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Company sending mini-museum of humanity to the moon for future explorers

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Earth is giving a gift to the moon that will land on the lunar surface next year.

The nine-ounce MoonArk a tiny time capsule-esque artifact of humanitywill be attached to a small lunar rover. This is in the hopes that one day it may be picked up by lunar explorers — hundreds or thousands of years in the future.

The MoonArk was designed to capture humanity’s view of Earth, the moon, the space between the two, and the greater universe. Fittingly, these complex narratives are shared through various types of art — not unlike the way ancient humans left their mark on Earth for us to understand the past.

It’s not a traditional time capsule because it’s not organized chronologically and doesn’t encapsulate everything a future human or other species would need to know. That would be impossible. But the MoonArk team has achieved their own kind of impossible feat over the course of 10 long, determined years. They have turned a vision into a reality that will sit on lunar soil.

MoonArk will hitch a ride with with a new lunar rover set to launch next year. Originally known as the Moon Arts Project, MoonArk was designed in response to the 2007 Google Lunar XPRIZE competition. The competition and its US$30 million prize expired in 2018 when teams around the globe failed to land a robotic spacecraft on the moon.

But the Andy lunar rover — developed by William “Red” Whittaker, a Carnegie Mellon University professor and director of the Field Robotics Center — is go for launch in 2021. The tiny rover will be one of the first American robots to explore the moon’s surface and transmit video back to Earth.

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Astrobotic’s Peregrine lander will deliver the rover to the near side of the moon, landing by the Lake of Death. This region contains a large scientifically intriguing pit that the rover can image. Whittaker co-founded Astrobotics, a Carnegie Mellon spin-off company that plans to send payloads to the moon and eventually elsewhere.

The rover will drive at a few centimeters per second and its major capabilities include autonomously choosing where to go, taking pictures, calling home and staying out of trouble, Whittaker said.

“It is about the size of a shoebox with four wheels, and it is ultra lightweight, with a camera in forward and rear,” Whittaker said. “MoonArk is attached underneath the deck of the lander, like a skirt that protrudes from the body. Our approach is to attach it underneath that lander deck and when the time comes to release it and have it float to the ground. That’s never been done before.”

Andy and the MoonArk will part ways after the rover releases its cultural payload and leaves it behind to explore the Lake of Death. For MoonArk, it’s just the beginning.

 

Inside the ark

Lowry Burgess, NASA space artist and professor emeritus at the Carnegie Mellon University School of Art, came up with the original concept for MoonArk.

Burgess, along with Carnegie Mellon faculty members Mark Baskinger, Matt Zywica, Dylan Vitone and James Madison University professor Mark Rooker, have been on a journey together ever since. They’re not just creators of the MoonArk, but caregivers as well.

Initially driven by determining factors like weight, scale and cost, the project took on a greater purpose.

“We had a larger narrative in mind,” said Baskinger, project co-lead and associate professor at CMU’s School of Design. “We thought about ‘What does it mean to be human?’ ‘What are the elements and dimensions of being human?’ ‘And how does the moon factor into that?’ ”

The fundamentals of living on Earth and seeing space through human eyes are there, arranged in a stack of small chambers representing Earth, the moon and various regions of space.

They decided on four chambers, starting with Earth at the bottom, followed by the metasphere where our communications satellites exist, then the moon chamber and finally, the ether chamber exploring the “more existential and abstract conceptions of the universe beyond what we know.”

The team wanted to create a literal context for humanity, showcasing humans as they are today on Earth, how the moon has acted as our muse for art and the ether above it all, causing us to ponder where we are in the grand scheme of things.

The chambers are each only about two inches in both height and diameter. But each one contains a nanoscale world within, including hundreds of examples of poetry, music, sounds, drawing, symbols, dance, art, artifacts and tiny samples.

Each chamber is the result of collaborating with a team of 60 people and more than 250 artists, scientists, designers and educators.

The inventory contained within is long and varied, a mix of concrete and abstract.

Songs are laser-etched on disks alongside perfume to evoke the idea of moving through a city and catching fragments of music. There are impossibly tiny samples of plankton, ocean water, flower pollen and resin. Multiple languages and translations share slices of the varied cultures found across Earth.

