Category: Art and Science
— Braulio Agnese (@bagnese) July 5, 2016
According to Gizmodo, this planet with three suns shouldn’t even exist.
In 2014, the ESO’s Very Large Telescope was outfitted with a new instrument called SPHERE, which features an adaptive optics system for canceling out the distortion of Earth’s atmosphere, as well as an instrument to block starlight, called a coronagraph. SPHERE is now one of the most powerful direct imaging tools planet hunters have at their disposal, and it bagged an exotic triple-star exoplanet on its very first observational campaign.
HD 131399A orbits a young A-type star, HD 131399A, taking a casual 550 Earth years to complete a single rotation. Far beyond its orbit, a Sun-like star and a K-dwarf (predictably named B and C) twirl about one another like dumbbells, while also revolving slowly around star A.
“The planet is about a third of a way out [between star A, and the B/C pair],” Wagner said. “All of the stars have a lot of gravitational influence on the planet, meaning it has a very irregular orbit that’s constantly evolving and changing.”
Whether the competing gravitational tug of three stars will cause the planet to be ripped apart or ejected from its overcrowded birthplace remains to be seen. In cosmic terms, HD 131399Ab is an infant, just 16 million years old. But the fact that it has survived this long suggests there could be more worlds like it. Some could even be small, rocky, and habitable.
“We thought that [triple star planets] weren’t going to be common, or at least in this extreme configuration, so we hadn’t really looked,” Wagner said. Studying these systems will expand our understanding of the conditions under which planets form and migrate about.
I like the way Cornell uses Surrealism to tell stories of nostalgia and dreams, all wrapped in a tidy box.
The instinct to collect may be a basic part of human nature; we acquire and amass and stockpile a variety of things, be it nostalgic keepsakes, artistic treasures, emergency snacks, or cherished memories. Parents hold on to their children’s baby teeth, bibliophiles fill their houses with books, sports fans hunt down memorabilia from their favorite teams; my own mother dutifully collected Longaberger baskets for a good ten years. I myself collect all manner of things, often to the level of hoarding, but that is a discussion for another day. Perhaps this shared tendency is why the work of Joseph Cornell strikes a chord within so many, as I have yet to meet anyone who dislikes his thoughtful and intricate assemblages of found objects. A collector as much as an artist, he has inspired generations of artists and art-lovers, tapping into that seemingly innate human interest in stuff.
Born in 1903, Cornell grew up in the small village of Nyack, New York, a picturesque spot along the Hudson River. His four years at Phillips Academy in Andover, Massachusetts became the longest period he would spend away from home. After leaving school without a diploma, he moved back in with his family and became a textile salesman like his father, who had passed away in 1917. During the 1920s he collected various paper and secondhand ephemera, but it was not until around 1931 that he began making art out of such materials. Inspired by Surrealist exhibitions at the Julian Levy Gallery–especially Max Ernst’s collages–he created three-dimensional boxes and sculptures assembled from found objects. By 1932 he was exhibiting at the same gallery, with a solo show that fall. He also experimented with filmmaking, cutting together bits of collected film strips to create collaged movies (he returned to the medium in the 50s, collaborating with auteurs like Stan Brakhage to make films with new footage).
Throughout the next several decades, Cornell worked full- or part-time as an artist, never moving out of his mother’s house in Flushing, NY (where he helped care for his brother Robert, who had cerebral palsy) but taking frequent trips to New York City and establishing an ever-growing assortment of artistic connections and friendships, from artists Mark Rothko and Yayoi Kusama to dancer Allegra Kent and poet Mina Loy…
… The wonderful thing about Joseph Cornell is he created works of high art that could easily be read as pure knick-knacks if not for their powerful associative effect. He taps into the nostalgia inherent to so many objects, deftly combining his found items so as to elicit a response related to memory or personality, expressing feeling and experience through secondhand castaways. Putting together things like glassware, maps, stuffed birds, torn book pages, and keys, he silently invites viewers to extrapolate their own connections with such everyday items. We bring along our own baggage, our own memories, our own wishful thinking, and we are able to take it personally. Generally, Cornell is not making bold political statements or irreverent art historical references; he is not caught up in the manifestos and rampant theories of many artists of his day. He is sharing his own interests and perspective with others–often specific friends, colleagues, and crushes–through his own belongings. Many early-twentieth-century artists made art out of the everyday, but Cornell made art out of his everyday, which in turn could easily become reinterpreted as our own.
