.com/-8_2173U7Dcw/XR_eDISH7CI/AAAAAAAABUo/XWB0YHiv8Lk7-0ozcfzY5idOjoX0hAdFACLcBGAs/s320/Helen%2Bcombing%2Bhair.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Helen of Troy?</td></tr>
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So much to pick apart here! There's the implication that a woman couldn't have got there for her skills alone; that science and femininity are opposed (so Helen should be 'one of the boys' and pay no attention to her appearance). These were certainly issues later in the rocky road to US women getting access to space. In 1978, when they were finally admitted to NASA's astronaut programme, the lads obligingly made <a href="https://nypost.com/2018/01/17/nasa-thought-female-astronauts-needed-makeup-in-space/">a make-up kit</a> for the girls. Even in space we have to be beautiful! But like, not too much, or you can't be taken seriously as a scientist.....<br />
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<h4>
Public consumption and commercial space</h4>
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Laird makes their first report to White Sands. 'Over and out', he says. 'Wait a minute, commander', says White Sands. 'There's a world full of people listening in. Are you alright - could we have a few words from the crew?' 'No!' says Laird, but Helen persuades him to let them talk to the people of Earth. This foreshadows an important part of the Apollo missions, and later the International Space Station - engagement with the public. The television broadcast of the Apollo 11 landing has become legendary. However, it wasn't a priority for NASA in the planning, as cameras would add weight, and the filming was a whole work sequence that would take up time. In 'Cat-Women' we see a similar tension between satisfying the public curiosity and getting on with the job.<br />
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Each of the crew introduces themselves and speaks a few words for the radio audience. The engineer Walt Walters is exercised by the opportunities for a space side-hustle. When he talks to Earth, he seizes his chance. 'We're humming along folks!' he says. 'That new lubrication by the Delphite Oil Company sure turned the trick. [off air] That plug ought to make a couple of grand, huh?' This stunt establishes Walt's character as a venal money-grubber and also introduces a new theme into the film: the commercial exploitation of space. I think it's very interesting that this aspect of space - making profit from it - is evident even before the launch of the first satellite.<br />
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Finally they arrive! As the navigator, Helen chooses the landing site. To the surprise of the other crew, it's on the dark side of the Moon. Unbeknownst to them, the cat-women have telepathically guided her here.<br />
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Walters is still on the take: prior to their moonwalk, he pulls out a box. 'What are those?' asks radio operator Doug. 'First letters from the Moon; I've even got my own cancellation stamp. Ought to be worth a couple of hundred bucks apiece'. This amused me no end, as there's a long and slightly bizarre relationship between space and philately. In 1972, the Apollo 15 astronauts took unauthorised postal covers with them for later sale. It turned into a scandal, with much discussion about whether astronauts should seek to personally profit from their profession. You can read more about the incident <a href="https://en.wikipedia.org/wiki/Apollo_15_postal_covers_incident">here</a>. (Also see update at the end of this post).<br />
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<h4>
Where does a city end?</h4>
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<a href="https://1.bp.blogspot.com/-SziqQqQG1X8/XQ4N7Jux8qI/AAAAAAAABSw/GhTt4p-Ef8AlaYtsYo1csi1GzouXWG_twCLcBGAs/s1600/Los%2BAngeles%2Bsign.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" data-original-height="1168" data-original-width="1600" height="233" src="https://1.bp.blogspot.com/-SziqQqQG1X8/XQ4N7Jux8qI/AAAAAAAABSw/GhTt4p-Ef8AlaYtsYo1csi1GzouXWG_twCLcBGAs/s320/Los%2BAngeles%2Bsign.png" width="320" /></a></div>
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Doug has a sign from the Los Angeles Police Department that he wants to leave on the surface of the Moon. Note that this is a local symbol, not a national one: there is no US flag proposed here. The sign says "Los Angeles City Limits". It's not explained, but the visual reference is clear. The placement of this sign on the Moon extends the limits of the city of Los Angeles into space, making the Moon part of its geography. There's obviously a humorous element to this, but it's also serious: a territorial claim, the extension of a terrestrial jurisdiction. In 1953, you could technically make a territorial claim in space, as there were no international conventions forbidding it. The Outer Space Treaty was not signed into being until 1967.<br />
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I thought I had better look into the US concept of city limits, which I have to confess I've only paid attention to before in the context of the Tina Turner dance classic 'Nutbush City Limits'. This is an American local government concept. The area within the city limits is governed by the Mayor of Los Angeles and the City Council, who provide services and collect tax. The city limits, however, can extend over county lines.<br />
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Why Los Angeles, though? In the early 1950s, White Sands was a focus of military space activity, but Los Angeles was the centre of aerospace industry, with CalTech in nearby Pasadena. The Jet Propulsion Laboratory was established in 1944 and became a key institution in developing space technology. You can read more about its fascinating history in <i><a href="https://profilebooks.com/escape-from-earth.html">Escape from Earth</a></i>, by Fraser MacDonald. We might presume that Doug came from one of these organisations.<br />
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Spiders and dust</h4>
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The astronauts suit up and venture outside. Here's the first step on the Moon, 1953-style:<br />
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Prompted by the telepathic cat-women, Helen encourages them to enter a cave. Inside they are attacked by GIANT MOON SPIDERS. It's not the first time the Moon has been inhabited by giant insects - <a href="http://gutenberg.net.au/ebooks06/0607691h.html">Dr Dolittle in the Moon</a> (one of my all-time favourites) has giant moths and grasshoppers. The reduced gravity allows them to grow far larger than on Earth.<br />
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No you can't have a picture, just watch the movie for yourself.<br />
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Of course the GIANT MOON SPIDERS go after Helen and then get slaughtered by the men. Despite this setback, Helen wants to keep going. 'We don't know what's ahead', says one of the crew. 'Well I'll tell you then', says Helen. 'Adventure, discovery, knowledge! Isn't that why we came?' I like that that a woman gets to own these qualities.<br />
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They find, to their surprise, that the cave has breathable air, and take off their spacesuits. The enterprising Walters immediately leaps to a new idea for lunar industry: 'Maybe we can bottle this stuff for sale: Moon Mist for chronic coughs and asthma'. Moon mist would be pure and uncontaminated by terrestrial toxins!<br />
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It's not as far-fetched as it sounds. Of course there is no atmosphere to provide mist, but there is plenty of dust to be had. Not great for human lungs; but I could imagine a time in the future where people are making remedies out of lunar dust. What claims will be made for its healing properties? At the moment, you can buy basalt dust at plant nurseries to put on your garden. The dust comes from quarries, but it's similar to the lunar dust in its chemical and mechanical properties. Perhaps people will salt their garden beds with lunar dust instead and grow moon gardens!<br />
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I have seen advertisements for lunar mineral make-up (Note: not containing actual lunar minerals). Perhaps the very wealthy will drink champagne with lunar dust in it, just as they once did with gold. Lunar mineral waters will be a thing! Indeed conceptual philosopher and artist <a href="http://archive.joshspear.com/blog/lunar-and-martian-mineral-water">Jonathon Keats</a> has already done this. By extension, you may be able to go to a spa and have an exfoliating skin treatment in which the abrasive qualities of lunar dust are put to good use. If lunar missions become more common in the decades to come, there may be all kinds of terrestrial commercial ventures making use of the one thing the Moon has plenty of. Probably I should get in first with the spa thing before Gwyneth Paltrow does.<br />
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Polity and politics among the cat-women</h4>
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On the other side of the cave, the astronauts find themselves in a sort of bubble with a microclimate, a sky with clouds above them. They enter the city of the cat-women, with its architecture of columns, statues and black-and-white tiles. It's a little bit <a href="https://www.youtube.com/watch?v=umXV3J_8jXA">Aelita Queen of Mars</a>, and also kind of classical culture - indeed, the cat-women have Greek names like Alpha, Beta and Lambda. The women themselves are slinky and sexy, dressed in one-piece catsuits. All have black hair, curled up in a big bun behind their head. They have pale faces with dark eyebrows and a curved hairline - they look a little like the Thermians in <a href="https://en.wikipedia.org/wiki/Galaxy_Quest">Galaxy Quest</a>.</div>
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Bit by bit we piece together the story of the cat-women (incidentally a derogatory name applied to them by one of the crew, who is suspicious of them) and a glimpse into how their world came to be. 'We have no use for men' says cat-woman Beta, scornfully. The more diplomatic Alpha explains: 'What Beta means is that we have no contact or control over them as we do among ourselves. It seemed rather difficult to get a crew composed entirely of women.' Huh! Then as now..... this is interesting though. Their telepathic powers work only on other women; men are immune. Perhaps this is an extension of the much-vaunted and mythical quality of feminine intuition, which does not work on men because they lack it. Pure speculation on my part, and of course there is no need to explain all these plot devices, which do not need to be logical.</div>
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So how did the cat-women get on the Moon? Their ancestors, men and women both, travelled there two million years ago, when the Moon still had an atmosphere. I'm wondering here if the classical Greek complexion of their culture is meant to be a reference to Atlantis.<br />
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At a certain point the atmosphere started thinning, and they had to do something to conserve oxygen. It was not pleasant. Planned genocide was one of the strategies they employed. The other was to wait for a spaceship to arrive.</div>