There’s a stunning visual of the FOXP2 genome structure, the gene that allows songbirds to make songs and humans to put words in order, said Dylan Vitone, professor of photography at CMU. The “out of Africa” concept explaining the spread of humanity is given a modern update, showing the light population and density over Egypt. It represents the growth of light and electrification to show the spread of humanity from the fertile crescent.

Smartphone messages sent between Vitone and his wife over the course of five years reveal how humans express affection through images.

In the moon chamber, there are artistic tributes: the representation of a ballet composed in honor of the moon, 108 poems to the moon across the years and 9,000 drawings people wanted to send to the moon.

When Baskinger found out one of his friends was going to Hawaii, he asked him to bring back a sandwich bag of sand. For two weeks, he sifted through the sand under a microscope, picking out shells and organism structures. They reflect the various microscosms on Earth in contrast to the human scale.

One ring contains infinities, combinations of things that are represented in one tiny item. Burgess put together the “metal of metals” by taking all of the metals from the periodic table, melting them down and fusing them together.

Each chamber includes murals representative of the theme, designed to degrade over time on the moon’s harsh surface and reveal other details. The ether chamber ends with a musical score and an image of the Andromeda galaxy, which our galaxy will collide with in about four billion years.

The MoonArk wasn’t designed to capture the doomsday aspect of humanity ending, however. You won’t find any seed catalogs or an upload of Wikipedia entries. It’s not reflective of politics or current affairs. Instead, like a miniature museum, MoonArk was designed to be timeless and open to interpretation.

“The world is divisive,” Baskinger said. “This cuts through all of that artifice and touches on fundamental and core aspects of humanity. What does it mean to be a human in this experience that we can look at an object and begin to see a reflection of ourselves in, and not one that aligns with any particular mold or model? It’s a a very raw mirror. It’s not our voice we’re trying to project, but the result of an organic process of cooperation and collaboration with people in 18 countries.”

 

Creating a gift for to the future

The MoonArk itself is a testament to technology and design, pushing the limits of what’s possible now to create an object for the future.

Platinum-engraved sapphire disks, nano sculptures, millimeter-sized silicon chips and metal murals are enclosed in an elaborate exoskeleton.

“It’s a cutting-edge object in so many ways, like bleeding-edge technology,” Zywica said. “It involved 3D printing and the machining of wafer-thin sapphire disks that really pushed our capacity.”

Rooker, a metalsmith professor, was in charge of the final assembly. He controlled the process of engraving the various disks down to the nanometer.

“He worked tirelessly to make this a beautiful object tipped in diamonds and gold,” Vitone said. “It has the elegance of a Faberge egg. So we can leave behind a gift that’s functional and beautiful.”

The object is both lightweight and strong, built to last on the moon.

There’s a twin copy of the MoonArk that will remain on Earth, touring as an exhibit so people can interact with it.

“Hopefully the one on Earth allows conversations to happen,” Vitone said. “We’re so fast paced. When we do step back, it’s a chance analyze our own life and find meaning. An artifact can make you turn internally.”

Whoever picks up the MoonArk in the future will bring their own context to it, with no knowledge of the world that created this object at this particular time in history. To the creators, that makes the prospect even more exciting.

“What makes a piece of art work for me is when an artist or designer has made an experience that the viewer can enter into,” Vitone said. “It’s not complete, it needs the viewer to complete the narrative. ”

“Cultures are known for their creative practice that endures, from an archaeological standpoint,” Baskinger said. “So this object is an honest, emergent creative practice that can bring a reflection of humanity for the folks of tomorrow. ”

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Here’s how Helene and other storms dumped a whopping 40 trillion gallons of rain on the South

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More than 40 trillion gallons of rain drenched the Southeast United States in the last week from Hurricane Helene and a run-of-the-mill rainstorm that sloshed in ahead of it — an unheard of amount of water that has stunned experts.

That’s enough to fill the Dallas Cowboys’ stadium 51,000 times, or Lake Tahoe just once. If it was concentrated just on the state of North Carolina that much water would be 3.5 feet deep (more than 1 meter). It’s enough to fill more than 60 million Olympic-size swimming pools.