Cornell’s style including his use of repetitive pictures like in the Medici Princess (above) also influenced Pop artist Andy Warhol … there was newspaper that Cornell sent to his relatives during the Depression called Goop Joe’s Poultry Pages. Some of the articles, which he typed with a Smith Corona were a hoot, especially the story on Page 19 – Duck Hunter Falls Out of Boat; Drowns. I was cracking when I read it, and then I saw a young girl read the same article and she cracked up too. I think Cornell would be pleased to know that his humor is still relevant today especially to his potential fees, filles or faeries as he called young women that caught his eye in New York City.
The Director gathered herself into human form and used her freshly sculpted hands to open up the Meditation room. She wobbled as she walked. It was hard to stay balanced while encased in a temporary body with limited sensation. But, since she was leading this meeting of Recovering Earthlings: The Formerly Famous, it was required.
The chill wind on her movie-star quality breasts reminded her of the problem that vexed her to no end when she’d been alive. What to wear?
The butler, Chor, had hung two robes up for her. One was translucent, flowing with every color in the spectrum. The other was an early-twentieth century peignoir, silky blue. The translucent one signified the future and the past, their existence beyond. The blue was comforting, a reminder of the home they left behind, earth, sky and sea. A comfort color would be best. She chose the blue.
Chor entered the room and greeted her with a chirrup of his forewings. Chor had worn human and other mamalian skins before, but his happiest earth-life was as a bumblebee. The Director hoped the New Arrival wouldn’t be put off by a six-foot tall bee in a bowler and spats. Since he was famous on earth for being somewhat of a “space oddity”, she guessed he wouldn’t be.
“The Meditation Center at the Corner of the Dark Dao Universe” will be part of “47-16 Short Fiction and Poetry Inspired by David Bowie”. Volume I is available for sale at Amazon.
The Perlan Project (so named for the pearlescent stratospheric clouds in Scandinavia) is the brainchild of Einar (pronounced “Ay-nar”) Enevoldson, a former test pilot for the Royal Air Force, U.S. Air Force, and NASA. He’s piloted dozens of aircraft, including the F-86, F-14, and F-111. He’s also flown one-of-a-kind experimental craft, among them the odd, oblique-wing AD-1 and the X-24B lifting body. During the golden age of flight research, Enevoldson was a member of the elite community that included Chuck Yeager, Scott Crossfield, and other luminaries pushing the bounds of aviation.
Enevoldson retired from NASA in 1986 and went to work as a test pilot for Grob Aircraft in Germany, where he flew the Strato 2C, a high-altitude research aircraft developed by the German Aerospace Research Center, DLR. That project was canceled, but the work piqued his interest in high-altitude flight. He recalls walking down a corridor at DLR’s offices near Munich in 1992 and noticing an image tacked outside the office of an atmospheric researcher. Made with LIDAR (light detection and ranging), the image showed what Enevoldson recognized as mountain waves, but these were far bigger and extended much higher than any he had seen before. Standing in front of the image, Enevoldson immediately saw the potential to do something unprecedented. He realized that if the waves were associated with enough wind, they could propel a glider to heights previously thought unobtainable. “I really thought at this moment that this could end up being my life’s work,” he says. High-altitude glider pilot Doug Perrenod, a Perlan project team member, says the realization was the project’s eureka moment.
Mountain waves can be compared to water in a stream swiftly running over a boulder. Air is a fluid, and once winds crest over a mountain ridge and roll down the mountain’s other side—the lee side—they push up into a wave. With the right conditions, the wave can rise thousands of feet higher than the summit of the mountains.
The presence of the waves are often indicated by clouds that are lens-shaped, or lenticular. Early aviators quickly learned to avoid flying near or under the convex clouds because they are associated with severe turbulence and downdrafts. But as far back as the 1930s, glider pilots discovered they could use the powerful updrafts to climb to great heights.