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We find out more about the genocide when the gentle Doug falls in love with cat-woman Lambda. 'Incidentally', Doug asks her, 'where are your menfolk?'. 'Ours died off when I was still a child' replies Lambda. The implication here is that they were the subject of the genocide - a gender-cide, in fact.<br />
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Alpha has a plan to steal the spaceship to travel to Earth. There, she says, 'We will get their women under our power, and soon we will rule the whole world'. Before you might be tempted to think this could be a good thing for the future of Earth, Alpha disabuses Lambda of the idea that she can make a life with Doug. 'There is no room in your life for love. We will choose your man eugenically'.<br />
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I interpret this as an indictment on the cat-women's culture. By the 1950s, eugenics, which had a <a href="https://www.newstatesman.com/society/2010/12/disabled-america-immigration">long history in the US</a>, was becoming unacceptable.<br />
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The moral of the story</h4>
The Moon has other resources that would be valuable on Earth, as Walt discovers. Over a meal, he converses with Beta. 'Say, you wouldn't have any small works of art that I could take home with me as a souvenir, would you?', he asks her. Beta gives him her silver arm band. Walt says that on Earth such jewellery would often be made of gold, and Beta says 'but it's so common'! Walt's greed is aroused. Beta reveals the existence of a cave of gold, 'with more gold than you could carry away in your rocket ship in 100 years'. Naturally, he wants to see it, so they sneak off without the others. In the cave of gold, Beta kills him.<br />
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Perhaps there is a moral here: that looking to profit from the Moon will end badly.<br />
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This film, as cheesy as it is, covers a number of themes that become important in the later reality of space travel, such as lunar mining and profiteering in space; territorial claims; gender relations; and public engagement. It's remarkable prescient in this regard. <br />
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Update, June 2020: City limits and stamps</h4>
I was reading Robert A. Heinlein's classic novella <i>The Man Who Sold the Moon</i>, written in 1949 and published in 1950, when this caught my attention.<br />
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'How are things going in Florida, Monty?' </blockquote>
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'I thought we were going to have to buy the whole damn legislature until we got the rumour spread around that Los Angeles had contracted to have a City-of-Los-Angeles sign planted on the Moon for publicity pix. Then they came around'.</blockquote>
This, as it turned out, wasn't the only similarity with Cat-Women of the Moon. Delos Harriman, star of Heinlein's story, also sends first day covers to the Moon. As already mentioned, there is a bizarre space-philately thing, and it seems this emerged very early on.<br />
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Coincidence? The Los Angeles City Limits does seem very specific. If there is a connection here, then Cat-Women was cleverly playing with science fiction references and it does make one wonder what else is hidden in there.<br />
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Heinlein was not involved in Cat-Women, but he was kicking around the film industry in the early 1950s. Probably there is some deeper story here if anyone had the time to pursue it.</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com2tag:blogger.com,1999:blog-7530535.post-9209609412127174362019-05-17T10:14:00.000+09:302020-05-16T18:49:42.424+09:30Key works in lunar cultural heritage: the essential reading list for Apollo 11's 50th anniversary<div style="text-align: justify;">
If you are interested in the issues around managing the cultural heritage values of archaeological sites located on the Moon, these are the key works that you need to read. A bibliography of the broader field of space archaeology and heritage can be found <a href="https://zoharesque.blogspot.com/p/spo.html">here</a>.</div>
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Capelotti, P.J. 2010 <i>The human archaeology of space: lunar, planetary and interstellar relics of exploration.</i> Jefferson NC: McFarland and Company Inc</div>
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Capelotti, P.J. 2009 The culture of Apollo: a catalogue of manned exploration of the moon. In Ann Darrin and Beth O'Leary (eds) <i>The Handbook of Space Engineering, Archaeology and Heritage</i> pp 421-441 Boca Raton: CRC Press</div>
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Darrin, Ann and Beth O'Leary (eds) 2009 <i>The Handbook of Space Engineering, Archaeology and Heritage</i>. Boca Raton: CRC Press</div>
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Donaldson, Milford Wayne 2015 The preservation of California's military Cold War and space exploration era resources. In B.L. O'Leary and P.J. Capelotti (eds), <i>Archaeology and Heritage of the Human Movement into Space</i>, pp. 91-110. Heidelberg: Springer.<br />
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Fewer, Greg 2002 Towards an LSMR and MSMR (Lunar and Martian Sites and Monuments Records): Recording the planetary spacecraft landing sites as archaeological monuments of the future. In Miles Russell (ed) <i>Digging Holes in Popular Culture. Archaeology and Science Fiction,</i> pp 112-172 Oxford: Oxbow Books</div>
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Gibson, R. 2001 Lunar archaeology: the application of federal historic preservation law to the site where humans first set foot upon the Moon. Unpublished Masters thesis, Department of Anthropology, New Mexico State University, Las Cruces</div>
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Gold, R. 2009 Spacecraft and objects left on planetary surfaces. In Ann Darrin and Beth O'Leary (eds) <i>The Handbook of Space Engineering, Archaeology and Heritage,</i> pp 399-419 Boca Raton: CRC Press</div>
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Gorman, A.C. and Beth Laura O'Leary 2013 The archaeology of space exploration. In Paul Graves-Brown, Rodney Harrison and Angela Piccini (eds) <i>The Oxford Handbook of the Archaeology of the Contemporary World</i>, pp 409-424. Oxford: Oxford University Press</div>
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Gorman, A.C 2019 <i>Dr Space Junk vs the Universe: Archaeology and the Future.</i> Sydney: New South Books<br />
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Gorman, A.C. 2016 Culture on the Moon: bodies in time and space. <i>Archaeologies</i>, 12(1) pp. 110-128.</div>
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Gorman, A. 2014 The Anthropocene in the Solar System. <i>Journal of Contemporary Archaeology, </i>1(1) pp. 89-93.<br />
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Gorman, A.C. 2013 Look, but don’t touch: US law and the protection of lunar heritage. The Conversation, <a href="https://theconversation.com/look-but-dont-touch-us-law-and-the-protection-of-lunar-heritage-20758">https://theconversation.com/look-but-dont-touch-us-law-and-the-protection-of-lunar-heritage-20758</a><br />
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Hertzfeld, Henry R. and Scott N. Pace 2013 International Cooperation on Human Lunar Heritage. <i>Science,</i> 29 November, 342(6162): 1049-1050<br />
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Lunar Legacy Project, New Mexico State University. <a href="http://spacegrant.nmsu.edu/lunarlegacies">http://spacegrant.nmsu.edu/lunarlegacies</a></div>
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NASA 2011 NASA’s Recommendations to Space-Faring Entities: How to Protect and Preserve the Historic and Scientific Value of US Government Artefacts. Human Exploration and Operations Mission Directorate, Strategic Analysis and Integration Division, NASA <a href="https://www.nasa.gov/directorates/heo/library/reports/lunar-artifacts.html">https://www.nasa.gov/directorates/heo/library/reports/lunar-artifacts.html</a></div>
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O'Leary, B.L. and P.J. Capelotti (eds) 2015 <i>Archaeology and Heritage of the Human Movement into Space</i>. Heidelberg: Springer.</div>
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O’Leary, B.L., Bliss, S., Debry, R., Gibson, R., Punke, M., Sam, D., Slocum, R., Vela, J., Versluis, J. and Westwood, L. 2010 The artifacts and structures at Tranquility Base nomination to New Mexico state register of cultural properties. Accepted by unanimous vote by the New Mexico Cultural Properties Review Committee on 10 April 2010</div>
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O'Leary, Beth Laura 2015 'To boldly go where no man [sic] has gone before': approaches in space archaeology and heritage. In B.L. O'Leary and P.J. Capelotti (eds) <i>Archaeology and Heritage of the Human Movement into Space,</i> pp 1-12 Heidelberg: Springer.</div>
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O'Leary, B.L. 2009 One giant leap: preserving cultural resources on the moon. In Ann Darrin and Beth O'Leary (eds) <i>The Handbook of Space Engineering, Archaeology and Heritage</i> pp 757-780.Boca Raton: CRC Press</div>
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O'Leary, B.L. 2009 Evolution of space archaeology and heritage. In Ann Darrin and Beth O'Leary (eds) <i>The Handbook of Space Engineering, Archaeology and Heritage</i> pp 29-47 Boca Raton: CRC Press<br />
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O'Leary, B.L. 2009 Historic preservation at the edge:
archaeology on the moon, in space and on
other celestial bodies. <i>Historic Environment</i> 22(1): 13-18</div>
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Reynolds, Joseph 2015 Legal Implications of protecting historic sites in space. In B.L. O'Leary and P.J. Capelotti (eds), A<i>rchaeology and Heritage of the Human Movement into Space,</i> pp. 111-129. Heidelberg: Springer.<br />
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Rogers, T.F. 2004 Safeguarding Tranquillity Base: why the Earth's Moon base should become a World Heritage Site. <i>Space Policy</i> 20(1): 5-6<br /><br />Spennemann, Dirk HR and Guy Murphy 2011 [2020] <a href="https://www.researchgate.net/profile/Dirk_Spennemann/publication/339314521_Returning_to_the_Moon_Heritage_issues_raised_by_the_Google_Lunar_X_Prize/links/5e4b0bcf458515072da6e528/Returning-to-the-Moon-Heritage-issues-raised-by-the-Google-Lunar-X-Prize.pdf">Returning to the Moon Heritage issues raised by the Google Lunar X Prize</a>. Institute for Land, Water and Society Report nº 137. Albury, NSW: Institute for Land, Water and Society, Charles Sturt University.<br /><br />
Spennemann, Dirk H.R. 2006 Out of this world: issues of managing tourism and humanity's heritage on the Moon. <i>International Journal of Heritage Studies</i> 12(4):356-371</div>
