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Remastered images reveal how far Alan Shepard hit a golf ball on the Moon – Ars Technica

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Enlarge / This image consists of six photographs taken from the Apollo 14 Lunar Module, enhanced and stitched into a single panorama to show the landing scene, along with the location from where Alan Shepard hit two golf balls. Both astronaut’s PLSS’ (life-support backpacks) can also be seen at left.

Fifty years ago this week, NASA astronaut Alan B. Shepard Jr. made space history when he took a few golf swings on the Moon during the Apollo 14 mission, successfully hitting two golf balls across the lunar surface. Space enthusiasts have debated for decades just how far that second ball traveled. It seems we now have an answer, thanks to the efforts of imaging specialist Andy Saunders, who digitally enhanced archival images from that mission and used them to estimate the final resting spots of the golf balls.

Saunders, who has been working with the United States Golf Association (USGA) to commemorate Shepard’s historical feat, announced his findings in a Twitter thread. Saunders concluded that the first golf ball Shepard hit traveled roughly 24 yards, while the second golf ball traveled 40 yards.

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Shepard’s fondness for cheeky irreverence had popped up occasionally during his successful pre-NASA naval career, most notably when he was a test pilot at the Naval Air Station Patuxent River in Maryland. He was nearly court-martialed for looping the Chesapeake Bay Bridge during a test flight, but fortunately, his superiors intervened. When President Dwight D. Eisenhower established NASA in 1959, Shepard was selected as one of the seven Mercury astronauts. (The others were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, and Deke Slayton.)

Shepard beat out some fierce competition be chosen for the first American crewed mission into space. Russian cosmonaut Yuri Gagarin famously became the first man in space on April 25, 1961, thanks to repeated postponements of NASA’s Mercury mission, but Shepard wasn’t far behind. He made his own flight into space one month later, on May 5. Alas, he was a grounded after being diagnosed with Ménière’s disease, resulting in an unusually high volume of fluid in the inner ear.

Surgery four years later corrected the problem, and Shepard was cleared for flight. He narrowly missed being assigned to the famous Apollo 13 mission—NASA’s “most successful failure” and the subject of the 1995 Oscar-winning film, Apollo 13 (one of my all-time faves). Instead, Shepard commanded the Apollo 14 mission, which launched on January 31, 1971, and landed on the Moon on February 5.

To the Moon!

The idea for Shepard’s golfing stunt came out of a 1970 visit by comedian Bob Hope to NASA headquarters in Houston. An avid golfer, Hope cracked a joke about hitting a golf ball on the Moon, and Shepard thought it would be an excellent means of conveying to people watching back on Earth the difference in the strength of gravity. So he paid a pro named Jack Harden at the River Oaks Country Club in Houston to adapt a Wilson Staff 6-iron head so that it could be attached to a collapsible aluminum and Teflon sample collector. Once NASA’s Technical Services division added some finishing touches, Shepard practiced his golf swing at a course in Houston while wearing his 200-plus-pound spacesuit to prepare.

Most popular accounts describe Shepard as “smuggling” two balls and a golf club onto the spacecraft, but according to a later interview with Shepard, that wasn’t the case. The astronaut ran the idea past then-NASA director Bob Gilruth, who was initially opposed but relented once Shepard laid out the precise details. Shepard also assured Gilruth that the stunt would only be done once all the official exploration tasks had been completed and then only if the mission had gone off without a hitch.

On February 6, Shepard brought out the club and two balls. His spacesuit was too bulky to use both hands, so he swung the makeshift club with just his right hand. After two swings that were “more dirt than ball,” he made contact with the ball on his third swing, “shanking” it into a nearby crater. (“Looked like a slice to me, Al,” Apollo 13 pilot Fred Haise joked while watching from Mission Control.)

But Shepard nailed his fourth attempt. He sent the ball soaring out of camera range and declared that it traveled for “miles and miles and miles.” And as he had anticipated, the impressive 30-second time of flight perfectly showcased the difference in gravity between the Earth and the Moon. Not to be left out, crewmate Edgar Mitchell used a pole from a solar wind experiment as a javelin, which landed near the first golf ball. Once back on Earth, Shepard donated his makeshift club to the USGA museum and had a reproduction made that is now on display at the Smithsonian.

