Space Sunday: pebbles, ALH84001 and a supernova

Mars 2020 rover Perseverance. Credit: NASA/JPL

NASA’s Mars 2020 rover Perseverance rover is suffering what might considered a case of kidney stones that’s proving hard to clear up.

On December 29th, 2021, the rover drilled into a rock the mission team had dubbed “Issole”, coring the material out using the percussive drill at the end of its 2.1 m robotic arm. The coring went smoothly enough, the sample being cached inside one of the titanium tubes used for obtaining sample that are to be geocached on Mars for future collection by a joint NASA-ESA sample-return mission, however, it was then that a problem occurred.

The rover’s sample-gathering system is actually extremely complex, comprising three separate robotic systems. The first is the robot arm itself, which houses the drill mechanism and bit.

Mars 2020 SHArm robotic arm: hidden underneath the rover, SHArm is responsible for handling sample tubes (highlighted in yellow) before / after they have been used to gather core samples gathered by the rover’s drill. Credit: NASA/JPL

The second is another robot arm called SHArm – the Sample Handling Arm -, tucked into the underside of the rover. Its function is to select unused sample tubes from the storage cache at the back of the rover, and pass them forward so that they can be made available to the robot arm and the drill for sample gathering. This also takes tubes containing samples and delivers them to a number of sub-systems before sealing them and stowing them back into the cache area.

Between these two, and acting as a go-between, is the “bit carousel”. This is a wheel-like robot at the front of the rover. This is a go-between for both the main robot arm and SHArm, allowing empty tubes to be delivered to a position where they can be transferred to the robot arm / drill mechanism, and full tubes to be rotated down to where SHArm can collect them. In all the carousel has capacity for up to 10 full / empty sample tubes as they are moved between the robot arm and SHArm.

The “bit carousel” (highlighted in grey) with the robot arm and the drill head it carries (the large object on the left) transferring a sample core tube (yellow) to one of its transfer recesses. Credit: NASA/JPL

It was when attempting to transfer the tube with the latest sample to the carousel that the problem occurred, prompting the mission team to order Perseverance to return the tube to the drill mechanism and then rotate the robot’s hand to allow the WATSON image to photograph the carousel – revealing small pebbles of rock were caught in the mechanism.

While the carousel is designed to operate with a degree of dirt and debris in its mechanism, the decision was taken to attempt a debris removal operation and essentially “reset” the sample gathering mechanisms. This has also proven to be a complicated operation. Firstly, the carousel had to be carefully images to understand the full extent of the debris distribution. Then the ground beneath the rover needed to be imaged for an initial set of “before” photos.

A WATSON close-up of one of the sample tube recesses in the “bit carousel”, showing some of the pebble-like debris caught in the mechanism. Credit: NASA/JPL

After this, the main robot arm was order to rotate to a position where the current sample tube could be emptied, allowing it to be re-used in a future coring of “Issole”. Then, over the course of the weekend, the entire “bit carousel” was due to be put through two rotation operations designed to help shift some of the debris. Once completed, WATSON will again be used to image the mechanism – and the ground under the rover – to ascertain the status of the debris and what further actions need to be taken to clear the remaining debris.

In all, mission engineers believe it could be the end of the week before the sample system is ready to resume operations, at which point a decision will be taken on whether or not to gather a further sample from “Issole”.

 The Riddle of ALH84001 Finally Resolved?

In 1996 a fragment of a Martian meteorite that was found in the Allan Hills, Antarctica and designated ALH84001 (marking it as the first Martian meteorite found in the area 12 years earlier, in 1984), caused a storm of controversy- which appears to now being laid to rest.

A cartoon by Kevin Kallaugher that appeared in the Baltimore Sun on August 8th, 1996 highlighting the media’s response to the ALH84001 announcement by David McKay and his team

To summarise: when parts of the meteorite were examined by a group of scientists (it is not uncommon for multiple years to pass between meteorites being found , catalogued and stored and actually being examined) announcing they may have found trace evidence of past microscopic life from Mars. Unfortunately, the press responded in a manner typified by a cartoon from the time.

The pronouncement, over-amplified by the press, garnered immediate push-back by others in the scientific community which in turn resulted in the science team – which included David S. McKay, Chief Scientist for astrobiology at the Johnson Space Centre, Texas, during the Apollo programme to double down on their claims they have discovered fossilised Martian bacteria.