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Spennemann, D.H.R. 2007 Extreme cultural tourism from Antarctica to the Moon. <i>Annals of Tourism Research</i> 34(4):898-918</div>
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Spennemann, D.H. R. 2004 The ethics of treading on Neil Armstrong's footsteps. <i>Space Policy</i> 20(4): 279-290</div>
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Walsh, J. 2012 Protection of humanity's cultural and historic heritage in space. <i>Space Policy</i> 28(4):234-243 </div>
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Westwood, Lisa D 2015 Historic preservation on the fringe: a human lunar exploration heritage cultural landscape. In B.L. O'Leary and P.J. Capelotti (eds), <i>Archaeology and Heritage of the Human Movement into Space</i>, pp. 131-155. Heidelberg: Springer.</div>
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Westwood, L. and B. O'Leary 2012 The archaeology of Tranquility Base. <i>Space Times Magazine </i>4(51)</div>
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Westwood, L., Beth Laura O'Leary and Milford Wayne Donaldson 2017 <a href="http://www.amazon.com/exec/obidos/ASIN/0813062462"><i>The Final Mission: Preserving NASA's Apollo Sites.</i></a> Gainesville: University Press of Florida</div>
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Westwood, L., G. Gibson, B. O’Leary, and J. Versluis 2010 Nomination of the Objects associated with Tranquility Base to the California State Historical Resources Commission. Accepted by unanimous vote to the California State Register of Historical Resources on 30 January 2010<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-61876440006222349262019-05-04T09:55:00.000+09:302019-05-04T09:55:08.813+09:30All artefacts are anthropomorphic<div style="text-align: justify;">
I was reflecting on the phenomenon of anthropomorphising space technology.</div>
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Two social media-mediated incidents are central to my personal experience with this. From my early days on Twitter, I've followed Voyager 2. The account was not an official NASA account: it was run by scientist Dr Paul Filmer. During the now-forgotten <a href="https://theconversation.com/how-twitter-fans-kept-nasa-alive-during-the-us-shutdown-19366">US government shutdown</a> in 2013, NASA closed it down. He was allowed to continue tweeting as the spacecraft, but using a different handle - @NSFVoyager2.</div>
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I found the impact of this quite informative. I woke up one morning to find people messaging me, wondering why Voyager 2 was silent on Twitter. We figured it had something to do with a recent tweet in which the spacecraft expressed a - very mild - opinion. We tried to reach Paul. I cried. I felt that I was cut off from the solar system, closed in like a fish caught in the ocean and transferred to a glass bowl on a table in the vestibule.</div>
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The second is the Rosetta/Philae mission to Comet 67P Churyumov-Gerasimenko. The European Space Agency's public outreach campaign was designed to get people emotionally invested, and it sure as heck worked on me. In 2016 the equipment used by the Rosetta orbiter to communicate with the Philae lander was turned off. As I've written <a href="https://www.dayofarchaeology.com/the-death-of-a-spacecraft/">here</a>, knowing that Philae could no longer speak and be heard made me quite emotional, as if a friend had died.</div>
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Some are critical about this anthropomorphisation. They would say it's wrong to attribute our agency to things instead of letting them have their own, almost an oppression of things. </div>
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Musing on my bus ride in this morning, it struck me that all artefacts are anthropomorphic, if only because they are made, shaped, used and discarded by humans. They're a non-flesh shadow, the reverse of our obverse, the mirror of our discontent. If they were not, how could we possibly use them to speak to us about absent humans?</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-60948976147811572772019-04-28T10:30:00.001+09:302019-04-28T19:39:35.861+09:30Ten ways to get involved in space without leaving Earth<div style="text-align: justify;">
Experiencing weightlessness, watching the Earth rise over the stark lunar landscape, and seeing the stars exposed without the veil of the Earth's atmosphere: who hasn't thought about what it would be like? At the moment, getting into space is the preserve of the elite, whether they are scientists, military, or those wealthy enough to purchase a rocket ride. Space is a just dream to most of the rest of us.</div>
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But this doesn't mean that we have to live as if our feet were made of clay, Earth-bound like a worm when what we really want to do is fly like a bird. There are many ways to be part of space without ever leaving the Earth. I'm going to take you through some of them.</div>
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<span style="font-size: large;">1. Visit a planetarium</span></h3>
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Planetariums are dome-shaped cinemas designed to show the night sky and other celestial phenomena. The idea has been around since the 17th century, but today's planetaria use the best of high-tech projection and software to create immersive experiences. For a short time, you can be taken out of yourself and visit the furthest reaches of the universe. Most capital cities have them, and some regional centres too. They're not all stars and galaxies: planetarium shows also look at space junk, space weather, and aliens (hoorah!) among many other spacey good things. Here's a list of some places you can find one:</div>
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<a href="http://sciencespace.com.au/learn/planetarium/" target="_blank">Wollongong Science Centre and Planetarium</a> (NSW)<br />
<a href="http://www.brisbane.qld.gov.au/facilities-recreation/arts-culture/sir-thomas-brisbane-planetarium" target="_blank">Sir Thomas Brisbane Planetarium (Brisbane)</a><br />
<a href="http://www.unisa.edu.au/planetarium/" target="_blank">Adelaide Planetarium</a><br />
<a href="http://www.qvmag.tas.gov.au/Planetarium" target="_blank">Launceston Planetarium</a><br />
<a href="http://museumvictoria.com.au/planetarium/" target="_blank">Melbourne Planetarium</a><br />
<a href="http://www.astronomy.swin.edu.au/outreach/?topic=astrotour" target="_blank">Swinburne Virtual Reality Theatre, (Melbourne</a>)<br />
<a href="http://observatory.ballarat.net/features/3d-movies/" target="_blank">Ballarat Observatory 3D Theatre (Vic)</a><br />
<a href="https://maas.museum/event/planetarium/" target="_blank">Sydney Planetarium</a><br />
<a href="https://www.scitech.org.au/visit/whats-on/scitech-planetarium?gclid=EAIaIQobChMI44G5k9PJ2QIV0Y2PCh2VjQOPEAAYASAAEgKWkvD_BwE" target="_blank">Horizon - the Planetarium (Perth)</a><br />
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There are even mobile planetaria which will come to you! In NSW, contact the <a href="http://www.planetarium.com.au/" target="_blank">Planetarium Education Group</a>; in Queensland, <a href="http://www.starlab.net.au/index.php" target="_blank">Starlab Education</a>, in Western Australia, the <a href="https://www.scitech.org.au/education/early-childhood/1874-astronomy" target="_blank">Spacedome</a>. <br />
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<span style="font-size: large;">2. Keep up with the breaking news from space</span></h3>
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Subscribing to a space news service is a good way to get all the latest dirt on what's happening in the solar system. Some are more geared towards the general public than others. You can subscribe to their feeds or newsletters, and also follow them on Twitter.</div>
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<a href="http://www.space.com/" target="_blank">Space.com</a> is a very reliable and prestigious source of news. </div>
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<a href="http://www.spacedaily.com/" target="_blank">Space Daily</a> has a slightly more industry focus. You can subscribe to their newsletters for free.</div>
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<a href="https://www.universetoday.com/" target="_blank">Universe Today</a> also covers astronomy.</div>
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<a href="http://www.spacenews.com/" target="_blank">Space News</a> covers civil space, military space, commercial space and satellite communications business.</div>
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<a href="http://www.spaceref.com/" target="_blank">Space Ref</a><span class="st"> is a space news and reference site. This includes space exploration and missions, and a space calendar of events.</span></div>
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<a href="http://spaceinfo.com.au/" target="_blank">Space Info</a> features astronomy, Australian science, and spaceflight news</div>
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<a href="http://www.aviationweek.com/" target="_blank">Aviation Week</a> also covers a lot of space news.</div>
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Of course, there are a multitude of space resources online that cater to all interests. Starting points for the Anglophones are the <a href="https://www.nasa.gov/">NASA</a> and <a href="https://www.esa.int/ESA">ESA</a> websites.</div>
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<span style="font-size: large;">3. Do some space craft</span></h3>
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Spacecraft, geddit? Don't spend all your time staring at the screen as if it will magically whisk you into orbit, get your hands dirty! And gluey and covered in paint, and maybe some glitter. I suppose you can get some kids involved if they're hanging around and won't go away.</div>
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Fabulous <a href="http://www.pinterest.com/pin/514325219917034590/" target="_blank">astronaut masks!</a> made by Erin at <a href="http://luckyandblissful.blogspot.com.au/2011/08/right-stuff-or-teddys-rocketship-party.html" target="_blank">Luck and Bliss.</a></div>
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Se7en makes <a href="http://www.se7en.org.za/2009/10/31/se7en-million-aliens-are-coming" target="_blank">bottle top aliens!</a></div>
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This is rather gorgeous: a <a href="http://ohmyhandmade.com/2011/contributors/tutorial-3d-stamp-cut-paper-garland/" target="_blank">3D space garland</a> from Jessika Hepburn</div>
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Doodle and Stitch make a simple but effective <a href="https://doodleandstitch.com/kids-crafts/rocket-craft">paper rocket</a></div>
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Here's <a href="https://kidsactivitiesblog.com/64258/toilet-roll-craft-rocket/">another rocket</a> made from a toilet roll - my favourite craft item</div>
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<a href="https://www.penguin.co.uk/articles/children/2017/craft-a-diy-rocket-from-see-you-in-the-cosmos/">This rocket's</a> made from a plastic bottle. You can have space fun while recycling too!</div>