He has little reason to care. He’s married now, with a son. He may not be quite what he once aimed for — as he put it, an artist with a CEO’s salary — but he’s got much of what he needs. He strips companies of their old or surplus technology and resells it; that funds his real work with SRL. In August he put a show on eBay: for $149,000.00 (plus proper permitting and a viable site with adequate electrical power), Survival Research Labs will bring its mechanized mayhem to your city. Thanks in part to some positive media coverage, he’s had over 7,000 views, but no one’s yet taken him up on the offer. “I just thought it would be fun. It was something I’d always wanted to do. Good for laugh. That’s why I usually do things. That’s my main motivation — I might get a laugh out of it somewhere down the line.”
Down the line. Some time in the future, where Mark Pauline has always focused. “I’m 58 and I have no regrets. Yet. I figured that my chances of having regrets are diminished because I’ve made it this far. The percentages look good.” He doesn’t look back much. “At this point I don’t really spend much time thinking about the past,” he says, “I haven’t gotten to that point. Not to say that I won’t someday.” And he’s got time, a long-lived family. “I might be doing this for another 40-50 years. It’s reasonable to assume that,” he says.
And what would make all those long days and nights worth it? What has he been trying to do with this long project he’s made of his life?
“I do this stuff cause I like to do it,” he says, “not because I think I’m going to make any money at it. I’ve been doing it for 30-some years and I still haven’t made any money at it. So that’s good. That means I’ve succeeded. That measure of success has been achieved.”
I was in China in 2007, at the first party-approved science fiction and fantasy convention in Chinese history. And at one point I took a top official aside and asked him Why? SF had been disapproved of for a long time. What had changed?
It’s simple, he told me. The Chinese were brilliant at making things if other people brought them the plans. But they did not innovate and they did not invent. They did not imagine. So they sent a delegation to the US, to Apple, to Microsoft, to Google, and they asked the people there who were inventing the future about themselves. And they found that all of them had read science fiction when they were boys or girls.
Fiction can show you a different world. It can take you somewhere you’ve never been. Once you’ve visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different.
And while we’re on the subject, I’d like to say a few words about escapism. I hear the term bandied about as if it’s a bad thing. As if “escapist” fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in.
If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn’t you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real.
As JRR Tolkien reminded us, the only people who inveigh against escape are jailers.
It is sometimes said that science and art are fundamentally different in their approach and their dominion, since science strives to be objective while art is inherently subjective. The science of perspective demonstrates the superficiality of such claims. With perspective, our concern is how a scene actually looks to a particular person from aspecific vantage point. It might be defined, indeed, as an objective study of subjectivity.
It is remarkable how perspective anticipates the concepts that dominate our basic understanding of Nature’s laws. Many of the central ideas of modern physics are unfamiliar to most people. They can seem abstract and forbidding if they are introduced abruptly, in the strange contexts that are their natural habitat. That’s why those of us who try to bring those ideas to a broad audience must often work in metaphors and analogies. But it’s challenging to find metaphors that are both faithful to the original ideas and readily accessible; and even more challenging to do it in a way that does justice to their beauty. I’ve struggled with that problem many times over the years. Here, I’m happy to present a solution that’s given me a real feeling of satisfaction.
Scientists are often fascinated by art – from Brainpickings’ ‘The Art of Ofey’
Richard Feynman — champion of scientific culture, graphic novel hero, crusader for integrity, holder of the key to science, adviser of future generations, bongo player — was a surprisingly gifted semi-secret artist. He started drawing at the age of 44 in 1962, shortly after developing the visual language for his famous Feynman diagrams, after a series of amicable arguments about art vs. science with his artist-friend Jirayr “Jerry” Zorthian — the same friend to whom Feynman’s timeless ode to a flower was in response. Eventually, the two agreed that they’d exchange lessons in art and science on alternate Sundays. Feynman went on to draw — everything from portraits of other prominent physicists and his children to sketches of strippers and very, very many female nudes — until the end of his life.