Since then, the debate concerning how the objects –  chain structures nanometres in length resembling living organisms – and whether or not they might be organic in origin has raged back and forth – although it did diminish somewhat following McKay passing away in 2013. Not another team of scientists believe they have definitive proof that whilst the structures were organic in nature, they are not signs of life having once been active on Mars.

Instead, the new study – the result of an extensive study of ALH84001 samples and all that has been learned about it in the intervening 25 years – points to the organic structures being the result of abiotic organic chemistry – that is, they formed as a result of chemical reactions between water and rock that did not involve any genuine organic processes.

The chemical interactions likely took place around 4 billion years ago – at a time when Mars was believed to be much warmer and wetter than it is now, and a time when life might have originated on the planet. However, in the case of ALH84001, the team carrying out this study found that the organic compounds in the meteorite are closely associated with serpentine-like minerals. Serpentine is a dark green mineral, sometimes mottled or spotted like a snake’s skin, that is associated with once-wet environments.

On Earth, this kind of association between organics and serpentine is often associated with water percolating / circulating through magnesium-rich volcanic rocks change their mineral nature, producing hydrogen. If the water is slightly acidic and contains dissolved carbon dioxide, it can additionally result in carbonate minerals also being deposited…When taken together, these two processes – referred to as serpentinization in the case of the first and carbonation in the second – can result in deposits that appear to be of an entirely organic origination.

An electron microscopy image showing chain structures resembling living organisms fossilised in meteorite fragment ALH84001. Credit: NASA

Given the rocks in which ALH84001 were formed 4 billion years ago and were exposed to a long period of repeated water interaction, and the similarity they share with similar abiotic mineral deposits found on Earth, the team believes they are more than likely of a similar, non-organic origin.

However, the study doesn’t discount the potential for life to ever have arisen on Mars – it may actually strengthen it. This is because while these abiotic processes are not the result of organic processes, they do leave deposits of chemicals and minerals that can go on to help kick-start microbial life. What’s more, the sheer age of the ALH84001 marks it as the first Martian rock fragment that is old enough to provide evidence that abiotic processes were at work at a time when Mars was warm and wet – and when other processes may have been at work that might have utilised the deposited compounds to get basic life started. And if the rocks in which ALH84001 formed – there may be other similar ancient deposits on the planet that microbial life may have been leveraged.

Astronomers Witness a Star’s Death and a Supernova’s Birth in Real-Time

For the first time, a team of astronomers have imaged in real-time as a red super giant star reached the end of its life, watching as it convulsed in its death throes before finally exploding as a supernova.

The star was about 10 times more massive than the Sun and lay within the NGC 5731 galaxy about 120 million light-years away – meaning what astronomers saw actually occurred 120 million years ago.

In the summer of 2020, astronomers using the Pan-STARRS observatory on Haleakala, Maui noticed the progenitor tar suddenly go through a dramatic rise in luminosity. This warned them something massive was about to happen, focusing attention at Pan-STARRS on the star, and also brought in the W. M. Keck Observatory on Mauna kea, Hawaii Island in to observe the star as it collapsed over 130 days, before it gave a bright flash prior to its final exceptionally violent detonation into supernova SN 2020tlf..

The data from the observations is relatively boring – the star was far, far, far too far away to be actually images by either observatory, so it amounts to lines and dots on a chart. However, it has allows the event to be computer modelled. More particularly, the event has given astronomers first-hand insight into a supernova event involving a red super giant, and raised some puzzling questions.

For a red super giant to go supernova is not uncommon. Normally, however, there is a period of shrinkage and material ejection, referred to as circumstellar material (CSM) prior to core collapse. But that process generally takes place on a much longer timescales than the 130 days experienced by SN 2020tlf, suggesting something unusual or unexpected was taking place within the star.

In addition, the mysterious bright flash prior to the final detonation was unexpected and – thus far – unexplained, although it is thought it be somehow related to the ejected CSM – although astronomers are currently at a loss to explain what this might be. The flash appears to also be liked to a mammoth ejection of gas from the star, another aspect that doesn’t fit with established understanding of red super giant supernovae.