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There are some more ideas in <a href="https://zoharesque.blogspot.com/2012/05/space-craft-rockets-jetpacks-and-other.html">this post</a> and there are plenty of amazing space craft projects on the internet.</div>
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<span style="font-size: large; font-weight: normal;">4. Visit a space museum</span></h3>
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Of course, the <em>ne plus ultra</em> of space museums is the <a href="http://airandspace.si.edu/" target="_blank">National Air and Space Museum</a> in Washington DC. Another favourite is the <a href="https://www.museeairespace.fr/">Musee de l'Air et de l'Espace</a> in Paris. But you don't have to go overseas to see some wondrous space artefacts. Here's a few more local options.</div>
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<a href="https://maas.museum/event/space/">Museum of Applied Arts and Sciences (the Powerhouse)</a>, NSW, has the only permanent space display in the country.</div>
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<a href="https://sacommunity.org/org/195819-Woomera_Heritage_%2526_Visitor_Information_Centre">Woomera Heritage Centre</a>, SA, also has an amazing rocket park. Not for playing, the rockets are real.</div>
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<a href="http://www.saam.org.au/">South Australian Aviation Museum</a>, located in Port Adelaide, has plenty of Woomera artefacts if you can't get to the outback.</div>
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At the <a href="https://www.esperance.wa.gov.au/esperance-museum">Esperance Museum</a> in WA you can see the remains of the space station <a href="https://en.wikipedia.org/wiki/Skylab">Skylab</a>, one of the most famous spacecraft ever to re-enter the atmosphere.</div>
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At the <a href="http://www.samuseum.sa.gov.au/explore/exhibitions/dr-andrew-thomas-ao-display">South Australian Museum</a> you can see Australian astronaut Andy Thomas' spacesuit!</div>
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The <a href="https://www.cdscc.nasa.gov/Pages/opening_hours.html">Canberra Deep Space Communications Complex</a>, ACT, has a brilliant museum celebrating both Australian and US space.</div>
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In Tasmania, don't miss the <a href="http://www.groterebermuseum.org.au/tours">Grote Reber Museum</a>. This is the heartland of radio astronomy!</div>
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Don't forget your local museum or heritage centre either - I've found some extraordinary space artefacts displayed in regional museums and small towns. Often they've been donated by someone who has worked in aerospace or has travelled to space places.</div>
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5. Follow a spacecraft on Twitter</h3>
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This is one of the best things about social media. There are a number of spacecraft with Twitter accounts, and some hilarious parody accounts too. As a follower, you get the latest information and the opportunity to interact with the spacecraft (ie the team running it). But beware. You can become very attached to your robot space friend, and if the mission ends, it can be a very sad and emotional experience.</div>
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Here are a few recommendations.</div>
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<a href="https://twitter.com/NSFVoyager2">@NSFVoyager2</a> - Voyager 2. Run by the amazing Dr Paul Filmer, you can expect regular updates on distance from Earth and which instruments are collecting data.</div>
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<a href="https://twitter.com/MarsCuriosity">@MarsCuriosity</a> - the Mars Curiosity Rover. This is the only rover still working on Mars after the death of Opportunity in 2019.</div>
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<a href="https://twitter.com/SarcasticRover">@SarcasticRover</a> is a witty parody account which has a huge following. As well as space science, you get commentary about life on Earth from the viewpoint of space.....</div>
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<a href="https://twitter.com/OSIRISREx">@OSIRISRex</a> is a NASA mission to the asteroid belt.</div>
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<a href="https://twitter.com/haya2e_jaxa">@Haya2e_jaxa </a>is a Japanese asteroid mission with several components, due to return its sample to Earth in 2020.</div>
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As well as actual spacecraft, most space agencies, research centres and missions have social media accounts.<br />
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6. Celebrate a space event</h3>
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You can have your own space event whenever you want! Get in some <a href="https://vostokspacebeer.com/">space beer</a> or <a href="https://www.musterwineco.com.au/product-page/mars-needs-shiraz">wine</a>, encourage people to dress up, make a spacey mixtape. Get crafty (see No 3) and decorate your house like a space station or mission control room. Invite your friends and talk about space with them!</div>
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There are a few space occasions which are celebrated worldwide. </div>
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Yuri's Night is April 12 and celebrates the day on which Yuri Gagarin became the first human being to enter space and orbit Earth. This is the <a href="https://yurisnight.net/">official website</a> where you can register your party and or find out what events are happening in your town.<br />
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A great way to participate in this anniversary is to orbit with Yuri by watching Christopher Riley's film First Orbit, available <a href="https://www.youtube.com/watch?v=RKs6ikmrLgg">here</a>. The film blends archival footage and recreations of Yuri's view taken by one of my favourite astronauts, Paolo Nespoli. I love it because it's almost meditative; you have to focus on every minute through Yuri's eyes, seeing a view of Earth that was truly unique.</div>
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Later in year is <a href="http://www.worldspaceweek.org/">World Space Week</a>, which kicks off on the anniversary of Sputnik 1's launch on October 4th. On the website you can find guidelines about how to organise an event, as well as events planned around the world that you can attend.</div>
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I'm going to start a new one: <b>Valentina's Day</b>. On 16 June 1963, she became the first woman to orbit the Earth and she is still the only woman to have carried out a solo space mission. We should celebrate this! </div>
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7. Go satellite spotting </h3>
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Although light pollution has made it harder for people in densely populated areas to see the night sky, most people would recognise a star. Fewer, perhaps, realise that they're also watching satellites.</div>
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Satellites don't have their own lights, but we can see them when they reflect the light of the Sun, often bouncing off the solar panels which power the spacecraft. Even at night the satellites are high enough to catch the Sun's rays. You'll generally only see Low Earth Orbit satellites, but there are plenty of them, as well as the International Space Station.<br />
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Stars move very slowly, but satellites are fast - after all, they orbit Earth every 90 minutes or thereabouts. Look for a fast moving light. Beware of flashing lights: this is probably an aeroplane, not a satellite.<br />
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To see the largest and brightest object in orbit, the ISS, this <a href="https://spotthestation.nasa.gov/sightings/#.UcnSR5zNn-A">handy NASA site</a> allows you to search for local sighting opportunities.<br />
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Everyone knows the old folk rhyme about wishing on the first star you see in the evening (usually Venus, by the way - a planet).<br />
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Star light, star bright,<br />
First star I see tonight,<br />
I wish I may, I wish I might<br />
Have the wish I wish tonight</blockquote>
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The sky has changed since that rhyme was made, and our relationship to it has changed also. This is Billy Bragg, in his 1983 song <a href="https://www.azlyrics.com/lyrics/billybragg/anewengland.html">Looking for a New England</a>:<br />
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I saw two shooting stars last night<br />
I wished on them but they were only satellites<br />
Is it wrong to wish on space hardware<br />
I wish, I wish, I wish you'd care</blockquote>
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Is it wrong to wish on space hardware? I say no. Instead, ask Dr Space Junk to grant your wish on a satellite. Here is my rhyme to go with your satellite spotting expedition, and it's even better because you get to make THREE wishes.<br />
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Dr Space Junk in your ship,<br />
Watching every tiny blip.<br />
Please bestow my wishes three:<br />
One for Earth, one for Sea,<br />
and one for the satellite high above me.<br />
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8. Join a space society</h3>
What could be better than making new space friends and getting to hang out at space events with them? There are a number of societies at national, state and local level which will enable you to get involved in space. Here are a few that I recommend.<br />
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<a href="https://www.spaceindustry.com.au/">Space Industry Association of Australia.</a> This is an industry representative organisation, but definitely worth joining if you work in aerospace or a space-adjacent area. Full disclosure: I am a member.<br />
<a href="http://space.asn.au/">Space Association of Australia.</a> Based in Melbourne, the SAA has regular meetings open to the public with guest speakers, and also has a radio broadcast.<br />
<a href="http://www.nssa.com.au/">National Space Society</a>. This is a chapter of the US society. Every year the NSS hosts the <a href="http://www.nssa.com.au/19asrc/">Australian Space Research Conference.</a><br />
The <a href="https://www.aiaa.org/">American Institute of Aeronautics and Astronautics</a>. There are chapters of the AIAA in Sydney, Canberra, and Adelaide.<br />
The <a href="https://www.bis-space.com/">British Interplanetary Society</a> is one of the oldest space societies in existence. (Maybe even the oldest one). They publish a journal and a magazine.<br />
The <a href="http://www.planetary.org/about/">Planetary Society</a> is another US one. It was founded by Carl Sagan, among others, in 1980.<br />
<a href="https://marssociety.org.au/">Mars Society Australia</a> is part of a global network of Mars societies. Basically they want to go to Mars, but they have lots of activities on Earth too.<br />