The location of the first ball Shepard hit has been known for quite some time—it’s sitting in a crater next to Mitchell’s javelin, about 24 yards from where Shepard stood when he took his swing. Saunders’ remastering of archival photos enabled him to locate the second ball that traveled farther, as well as one of the divots in the lunar soil.

“You can access Apollo imagery to very high quality online,” Apollo historian and video editor W. David Woods told Ars. “These shots were taken at 55 millimeters, the negatives and transparencies, for 55 millimeters a side. The scans they’ve done on them that are available online are 11,000 pixels across. So they’re enormous, huge pictures that you can really dive into, if you’ve got expertise in image processing.”

Image tricks

Saunders has that expertise. He relied on recent high-resolution scans of the original flight film, and he also used a technique known as substacking, among others.

“Some stuff was shot using 16 millimeter movie film,” said Woods. “Each individual image is quite small and grainy. But if you stack them one on top of the other, you cancel out the grain, you cancel out the noise, and you’re left with the imagery that’s inherent in all those frames. It’s a trick that astronomers use, where they take lots and lots of pictures of one area of the night sky. They cancel out the noise by stacking the images in just the same way.”

The Apollo 14 crew had taken a sequence of photographs from the window of the lunar module to capture the scene for posterity, which Saunders stitched together into a single panorama. According to Saunders, given the known location of the TV camera, it was possible to identify Shepard’s bootprints, showing his stance for his first two (failed) attempts. Using a known scale from images taken by the Lunar Reconnaissance Orbiter, he was then able to measure the point between the divot and the second golf ball to come up with his estimate for 40 yards.

Saunders, whose forthcoming book is entitled Apollo Remastered, estimates that a professional US Open golfer like Bryson DeChambeau could, in theory, hit a ball as far as 3.41 miles on the Moon, with a hang time of 1 minute 22 seconds—much farther (and longer) than Shepard’s feat. As he told the BBC:

Unfortunately, even the impressive second shot could hardly be described as “miles and miles and miles,” but of course this has only ever been regarded as a light-hearted exaggeration. The Moon is effectively one giant, unraked, rock-strewn bunker. The pressurized suits severely restricted movement, and due to their helmet’s visors they struggled to even see their feet. I would challenge any club golfer to go to their local course and try to hit a six-iron, one-handed, with a one-quarter swing out of an unraked bunker. Then imagine being fully suited, helmeted, and wearing thick gloves. Remember also that there was little gravity to pull the clubhead down toward the ball. The fact that Shepard even made contact and got the ball airborne is extremely impressive.

And of course, the astronaut’s legacy as the first human to play golf on the Moon remains secure.

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NASA hears from Voyager 1, the most distant spacecraft from Earth, after months of quiet

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CAPE CANAVERAL, Fla. (AP) – NASA has finally heard back from Voyager 1 again in a way that makes sense.

The most distant spacecraft from Earth stopped sending back understandable data last November. Flight controllers traced the blank communication to a bad computer chip and rearranged the spacecraft’s coding to work around the trouble.

NASA’s Jet Propulsion Laboratory in Southern California declared success after receiving good engineering updates late last week. The team is still working to restore transmission of the science data.

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It takes 22 1/2 hours to send a signal to Voyager 1, more than 15 billion miles (24 billion kilometers) away in interstellar space. The signal travel time is double that for a round trip.

Contact was never lost, rather it was like making a phone call where you can’t hear the person on the other end, a JPL spokeswoman said Tuesday.

Launched in 1977 to study Jupiter and Saturn, Voyager 1 has been exploring interstellar space – the space between star systems – since 2012. Its twin, Voyager 2, is 12.6 billion miles (20 billion kilometers) away and still working fine.

 

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SpaceX launches 23 Starlink satellites from Florida (photos)

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SpaceX sent yet another batch of its Starlink internet satellites skyward today (April 23).

A Falcon 9 rocket topped with 23 Starlink spacecraft lifted off from Florida’s Cape Canaveral Space Force Station today at 6:17 p.m. EDT (2217 GMT).

The Falcon 9’s first stage came back to Earth for a vertical landing about 8.5 minutes after launch as planned. It touched down on the SpaceX droneship Just Read the Instructions, which was stationed in the Atlantic Ocean.

It was the ninth launch and landing for this particular booster, according to a SpaceX mission description. Five of its previous eight liftoffs were Starlink missions.