All of this adds up to the end of the star and the birth of SN 2020tlf being far more violent that has been the accepted case for red super giants. The question now is: was this event out of the ordinary for such stars, or does it reflect a more expected behaviour for them. However, given the sudden rise in luminosity witnessed ahead of the event, astronomers involved in projects such as the Young Supernova Experiment now have a clue to what to look for when seeking future potential red super giant supernovae.

The Eskol Photo Contest in review in Second Life

Eskol Gallery: Eskol Photo Contest

In December 2021, I wrote about Eskol, Morlita Quan’s art and event space in Second Life (see: Eskol: music, art and sound (& a photo contest) in Second Life). Within that piece, and as referenced in its title, the review also included information on the Eskol Photo Contest Morlita was running through December to the start of January.

On offer was a single prize of L$5.000 to be awarded to a single winner, as judged by a panel of three judges – Morlita, Lanjran Choche and myself. To enter, photographers could submit up to two images taking using one of the six photo booths Morlita had set-up specifically for the contest.

Eskol Gallery: Eskol Photo Contest – one of the 6 photo booths

In all 12 photographers submitted entries, comprising Mo Trill (1 image), Mystera Bloodbane-Ragnarok (Mysteria0402 – 2 images), Lucid (Photodoll77 – 2 images), Rya Santana (2 images), 4pril Resident (1 image), WuWai Chun (2 images), 04Noir (C1haos Resident- 2 images), 01NoirA Resident (1 images), Allanpoee Resident (2 images), Cielo Negro (Cielonegro Avril – 2 images), Néstor (NestorXX Resident – 1 image), and Iono Allen (1 image).

Each of the six booths offered its own setting in which pictures could be set and framed, and photographers could dress them as desired, and entrants submitting two photos could either take them in one of the booths or use two booths.

 Eskol Gallery: Eskol Photo Contest – Allan Poe and Cielo Negro

Unsurprisingly, most of the photographers opted to concentrate avatar-centric studies for their entries, with only a couple avoiding avatars entirely. Not that focusing on avatars lessened any of the entries; rather the reverse in fact: several presented very unique uses of the avatar and / or unique perspectives on a particular booth and avatar (as is the case with WuWai Chun’s Eskol 1 entry). whilst Iono Allen chose to offer a moment from a certain iconic 1969 motion picture (or as the director referred to it, “the proverbial good science fiction movie”).

While I cannot speak for the other members of the panel, I approached judging the submitted pieces on a set of criteria I’d settled upon before seeing any of them: composition (use of space, colour, lighting), framing, originality and narrative. However, given we all three each came up with a selection of seven initial finalists that were somewhat similar, I’d say we all used similar criteria. And certainly, the winning entry, C1haos Resident’s Eskol 2 was a piece we would all agree on as being a worthy winner.

 Eskol Gallery: Eskol Photo Contest – WuWia Chun and C1haos Resident

Currently, all of the entries are on display at Morlita’s main Eskol Gallery, and will be until early February, so why not pop along and judge them for yourself?

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Lost in time, emperor cats and a story of Poe in Second Life

Seanchai Library

It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library. As always, all times SLT, and events are held at the Library’s home in Nowhereville, unless otherwise indicated. Note that the schedule below may be subject to change during the week, please refer to the Seanchai Library website for the latest information through the week.

January 17th, 19:00: A World Out of Time

After being cryogenically frozen in the 1970s to await a cure for his (then) incurable cancer, Jaybee Corbell awakes after more than 200 years – to find his own body destroyed and his mind and memories transferred into the “mindwiped” body of a criminal. And that’s is not all that has changed: the Earth is now overseen by an oppressive, totalitarian global government called “The State”, and Corbell’s existence is to be determined by a “checker”; if he is found wanting, he will be discarded.

However, Peerssa, the checker, recommends Corbell as ideal fodder in The State’s attempts to seek out exoplanets suitable for terraforming – whether he wants to join the programme or not. Disgusted by his treatment, Corbell works out a way to take control of his one-person ship on its otherwise one-way mission, and heads toward the galactic core. Entering suspended animation, he is unaware his vessel skims close enough to the super-massive black hole at the centre of the galaxy to experience time dilation.