<a href="https://asri.org.au/">Australian Space Research Institute</a> (ASRI) is a volunteer organisation interested in space activities.<br />
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If you want to get your hands dirty, you will find local rocket societies almost everywhere across Australia. This is where you can help build and launch a small rocket. It might not get to space but it's the same technology!<br />
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9. Eat astronaut food and drink astronaut drinks</h3>
There's lots of books around showing you how to train like an astronaut, but who can be bothered with that? Let's go straight to the gourmet end of astronaut existence. Your first tool is the wonderful <a href="https://www.springer.com/gp/book/9781441906236">Astronaut's Cookbook</a>, which combines recipes with stories of life in space.<br />
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It's a myth that the powdered drink mix <a href="https://en.wikipedia.org/wiki/Tang_(drink_mix)">Tang </a>was created for the space program, but it was invented in 1957, Year 1 of the Space Age. It became permanently associated with astronauts and spaceflight when it was used in NASA's Mercury and Gemini programs in the 1950s and 1960s. These days it comes in many difference flavours. And you can make cocktails with it! Here is the recipe for the <a href="https://www.popsugar.com/tech/Buzz-Aldrin-Cocktail-Recipe-Tang-Vodka-13508459">Buzz Aldrin</a>:<br />
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<blockquote class="tr_bq">
Tang (for garnish)<br />
1 orange slice<br />
4 oz of vodka (this is an American recipe)<br />
2 tablespoons Tang<br />
Ice </blockquote>
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Place Tang on a plate. Run orange slice around the rim of a glass; rotate rim of glass in Tang. </blockquote>
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In a cocktail shaker, add Tang, vodka, and ice; shake. Strain into glass. Makes 1 cocktail.</blockquote>
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The fanciness doesn't stop there. How about following this yummy cocktail with some luxurious <a href="http://allrecipes.com.au/recipe/1810/spicy-lobster-newburg.aspx">Lobster Newburg</a>, as eaten by the lucky crew of the US space station Skylab?<br />
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For dessert - of course you need astronaut freeze-dried ice cream., and it's fairly easy to obtain. Many museum shops stock it, and you can buy the original online <a href="https://astronautfoods.com/">here</a>. A cheaper version is available from the <a href="https://shop.questacon.edu.au/Astronauts-Ice-cream.html">Questacon</a> shop. For an easy substitute, <a href="https://jenis.com/blog/recipe-astronaut-ice-cream/">try meringues</a>!<br />
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Breakfast is a snap. <a href="https://zoharesque.blogspot.com/2010/11/space-food-recreating-authentic-space.html">Here</a> is a recipe (scroll down) from the Astronaut's Cookbook for a microgravity-friendly cereal.<br />
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Any food in a pouch is a good bet. You can buy lots of yogurt, fruit and baby food in this form.<br />
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10. Be aware of space for a day</h3>
You can decide to do this any time. Just for a day, think about how you are connected to space through Earth and through human technology.<br />
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It starts when the sun rises. As you lie in bed, think about Earth slowly turning underneath you, tilting you towards the Sun.<br />
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Think yourself into space. Imagine your body moving through time and space, not confined by your line of sight. Sight is not a sense that helps us here. In your mind's eye, think of how gravity is anchoring you to the surface. Be aware of the layers of atmosphere above you, until they thin out and give way to the stars and planets.<br />
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Where's the Moon? Look for it in the sky - if it's daytime, you might see its pale white curves, hard to distinguish sometimes. It seems passive, slowly moving in an arc overhead, but its gravitational force causes the tides. Up on the Moon are the remnants of human missions, forming an other-wordly archaeological record.<br />
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Perhaps you look at the weather on your phone or the television/radio news while you're having breakfast. The maps of cloud formations over Earth are brought to you from Earth observation satellites.<br />
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Every time you use your smartphone, look up and think of the satellites it's using to hook into GPS. Perhaps you get some cash out from an ATM. Look at the printed receipt: the time on it comes from satellites signals. At the supermarket, all of the goods you're about to buy are transported by trucks and ships using satellite signals.<br />
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As dusk falls, think of how you are now turning away from the Sun, turning to face the outer regions of the solar system, where human spacecraft are wending their way out into the galaxy beyond.<br />
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And of course, finish your day with some satellite spotting.<br />
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Space. You're standing in it.<br />
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-43715714017515833682019-04-22T13:30:00.000+09:302019-04-22T13:30:13.625+09:30The end of the Space Age<div style="text-align: justify;">
At the moment, we feel kind of connected to many places off-Earth. We have active experiments, orbiters and rovers on the Moon and Mars. Japan's <a href="http://www.isas.jaxa.jp/en/missions/spacecraft/current/akatsuki.html">Akatsuki</a> is in orbit around Venus. <a href="https://www.nasa.gov/mission_pages/newhorizons/main/index.html">New Horizons</a> has whizzed past Pluto and into the Kuiper Belt.</div>
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But just imagine if we couldn't send anything more into space. This situation might arise if the density of space junk becomes too great and the exponential cascade of collisions causes the <a href="https://bigthink.com/paul-ratner/how-the-kessler-syndrome-can-end-all-space-exploration-and-destroy-modern-life">Kessler Syndrome</a>. Objects launched from Earth would not escape fatal damage from these hypervelocity collisions.</div>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JiIZaDfPHqQ" width="560"></iframe></div>
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Gradually, one by one, orbiters would crash onto planetary surfaces as their fuel ran out. Batteries would fail, materials would decay. One by one, the little spacecraft voices that come to the antennas of Earth would fall silent.</div>
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The great antennas set to listen to the human sounds of space would cease their turning like sunflowers to catch the signal; they in their turn would become useless monument to the Space Age.</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-63635167660538811002019-03-17T11:09:00.000+10:302019-03-17T11:09:03.948+10:30Space Age Suds: women, washing machines and the astronautics of everyday life<div style="text-align: justify;">
'Space Age Suds' is a charming and slightly alarming little vignette which is about the seeping of the Space Age into domestic life, machines and technology and how they structure social relationships, and gender roles in the Space Age. It's meant to be humorous, of course, but there is so much going on here!</div>
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The author isn't just anyone - it's beloved South Australian writer and journalist <a href="https://en.wikipedia.org/wiki/Max_Fatchen">Max Fatchen</a>. I found the article on <a href="https://trove.nla.gov.au/">Trove</a> and now can't relocate it, but it seems likely it was published in the Advertiser, Adelaide's daily broadsheet. The date is a bit uncertain but it's clearly Apollo era.</div>
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I like that the Space Age reverses gender roles and that by the analogy of the washing machine with the space capsule, the wife is accorded the power of technology. After some searching I was able to find her first name but not her original surname, so we will have to call her Jean Fatchen here.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-JkPjYYCDl_w/WbyJS-5JoXI/AAAAAAAABDs/mck_0DBftSEyk1XBSoT_M-PPWU6uAl9zQCLcBGAs/s1600/Space%2BAge%2BSuds%2BADvertiser%2BNov%2B11%2B1967%2Bp%2B20.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1252" data-original-width="412" src="https://3.bp.blogspot.com/-JkPjYYCDl_w/WbyJS-5JoXI/AAAAAAAABDs/mck_0DBftSEyk1XBSoT_M-PPWU6uAl9zQCLcBGAs/s1600/Space%2BAge%2BSuds%2BADvertiser%2BNov%2B11%2B1967%2Bp%2B20.png" /></a></div>
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Because the image is a little fuzzy, here is the text.<br />
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<h4>
Space Age Suds: the script</h4>
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So the Russians are developing a low-orbital bomb. Well, it's just one more complicated space-age development, like our washing machine.<br />
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Our washing machine has a shape like a capsule and it is computer programmed and uncanny.<br />
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I was never much of a one with technology, and as a member of the avant garde laundry set, I'm all washed up.<br />
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There's no longer the simple meshing of gears as with our old washing machine. The cheerful days when I got my tie caught in the wrangler are past.<br />
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Our washing machine is automated in a cold, impersonal way, and my wife now calls herself a laundry technician.<br />
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She subscribes to advanced scientific journals, keeps up with the Apollo space project and runs off at the mouth on everything from transistors to laser beams.<br />
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I have been given the title of junior wash and garment line adherer, which means I hang out the clothes. I suppose I should be grateful.<br />
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Yet I dread washing mornings. I belong to a generation of boiling coppers and copper sticks, the hot sudsy smell of saturated sheets, and of bars of yellowed soap.<br />
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Now there's an air of bristling technology in the laundry, with split-second timing and ruthless efficiency.<br />
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"Load", my wife rasps. I stuff the clothes into the washing machine.<br />
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She consults her watch. "Four minutes to wash off," she says.<br />
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She looks at the console. "Close hatch," she orders. I shut the washing machine. She begins the countdown, "Five.....four.....three..."</div>