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The Falcon 9’s upper stage will continue carrying the 23 Starlink satellites toward low Earth orbit (LEO) today, deploying them about 65 minutes after liftoff.

This evening’s launch was the 41st of the year for SpaceX, and the 28th of 2024 dedicated to building out the huge and ever-growing Starlink megaconstellation. There are nearly 5,800 operational Starlink satellites in LEO at the moment, according to astrophysicist and satellite tracker Jonathan McDowell.

The Starlink launch ended up being the first half of a spaceflight doubleheader: A Rocket Lab Electron vehicle launched two satellites, including a NASA solar-sailing technology demonstrator, from New Zealand today at 6:33 p.m. EDT (2233 GMT).

Editor’s note: This story was updated at 6:30 p.m. ET on April 23 with news of successful launch and first-stage landing.

 

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Exploring ecological networks in a digital world | News | Vancouver Island University | Canada – Vancouver Island University News

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Getting to know Samantha Letourneau

By day, Samantha Letourneau is Vancouver Island University’s Canada Learning Bond project lead and Volunteer Tutor Coordinator. She’s also a musician and dancer and for the past two years, she’s been collaborating with Swedish artist Mårten Spångberg, thanks to funding obtained through Crimson Coast Dance, to create a digital art installation that goes live on Friday, April 26. A launch event takes place at Black Rabbit restaurant in the Old City Quarter that night. Samantha is also hosting a creative process workshop on April 27 and 28.

Can you share a bit about your background as an artist and how you got into it?

I have been working in art for a very long time, as a musician and dancer as well as an art administrator and program coordinator. I started music at the age of 11 and dance came later in my life in my early 20s. I always wanted to do dance, but I grew up in a small community in Yellowknife and at that time the only dance classes available were highland dancing, which I was not very interested in. 

In my early 20s while living in Vancouver, I took classes in contemporary dance and was fortunate to land a small part in the Karen Jameison Dance company for a piece called The River. The River was about rivers and connection between the reality of a real and physical outdoor river and the different reality of “the river within.” It was both a piece of art and outreach for the community. It included working with the S’pak’wus Slu’lum Dancers of the Squamish Nation. Somewhat ground-breaking for 1998.

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From there I was hooked and wanted to do more in dance. I studied a lot and took many classes. Fast forward to now, I have been involved with productions and performances with Crimson Coast Dance for more than 15 years and greatly appreciate the talent and innovation that Artistic Director Holly Bright has brought to this community. She is amazing and very supportive of artists in Nanaimo.

How did this international exchange come about?

The Nordic/Nanaimo exchange is one of the innovative projects Holly created. At the height of the pandemic, funded by BC Arts Council and Made In BC, Crimson Coast Dance embarked on a project that explored the ways in which Nanaimo artists could participate in online exchanges. 

Two artists in Nanaimo – myself and Genevieve Johnson – were introduced to artists from Europe and supported through this international exchange. My collaborator, Mårten Spångberg, is a Swedish artist living and working in Berlin. An extension of that exchange is funded by Canada Council for the Arts – Digital Now.

What brought Mårten and myself together – and I quote Mårten here – is “questions around climate change, ecology and the influence contemporary society has on its environments. We are not interested in making art about the ecological crises or informing our audience about the urgency that climate change implies, but instead through our research develop work that in itself proposes, practices and engages in alternative ecologies.”

We share an understanding that art is a unique place, in the sense of practice, activation, performance and event, through which alternative ecologies can emerge and be probed and analyzed.

Tell us about the launch event.

We are launching the digital art installation that Mårten and I created on April 26 at The Attic at Black Rabbit Restaurant. The event is free to attend but people must sign up as seating is limited. I produced video art with soundscapes that I recorded mixing field recordings with voice and instrumentation. Marten explores text, imagery and AI.

My focus is on the evolving and ongoing process of how we communicate with each other and to nature within a digital context.

During our collaboration, Mårten and I talked about networks, though not just the expansive digital network of the internet but of nature. We shared thoughts on mycelium, a network of fungal threads or hyphae, that lately has received much attention on the importance of its function for the environment, including human beings.

Building off this concept, ideas of digital and ecological landscapes being connected emerged. From this we worked both collaboratively and individually to produce material for this digital project. Mårten will be there via Zoom as well and we will talk about this two-year process and the work we created together.

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