Emerging from his suspended state, and believing only 150 years have passed, Corbell returns to the solar system to find it again vastly changed: more than three million years have passed, and the Sun has become a bloated red giant, and Earth – well, Earth appears to have been relocated to an orbit around Jupiter, whilst humanity itself had endured extensive changes; and Corbell must face an entirely new set of challenges if he is to survive.

Join Gyro Muggins as he reads the 1976 novel (and originally a short story) by Larry Niven.

Tuesday, January 18th

12:00 Noon: Russell Eponym

With music, and poetry in Ceiluradh Glen.

19:00: Klawde: Evil Alien Warlord Cat

Klawde had everything. Sharp claws. Fine fur. And, being the High Commander of the planet Lyttyrboks (think about it if you need to!), an entire world of warlike cats at his command. But then he is stripped of his feline throne and sentenced to the worst possible punishment: exile to a small green-blue planet that is, as they say, “far out in the uncharted backwaters of the unfashionable end of the western spiral arm of the galaxy”, known to its dominant bipedal race as “Earth”.

On that planet, Raj is a young man who had everything: a cool apartment in Brooklyn New York, his three best friends living in the same apartment block and comics and pizza always within easy reach. Then, courtesy of his mother taking a job on the other side of the country, he finds himself exiled to the community of Elba, Oregon.

These two lost souls, one seeking friendship (and, hopefully, pizza and comics) but forced to join a nature camp, the other a cunning, brilliant feline emperor, both exiled and seemingly lost, are destined to meet. And when they do – whether Klawde likes it or not – the emperor cat will find his plans for revenge on those who would oust him from his empire running somewhat secondary to becoming Raj’s new Best Friend as the two of them become bound by a series of new and hilarious adventures.

With Caledonia Skytower.

Wednesday, January 19th: Poe Special

The Library opens for a special to mark the anniversary of Edgar Allan Poe’s birth on January 19th, 1809 – by presenting a story about the time shortly before his death.

On October 3rd, 1849, Poe was found delirious on the streets of Baltimore, “in great distress, and… in need of immediate assistance”. He was taken to the Washington Medical College, where he died in the early hours of the morning of Sunday, October 7th, 1849. Throughout his time at the hospital Poe remained too incoherent to explain how he came to be in his dire condition and wearing clothes that were not his own, although he was said to have repeatedly called out the name “Reynolds” on the night before his death. But to whom he may have been referring remains unknown.

In Beyond Porch and Portal E. Catherine Tobler, offers an unusual but interesting explanation of why Poe was found, and what had led him to that point of distress. Join Shandon Loring to find out more!

Thursday, December 20th 19:00: The Adventures of Young Indiana Jones

Join Shandon Loring as he recounts the early adventures of a young Henry Walton Jones, Jr., who would one day become the famous Indiana Jones.

What’s in a name – or how I came to be Inara Pey

I was recently asked if I’d ever written a piece on how / why I chose my Second Life name – and the short answer is “no, not in one place”. But, for what little it might be worth, I thought I’d sketch out the core influences in how I became “Inara Pey”.

As some (many?) have likely already guessed, the short answer is my first name was lifted directly from the character of “Inara Serra” in the short-lived TV series Firefly, and as portrayed by Morena Baccarin in her first television series role. However, there is a little more behind the exact reasons for the choice.

I’ve made so secret of the fact that this account was not my first plunge into Second Life – I’d signed-up previously, paddled around for a while without really being sure what I was doing or why, or even really understanding much about the platform. I’d also put zero effort into my avatar name, simply picking pretty much the first name that popped into my head whilst looking at the sign-up pages, and then paring it with the first name that was shown to be “available” from the provided list on the page. As such, I never really grew into the name.

So when I decided to give things another go several months after I’d initially stopped logging in, I genuinely gave thought beforehand to the kind of first name I am could feel at home / identify with, and which might help serve my desire to spend some of my in-world time poking at areas of the platform I’d since learned about, rather than simply bumbling around like a square peg in a round hole. In this latter regard, I’ve also made no secret of the fact I have been involved in adult D/, including having several essays and assorted pieces published on the subject of D/s relationships and the psychology of D/s personalities, and so wanted to see how this world translated into SL.