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"Look, dear," I interrupt, "I've forgotten a couple of my shirts...."</div>
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"Clear the complex", she says icily. "Two.....one.....". She throws a switch.</div>
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I humbly take up my position.</div>
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"Motor running", I report.</div>
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Strange, uncanny sounds come from the interior of the machine.</div>
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'Hot water entering,' I chant, consulting my check sheet.</div>
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"All systems are go," says my wife.</div>
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I sit back and light a cigarette with clammy hands.</div>
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Time goes by. The washing machine murmurs, thumps, sighs and gurgles. Its programme goes its relentless way.</div>
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"Check machine and report," rasps my wife from the kitchen.</div>
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"Machine on course, entering spin-dry period," I say.</div>
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"Check systems," she says.<br />
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"Check, check, check," I cry. "Hoses running. Pump stops ... four...three...two ....one...NOW."<br />
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"Clothes touch down, five minutes," says my wife. "Stand by."<br />
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"Machine spinning," I cry.<br />
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"Fire retro-rockets," she says absentmindedly.<br />
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At last the machine is silent.<br />
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My wife climbs to her feet.<br />
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"Open hatch!" she orders. "Alert clothes waggon".<br />
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She begins unloading the washing machine.<br />
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She lets out a shriek. "These clothes still look dirty".<br />
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"You didn't," she says, "put in the washing powder, did you?".<br />
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"Well," I bluster, insubordinate and defiant to the last, "this machine is supposed to think of everything. If it hasn't enough brains to use washing powder....."<br />
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"That's all," she snaps. "We'll have to do another orbit. Get the powder".<br />
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No, I haven't been on the moon but there are times when it sounds attractive!<br />
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<h4>
Exegesis</h4>
</div>
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So much to say about this little piece! I'm only going to scratch the surface here.<br />
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There's the idea that the Space Age changes how we do small domestic things on Earth: more like machines than messy humans. Both the wife and the washing machine are now operating as Space Age robots (it's a little bit <a href="https://en.wikipedia.org/wiki/The_Stepford_Wives">Stepford Wives</a>-ish tbh). It shows how the public interpreted the machine-human interfaces of space technology, down to checklists just like those that the Apollo astronauts used. It's also very cybernetic, getting status updates and adjusting the conditions.<br />
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The washing machine drum is a little gravity machine in itself, spinning like a space station or a centrifuge such those astronauts train in. Front loading washing machines with a glass porthole resemble spaceships too. </div>
<div style="text-align: justify;">
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The countdown has permeated into the domestic level: precision timing is the key to Space Age efficiency. As a domestic astronaut in her small domain, Jean has assumed power: she commands and Max obeys. She is a robot herself, icy and distant, intolerant of human foibles like forgetting a few shirts - and also the washing powder. (Thanks a bunch, Max. I would have been far more annoyed were I Jean).</div>
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The irony is that the power of astronaut Jean is illusory. While Max is pretending to help, he's actually demonstrating a typical trope of the inept male. He boasts about hanging out the clothes, but in this scenario, he forgets the washing powder and sits about smoking a casual ciggie (as people did in those days) while Jean multitasks, back in the kitchen. He finishes with that golden oldie, the nagging wife. It's a perfect illustration of the separate gender spheres of the 1960s, when women were excluded from being astronauts in the US.<br />
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'Fire retro rockets,' Jean says, absentmindedly. Doesn't this seem at odds with the ruthless robot housewife, all hard, streamlined efficiency? It took me a few reads before I realised what the subtle Max was implying with this sentence. She is absent-minded and talking about retro-rockets - which the washing machine does not have - because she is dreaming. Standing in her apron at the kitchen sink washing the breakfast dishes, while Max lounges around in the laundry, she is an astronaut. She is in command of a space mission, brave and true. The washing machine is as close as she can come to realising this dream. It makes me feel a little sad.<br />
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Once upon a time in France (well probably about 2005), I saw a washing machine advertisement in which a rather attractive nude man crouched in front of the washing machine's porthole, presumably waiting for the spin cycle to finish. The caption read 'One small step for man, one giant leap for women' or something to that effect in French: the idea was that is was a bloody big leap to get a bloke to do any housework, so nude dude's efforts at laundry were going to emancipate women and allow them to leave the house, even go to space! In effect, the effort involved in getting a man to do the laundry was equivalent to landing on the moon!<br />
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<h4>
Gallery of Space Age Suds</h4>
As it turns out, there are quite a few connections between washing machines and the Space Age. Here's a small sample.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Onpum1aSEHo/XIxd8Up1v8I/AAAAAAAABQY/NjapNtdDzPkFDLAUKFChfrtO1-cIIIcRwCLcBGAs/s1600/Apollo%2BAppliances%2BSheffield%2Bshopfrontsofsheffield.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="240" src="https://2.bp.blogspot.com/-Onpum1aSEHo/XIxd8Up1v8I/AAAAAAAABQY/NjapNtdDzPkFDLAUKFChfrtO1-cIIIcRwCLcBGAs/s320/Apollo%2BAppliances%2BSheffield%2Bshopfrontsofsheffield.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A space-age shop front in Sheffield, UK. Used with permission, from<br />
https://shopfrontsofsheffield.com/2013/09/30/apollo-appliances-ltd-12-meadowhead/</td></tr>
</tbody></table>
Look at those rocket portholes lined up outside this charming shop!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-hNGbkYb8xRs/XIxiszZF4xI/AAAAAAAABQw/SzCcqZxIKNg9zKMsrBVmBXmgJV94p9hEACLcBGAs/s1600/NV%2Breal%2Bestate%2Bspace%2Bage%2Blaundry.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://1.bp.blogspot.com/-hNGbkYb8xRs/XIxiszZF4xI/AAAAAAAABQw/SzCcqZxIKNg9zKMsrBVmBXmgJV94p9hEACLcBGAs/s320/NV%2Breal%2Bestate%2Bspace%2Bage%2Blaundry.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">https://www.doorsteps.com/search/carson-city_nv?property_id=1004635807</td></tr>
</tbody></table>
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A rental property in Carson City, NV, USA, was advertised with a Space Age Laundry!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-vQPIgVEV9h0/XIxjuoGqHsI/AAAAAAAABQ8/U_6eK9wQFaQxs3qg7pPF5d1NbtIJfJsRwCLcBGAs/s1600/Tom-Hanks-in-Washing-Machine-Spaceship--99269.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="745" data-original-width="800" height="298" src="https://2.bp.blogspot.com/-vQPIgVEV9h0/XIxjuoGqHsI/AAAAAAAABQ8/U_6eK9wQFaQxs3qg7pPF5d1NbtIJfJsRwCLcBGAs/s320/Tom-Hanks-in-Washing-Machine-Spaceship--99269.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Freaking News,<br />
http://www.freakingnews.com/Tom-Hanks-in-Washing-Machine-Spaceship-Pictures-110109.asp</td></tr>
</tbody></table>
This is a reference to the Apollo 13 mission.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-dzvvfHIdKXE/XIxmvcmMj3I/AAAAAAAABRI/JL-o8TJ5zuQyKspU9uWTu8g21FCFWVSEACLcBGAs/s1600/Canadian%2Bwashing%2Bmachine%2Bgravity.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1186" height="320" src="https://1.bp.blogspot.com/-dzvvfHIdKXE/XIxmvcmMj3I/AAAAAAAABRI/JL-o8TJ5zuQyKspU9uWTu8g21FCFWVSEACLcBGAs/s320/Canadian%2Bwashing%2Bmachine%2Bgravity.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Source: unknown</td></tr>
</tbody></table>
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This advertisement from 1900 explicitly references the gravity of spinning.<br />
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I'm sure I could find many more examples if I kept searching. Le me know if you find any!<br />
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And I'd like to finish by saluting astronaut Jean Fatchen. Here she is with Max in 2004.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-AyYACY9jTfc/XI2Wc_p0BYI/AAAAAAAABRU/sw0mgMJQ0UQ2zCu0mepfc9eDRcDytTIdwCLcBGAs/s1600/Max%2Band%2BJean%2BFatchen.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="650" height="180" src="https://4.bp.blogspot.com/-AyYACY9jTfc/XI2Wc_p0BYI/AAAAAAAABRU/sw0mgMJQ0UQ2zCu0mepfc9eDRcDytTIdwCLcBGAs/s320/Max%2Band%2BJean%2BFatchen.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jean, with Max. Picture: Grant Nowell<span class="image-source" style="border: 0px; box-sizing: border-box; color: #6e6e6e; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-stretch: inherit; font-style: italic; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 0px 5px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Source:adelaidenow</span></span></td></tr>
</tbody></table>
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<br />Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-29879429887946386362019-02-22T21:02:00.000+10:302019-03-10T14:52:44.433+10:30Here now the Sun: a poem for Valentina Tereshkova, the first woman in space<!--[if gte mso 9]><xml>
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<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I. Ready for launch</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The suit is working well. <br />The inflow stream is working well. <br />I’m ready for launch. <br />I feel excellent. <br />Everything is normal. <br />I’m not a delicate lady. <br />Everything is normal on board. <br />I’m ready for launch. <br />I’m taking up the initial position. <br />Feeling excellent. <br /></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">II. Launch</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The vehicle’s moving smoothly, <br />vehicle’s moving smoothly.<br />I feel excellent. <br />Vehicle’s moving well. <br />I feel good.<br />I feel good. <br />I see the Earth on the porthole. <br />I feel excellent. <br />The Earth is very beautiful. <br />The vehicle is moving smoothly. <br />I see the Earth in the porthole, <br />slightly obscured by clouds.<br /></span><br />