“That’s an astronomical amount of precipitation,” said Ed Clark, head of the National Oceanic and Atmospheric Administration’s National Water Center in Tuscaloosa, Alabama. “I have not seen something in my 25 years of working at the weather service that is this geographically large of an extent and the sheer volume of water that fell from the sky.”

The flood damage from the rain is apocalyptic, meteorologists said. More than 100 people are dead, according to officials.

Private meteorologist Ryan Maue, a former NOAA chief scientist, calculated the amount of rain, using precipitation measurements made in 2.5-mile-by-2.5 mile grids as measured by satellites and ground observations. He came up with 40 trillion gallons through Sunday for the eastern United States, with 20 trillion gallons of that hitting just Georgia, Tennessee, the Carolinas and Florida from Hurricane Helene.

Clark did the calculations independently and said the 40 trillion gallon figure (151 trillion liters) is about right and, if anything, conservative. Maue said maybe 1 to 2 trillion more gallons of rain had fallen, much if it in Virginia, since his calculations.

Clark, who spends much of his work on issues of shrinking western water supplies, said to put the amount of rain in perspective, it’s more than twice the combined amount of water stored by two key Colorado River basin reservoirs: Lake Powell and Lake Mead.

Several meteorologists said this was a combination of two, maybe three storm systems. Before Helene struck, rain had fallen heavily for days because a low pressure system had “cut off” from the jet stream — which moves weather systems along west to east — and stalled over the Southeast. That funneled plenty of warm water from the Gulf of Mexico. And a storm that fell just short of named status parked along North Carolina’s Atlantic coast, dumping as much as 20 inches of rain, said North Carolina state climatologist Kathie Dello.

Then add Helene, one of the largest storms in the last couple decades and one that held plenty of rain because it was young and moved fast before it hit the Appalachians, said University of Albany hurricane expert Kristen Corbosiero.

“It was not just a perfect storm, but it was a combination of multiple storms that that led to the enormous amount of rain,” Maue said. “That collected at high elevation, we’re talking 3,000 to 6000 feet. And when you drop trillions of gallons on a mountain, that has to go down.”

The fact that these storms hit the mountains made everything worse, and not just because of runoff. The interaction between the mountains and the storm systems wrings more moisture out of the air, Clark, Maue and Corbosiero said.

North Carolina weather officials said their top measurement total was 31.33 inches in the tiny town of Busick. Mount Mitchell also got more than 2 feet of rainfall.

Before 2017’s Hurricane Harvey, “I said to our colleagues, you know, I never thought in my career that we would measure rainfall in feet,” Clark said. “And after Harvey, Florence, the more isolated events in eastern Kentucky, portions of South Dakota. We’re seeing events year in and year out where we are measuring rainfall in feet.”

Storms are getting wetter as the climate change s, said Corbosiero and Dello. A basic law of physics says the air holds nearly 4% more moisture for every degree Fahrenheit warmer (7% for every degree Celsius) and the world has warmed more than 2 degrees (1.2 degrees Celsius) since pre-industrial times.

Corbosiero said meteorologists are vigorously debating how much of Helene is due to worsening climate change and how much is random.

For Dello, the “fingerprints of climate change” were clear.

“We’ve seen tropical storm impacts in western North Carolina. But these storms are wetter and these storms are warmer. And there would have been a time when a tropical storm would have been heading toward North Carolina and would have caused some rain and some damage, but not apocalyptic destruction. ”

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Follow AP’s climate coverage at https://apnews.com/hub/climate

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Follow Seth Borenstein on Twitter at @borenbears

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Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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‘Big Sam’: Paleontologists unearth giant skull of Pachyrhinosaurus in Alberta

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It’s a dinosaur that roamed Alberta’s badlands more than 70 million years ago, sporting a big, bumpy, bony head the size of a baby elephant.

On Wednesday, paleontologists near Grande Prairie pulled its 272-kilogram skull from the ground.

They call it “Big Sam.”

The adult Pachyrhinosaurus is the second plant-eating dinosaur to be unearthed from a dense bonebed belonging to a herd that died together on the edge of a valley that now sits 450 kilometres northwest of Edmonton.

It didn’t die alone.