<h3>
<br /></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">III. Orbit</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I’ll do everything that I need to do.<br />I don’t understand.<br />I didn’t see anything. <br />I feel excellent. <br />The clock is moving. <br />I see the horizon through the observation port. <br />I see the Earth in the observation port. <br />I feel excellent.<br />All systems on the vehicle are working perfectly. <br />Everything is excellent, <br />I hear you perfectly. <br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">IV. The other cosmonaut</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I hear you perfectly, <br />I feel excellent. <br />I feel excellent, excellent. <br />I’m approaching Cape Horn. At the outer ring … <br />The little star disappeared, wasn’t that you?<br />Don’t go far from me, my friend.<br />I can’t see the Moon. <br />The stars are passing further up. <br />I am seeing such a bright star. <br /><br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">V. The ships are on their way</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The vehicle is responding perfectly, perfectly. <br />Roger<br />Roger<br />From the southern point I called him, <br />he’s silent, <br />from the north, <br />the same. <br />At our harbour the ships are silently smoking… </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Can you hear? <br />For the real boys, the harbour is the native home, <br />comrade to comrade, <br />they’ll always stand together. <br />And far far away, </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">the ships are on their way, <br />and all who are young at heart, <br />stand shoulder to shoulder.<br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">VI. Fourth orbit</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">19 hours 25 minutes<br />I sang songs for him<br />In the centre,<br />such a blue spot.<br />Here now the Sun<br />so orange, not red,<br />not light red, but<br />orange.<br />I’m also feeling excellent.<br />Here now the Sun<br />visible and lit up.<br />In the outer ring<br />the horizon is visible.<br />It’s a very beautiful sight.<br />at first it’s light blue,<br />then lighter,<br />then dark…<br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">VII. Greetings to all the women of the world</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Soviet women! <br />Greetings to all Soviet women. <br />I wish you personal good luck <br />and great success<br />Women of the world! <br />Greetings to you from space. <br />I wish you good luck <br />and success... <br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">VIII. The flight is normal</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Cabin pressure 1.15<br />Humidity 61 percent<br />Temperature 23 degrees<br />Carbon dioxide 0.1<br />Oxygen 250<br />Pulse 84-90-100<br />Breathing 22<br />I feel excellent.<br />See you soon in the homeland! <br />I hear you perfectly, perfectly. <br />The flight is proceeding normally. <br />All systems of the ship are working perfectly. <br />I feel excellent. <br />I hear you. <br />I’m waiting. <br />Everything is excellent. <br />The spaceship is working perfectly. <br />I’m in good spirits. <br />I feel excellent. <br />I hear everything well. <br />The flight is normal. <br />All systems on the ship are working perfectly. <br />Pressure in the suit 1 atmosphere<br />Humidity 40 percent<br />Temperature 28 degrees<br />Carbon dioxide 0.2 percent<br />Oxygen 200<br />All systems on the ships are working excellently. <br />I feel excellent. <br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">IX. Dear Nikita Sergeyevich</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Dear Nikita Sergeyevich!<br />I will use all my strength and knowledge to fully complete the flight<br />‘Till we meet again soon on our Soviet land.<br />Moscow, Kremlin. <br />I am reporting. <br />Dear Nikita Sergeyevich Khrushchev. <br />The flight is proceeding normally. <br />All systems on the ship are working perfectly. <br />I feel excellent. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks to all the Soviet people <br />See you soon in the homeland! <br />Dear Nikita Sergeyevich,<br />deeply touched by your attention. <br />With all my heart<br />Dear Nikita Sergeyevich! <br />I will use all my strength and knowledge to fully complete the flight, <br />‘Till we meet again soon on our Soviet land.<br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">X. Shadows</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">There aren’t enough fingers to block the Sun.<br />It’s very sunny, difficult to see<br />at the present a very bright sun,<br />illuminating the very high clouds...<br />the horizon above the bright clouds<br />transitions into shadows.<br />The dark sky is visible in the survey viewport.<br />The flight is proceeding normally.<br />I feel excellent.<br /><br /></span><br />
<h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">XI. This is Chayka</span></h3>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is Chayka. Over.<br />This is Chayka. Over.<br />This is Chayka. Over.<br />This is Chayka. Over.<br />This is Chayka. Over.<br />This is Chayka. Over.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is Chayka. Over.<br />This is Chayka. Over.<br />This is Chayka. Over.<br /><br /></span><br />
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<span style="color: #1a1718; font-family: "arial"; font-size: 11.0pt;"><span style="font-size: 14.6667px;"><i>Notes</i></span></span></div>
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<span style="font-size: x-small;">This is a poem made using a technique called <a href="https://www.writersdigest.com/whats-new/erasure-and-blackout-poems-poetic-forms">erasure</a>, removing words from an existing text to create a new one. The words are from an edited transcript of Valentina Tereshkova's spaceflight. In 1963, she was the first woman to enter space and remains the only on to have performed a solo mission. </span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">I took the transcript from a paper by space historian Asif Siddiqi. This was not a complete transcript, so poem is only constructed from what Siddiqi reproduced, and of course it is important to remember that the transcript is translated from Russian to English. </span><span style="font-size: x-small;">The transcript lent itself to short, repetitive sentences. My influences in taking this form were Gertrude Stein and HD, particularly her poem <i>Eurydice</i>. Another influence is Christine Rueter (@tychogirl), who first made me aware that poems existed within other texts, waiting to be brought out.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">I used only Valentina's words; </span><span style="font-size: x-small;">I wanted to maker her voice front and central, give her a narrative that was purely from her perspective without the judgement of others. </span><span style="font-size: x-small;">She was in conversation with many people during the flight, including Yuri Gagarin, the first man in space, and Soviet leader Nikita Khrushchev. I erased anyone who wasn't Valentina, and then removed paragraphs, sentences or parts of sentences to arrive at the poems you read here.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">The other cosmonaut referred to was Valery Bykovsky, who was orbiting at the same time. They were supposed to sing a duet together from their separate spacecraft, but in the end Valentina sang by herself. </span><span style="font-size: x-small;">In '</span><i style="font-size: small;">The ships are on their way'</i><span style="font-size: x-small;">, the latter part of the poem is from two different Russian songs, ‘Textile Town’, a 1960s hit by Mikhail Tanich, and ‘Friendship Song’, according to Siddiqi. This was Valentina's own mash-up within the text.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">Valentina's flight was heavily criticised and constantly dissected. She was, in fact, not feeling excellent, but in the circumstances unable to admit this - a common problem for astronauts in the USSR and US. Space sickness was poorly understood, and admission of anything less than perfection could risk future flights. In addition, an engineer had made a mistake - the Vostok capsule was programmed to ascend, but not to descent. Valentina discovered this a few hours into her flight, which must have been a shock. The error was rectified, fortunately.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">The sequence, with one exception when I moved text about the Sun to the same poem, is in the order in which it was spoken, so represents the chronological unfolding of her mission.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">The final verse is made up of a phrase which was used repeatedly throughout the transcript. Tereshkova's callsign was Chayka (seagull). At the end of every segment of speech, she says 'This is Chakya. Over'; so I made this the end of the poem sequence. She repeats 'Over', but the poem does not include return to Earth. I wanted to create the impression that this was a moment in time, that she might still be out there, suspended, her state of existence ambiguous. Like she's flying into the sun, and the brightness of the sun prevents us from following her trajectory any further, fading her out like the radio signal.</span></div>
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<i><span style="font-size: x-small;">References</span></i></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">Siddiqi, Asif 2009 Transcripts give new perspective on Vostok-6 mission. The first woman in Earth orbit. </span><i style="font-size: small;">Spaceflight </i><span style="font-size: x-small;">51: 18-57</span></div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com2tag:blogger.com,1999:blog-7530535.post-67062346427555077062019-02-17T12:33:00.001+10:302019-02-17T12:33:09.235+10:30Ready for launch - a poem for Valentina Tereshkova #2<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
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<h4>
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Ready for launch</span></h4>
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">The suit is working well. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">The inflow stream is working well. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I’m ready for launch. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I feel excellent. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Everything is normal. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I’m not a delicate lady. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Everything is normal on board. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I’m ready for launch. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I’m taking up the initial position. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Feeling excellent. <o:p></o:p></span><br />
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><br /></span>
<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><br /></span>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-tiZVJyTDe34/XGjALeA47QI/AAAAAAAABQA/kdCqYJUJpGwxbF6TFbsN0ELl66QQXrDwQCLcBGAs/s1600/Tereshkova%2Bprepareing%2Bfor%2Blaunch%2B%2540Sputnik.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1160" data-original-width="1600" height="231" src="https://3.bp.blogspot.com/-tiZVJyTDe34/XGjALeA47QI/AAAAAAAABQA/kdCqYJUJpGwxbF6TFbsN0ELl66QQXrDwQCLcBGAs/s320/Tereshkova%2Bprepareing%2Bfor%2Blaunch%2B%2540Sputnik.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Valentina Tereskova preparing for launch. <br />Image credit: @Sputnik</td></tr>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><br /></span>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: times;"><br /></span></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: times;"><br /></span></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: times;"><br /></span></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: times;">This is a poem made by selecting and rearranging words from a segment of conversation in the transcript of Valentina Tereshkova's epic orbit of the Earth in 1963. So in a way we are joint authors of this work. Note also the influence of Gertrude Stein.</span></span></div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-50396086929125456772019-02-03T12:30:00.001+10:302019-02-20T21:36:50.202+10:30Fourth orbit: a poem for Valentina Tereshkova #1<br />
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<b style="font-family: Calibri; font-size: 12pt;">Fourth
orbit</b><br />
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<span style="font-family: "times new roman"; font-size: 12pt;">19 hours 25 minutes</span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I sang songs for him<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">In the centre<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">such a blue spot. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Here now<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">the Sun<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">so orange, not red, <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">not light red, but <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">orange. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">I’m also feeling excellent. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">Here now<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">the Sun<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">visible and lit up<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">In the outer ring <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">the horizon is visible. <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">It’s a very beautiful sight<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">at first it’s light blue, <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">then lighter, <o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: "Times New Roman";">then dark…<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-biWBJ0xPVBE/XFZKIxemdkI/AAAAAAAABP0/v3MPD4iPJZwdTBsqASv_dcdzAig9fM3zACEwYBhgL/s1600/red-sun-840x420%2BWrexham.com.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="840" height="320" src="https://1.bp.blogspot.com/-biWBJ0xPVBE/XFZKIxemdkI/AAAAAAAABP0/v3MPD4iPJZwdTBsqASv_dcdzAig9fM3zACEwYBhgL/s640/red-sun-840x420%2BWrexham.com.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy of wrexham.com<br />
http://www.wrexham.com/news/hurricane-ophelia-creates-red-sun-phenomenon-over-wrexham-138803.html</td></tr>
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<span style="font-family: "times"; font-size: small;">This is a poem made by selecting and rearranging words from a paragraph in the transcript of Valentina Tereshkova's words during her epic orbit of the Earth in 1963. It seemed to me that the poetry was already in there and only needed coaxing to bring out. I feel there's something a little Gertrude Stein-esque about it too.</span></div>
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-->Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-60688908515678250752019-01-23T12:11:00.001+10:302019-01-23T12:11:43.850+10:30Sputnik 1 lives on in models of the world's first satellite<div style="text-align: justify;">
In 2017, I was lucky enough to be part of a UN workshop on the theme of women in space. Most of it was run at the offices of UN Women, but one session was in UN HQ in New York City.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I was delighted to see a model of Sputnik 1 suspended from the ceiling in the lobby. The model was presented to the UN by the USSR in 1959. </div>
<br />
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<a href="https://2.bp.blogspot.com/-VNPaULASgzA/XEfBmjlDyYI/AAAAAAAABPg/qmSdkM7jD0ATHxvgiC190txvG-krlqP4gCLcBGAs/s1600/2017-10-07%2B04.40.30%2BSputnik%2Bagainst%2Bwindows%2BUN%2Bheadquarters.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://2.bp.blogspot.com/-VNPaULASgzA/XEfBmjlDyYI/AAAAAAAABPg/qmSdkM7jD0ATHxvgiC190txvG-krlqP4gCLcBGAs/s320/2017-10-07%2B04.40.30%2BSputnik%2Bagainst%2Bwindows%2BUN%2Bheadquarters.jpg" width="240" /></a></div>
<div style="text-align: justify;">
<span style="text-align: justify;">The satellite itself of course no longer exists, having re-entered after three months in orbit in January 1958. I wonder what you would find if you made a catalogue of all the Sputnik models that existed in the world - a footprint of its cultural influence? The catalogue would include the model that usually resides on my office desk, for example. You'd never be able to track them all - there must be so many small ones produced as models or toys dispersed throughout the world. Some would be in museums; some in public institutions like the UN; others in universities. The rest would be in schools, people's houses and who knows where else.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Models don't have to be accurate, either. Perhaps there are some that are larger than the original satellite, which was 58 cm in diameter. Many would be smaller. They may use different materials, or get the angle and size of the antennas wrong. But they'll all have a shiny sphere with four long legs, the essential features of this space object which have come to symbolise the early Space Age.</div>
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Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0tag:blogger.com,1999:blog-7530535.post-55288386653926092072019-01-08T10:36:00.002+10:302019-01-08T10:36:43.294+10:30Space junk: collection is easy, direction is hard to find.<div style="text-align: justify;">
My Twitter friend Stuart Palmer alerted me to this space junk song I didn't know about! It's a good one too. The Bats are <a href="https://thebats.co.nz/">a New Zealand band</a> who have been around since the 1980s.<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GMITHCMqayc" width="560"></iframe></div>
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Here are the lyrics, which I have transcribed myself for your pleasure. Apologies if I have got some of them wrong. The cruisy tones sometimes made words difficult to distinguish!</div>
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Space junk is flying</div>
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And I'm goin' to go and get me some</div>
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It will be so easy</div>
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And I'll have a beautiful pile</div>
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Collection is easy</div>
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Direction is hard to find</div>
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Time is the healer</div>
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Somewhere I'll hide it</div>
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Maybe on the mellow moon</div>
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Someday I'll go and find it</div>
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Sell it for a fortune back home<br />
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Collection is easy</div>
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Direction is hard to find</div>
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Time is the healer</div>
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In the end of course I never made it</div>
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Cos I could never find a hollow moon</div>
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Space junk junk is still flying</div>
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And I'm waiting just for you to be</div>
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Collection is easy</div>
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Direction is hard to find</div>
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Time is the healer</div>
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And I'm still stuck out here</div>
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Searching for a better world</div>
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And I'm still stuck out here</div>
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Searching for a better world</div>
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And I'm still stuck out here</div>
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Searching for a better world<br />
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The song draws on the idea that space junk is collectible and valuable, just like the pieces of Skylab which scattered itself over Western Australia in 1979. It's junk in orbit, but a precious souvenir of space back on Earth. </div>
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This makes me think about the definition of space junk and how it varies depending on where the fragment or defunct satellite is located between Earth and Earth orbit. For example, a returned spacecraft in a museum is not seen as junk because it is performing a function - communicating space science to the public. A collected piece of junk also has a function for the person who owns it. It's a physical object that evokes the vastness of space and makes the person feel connected to it. Anything spaceflown has a magical pull for the Earthbound.<br />
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In the song, the space junk is also a compass for finding one's way in the universe. It's come to a final resting place, and its collector looks to it to provide a thread to the sky where perhaps a better world awaits. The space junk can't fulfil this role, though.<br />
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I like the way the song moves from the slightly facetious idea that a fortune can be made from selling space trash to the more melancholy reflection of being stuck on Earth still searching for a path.<br />
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I've been humming this song for days. Go Bats!<br />
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<br />Dr Space Junkhttp://www.blogger.com/profile/16690111452618194402noreply@blogger.com0