“We have hundreds of juvenile bones in the bonebed, so we know that there are many babies and some adults among all of the big adults,” Emily Bamforth, a paleontologist with the nearby Philip J. Currie Dinosaur Museum, said in an interview on the way to the dig site.

She described the horned Pachyrhinosaurus as “the smaller, older cousin of the triceratops.”

“This species of dinosaur is endemic to the Grand Prairie area, so it’s found here and nowhere else in the world. They are … kind of about the size of an Indian elephant and a rhino,” she added.

The head alone, she said, is about the size of a baby elephant.

The discovery was a long time coming.

The bonebed was first discovered by a high school teacher out for a walk about 50 years ago. It took the teacher a decade to get anyone from southern Alberta to come to take a look.

“At the time, sort of in the ’70s and ’80s, paleontology in northern Alberta was virtually unknown,” said Bamforth.

When paleontogists eventually got to the site, Bamforth said, they learned “it’s actually one of the densest dinosaur bonebeds in North America.”

“It contains about 100 to 300 bones per square metre,” she said.

Paleontologists have been at the site sporadically ever since, combing through bones belonging to turtles, dinosaurs and lizards. Sixteen years ago, they discovered a large skull of an approximately 30-year-old Pachyrhinosaurus, which is now at the museum.

About a year ago, they found the second adult: Big Sam.

Bamforth said both dinosaurs are believed to have been the elders in the herd.

“Their distinguishing feature is that, instead of having a horn on their nose like a triceratops, they had this big, bony bump called a boss. And they have big, bony bumps over their eyes as well,” she said.

“It makes them look a little strange. It’s the one dinosaur that if you find it, it’s the only possible thing it can be.”

The genders of the two adults are unknown.

Bamforth said the extraction was difficult because Big Sam was intertwined in a cluster of about 300 other bones.

The skull was found upside down, “as if the animal was lying on its back,” but was well preserved, she said.

She said the excavation process involved putting plaster on the skull and wooden planks around if for stability. From there, it was lifted out — very carefully — with a crane, and was to be shipped on a trolley to the museum for study.

“I have extracted skulls in the past. This is probably the biggest one I’ve ever done though,” said Bamforth.

“It’s pretty exciting.”

This report by The Canadian Press was first published Sept. 25, 2024.

The Canadian Press. All rights reserved.

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The ancient jar smashed by a 4-year-old is back on display at an Israeli museum after repair

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TEL AVIV, Israel (AP) — A rare Bronze-Era jar accidentally smashed by a 4-year-old visiting a museum was back on display Wednesday after restoration experts were able to carefully piece the artifact back together.

Last month, a family from northern Israel was visiting the museum when their youngest son tipped over the jar, which smashed into pieces.

Alex Geller, the boy’s father, said his son — the youngest of three — is exceptionally curious, and that the moment he heard the crash, “please let that not be my child” was the first thought that raced through his head.

The jar has been on display at the Hecht Museum in Haifa for 35 years. It was one of the only containers of its size and from that period still complete when it was discovered.

The Bronze Age jar is one of many artifacts exhibited out in the open, part of the Hecht Museum’s vision of letting visitors explore history without glass barriers, said Inbal Rivlin, the director of the museum, which is associated with Haifa University in northern Israel.

It was likely used to hold wine or oil, and dates back to between 2200 and 1500 B.C.

Rivlin and the museum decided to turn the moment, which captured international attention, into a teaching moment, inviting the Geller family back for a special visit and hands-on activity to illustrate the restoration process.

Rivlin added that the incident provided a welcome distraction from the ongoing war in Gaza. “Well, he’s just a kid. So I think that somehow it touches the heart of the people in Israel and around the world,“ said Rivlin.

Roee Shafir, a restoration expert at the museum, said the repairs would be fairly simple, as the pieces were from a single, complete jar. Archaeologists often face the more daunting task of sifting through piles of shards from multiple objects and trying to piece them together.

Experts used 3D technology, hi-resolution videos, and special glue to painstakingly reconstruct the large jar.

Less than two weeks after it broke, the jar went back on display at the museum. The gluing process left small hairline cracks, and a few pieces are missing, but the jar’s impressive size remains.

The only noticeable difference in the exhibit was a new sign reading “please don’t touch.”

The Canadian Press. All rights reserved.

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