The character of Inara Serra from Firefly, as portrayed by Morena Baccarin, served as a sort-of “inspiration” for my avatar name

These factors combined with my love of all things science fiction – including thoroughly enjoying Firefly – caused me to somewhat gravitate towards the name of Inara Serra. I already appreciated the character’s nature – strong, independent and insightful, and with a clear lean into Buddhism – and her backstory. As sometime who also likes to read / learn about mythologies, the name also had appeal due to its (primary) link to HittiteHurrian mythology (as the goddess / protector the wild animals of the steppe, a deity somewhat corresponding with the Greek Goddess Artemis) and because in some circles the name is said to have equated to “Exquisite Hero” in Ancient Egyptian.

Thus, not only did the name fit with my thoughts of what I might like to poke at in SL, it lay well within the sphere of several on my own interests, and the nature of “Inara Serra” was one I genuinely liked and could potentially identify with without wanting to simply appropriate it for the needs of any form of role-play, sci-fi or otherwise.

The explanation for “Pey” is much simpler. As noted at the top of this piece (and most users are probably aware), back in those days, anyone joining SL could select an account / avatar name through the use of the free selection of a first name and the one-time selection a last name from a defined list that LL would periodically update. “Pey” was a name that was available and which I liked. And so, Inara Pey was born.

If the above does sound long-winded, I would say the fact that I’ve remained engaged with Second Life for the last 16 is – in all honesty – thanks in no small part down to the fact I found the name some comfortable, and have thus been able to inhabit her to the point I cannot conceive of being without her presence in my life.

Postscript: I should have added this prior to publishing, and as part of the conclusion. I actually have an alt. It also has the first name “Inara”, and came about in 2008, after a severe issue with my account meant I was unable to stay logged-in for more than a handful of minutes at a time for a number of days – until LL support could clear the problem. Since then, that alt has never really advanced beyond a basic avatar, and while I use it for testing viewers, going to in-world meetings, etc.,  – as friends will confirm, I cannot identify with it to the point of referring it as “Ms. Breen”, as it feels like “someone else”. (and other folk can always identify me when I’m using it, as the avatar’s tag carries the cunning disguise “Inara Pey incognito”!).

Visiting Longing Melody in Second Life

Longing Melody, January 2022 – click any image for full size

Bambi (NorahBrent) is the owner of the Oh Deer brand and is also is well-regarded among Second Life bloggers for her Missing Melody region designs – I’ve reviewed several iterations of that region myself in these pages. However, in 2021, she launched a new region setting – Longing Melody – which I finally managed to visit at the start of 2022.

Utilising a Full region rather than a Homestead as seen with Missing Melody, Longing Melody presents three different but interconnected seasons / settings that offer little hints of England and the British Isles and plenty to see and appreciate.

Longing Melody, January 2022

Visits start at the Longing Town train station, where a train with a decidedly continental lean sits at the platform to form the landing point. Exiting the train places new arrival on the platform (no surprises there), where two maps on the London underground are mounted on the platform walls. One of these is likely to be very familiar to users of the Tube, the other somewhat older and offers a more “natural” look to how London’s underground lines actually sit under the city’s roads and reaches. On a second wall is what might appear to be a further Tube map but is in fact a stylised map of the region that offers clues to a form of homage Bambi presents in the design. Alongside of this map in an information giver for the Second Life Nature Collective club.

Beyond the turnstiles for the station sits Longing Town itself, there the homage mentioned above is largely located, taken the form of links to Liverpool’s Fab Four. The road leading from / to the station for example, is called Abbey Road, home of a certain recording studio and also the title of the group’s eleventh album with its iconic (and much imitated) cover photo – which is also reproduced in the forms of silhouettes of John, Ringo, Paul and George filing across the road.

Longing Melody, January 2022

Before reaching the silhouettes, the road also passes Penny Lane, an alley leading in to courtyard behind the houses lining the road. Beyond the four silhouettes, the road makes a 90º turn to the right continuing to to a waterside promenade called The Globe. This in turn might be a reference to The Globe Theatre, Stockton on Tees in the north-east of England, famous for being the venue for two Beatles concerts that effectively bracketed their “breaking into” the US market after a lot of resistance from US record moguls (and the first of which took place shortly after John F. Kennedy had been shot in Dallas, Texas).

Outside of the town proper, and reached via an arched passage, is a further reference to the Beatles, in the the form of Strawberry Fields, a broad concrete path runs north to reach the second element of the region. Here, beyond the gardens of some of the houses is a more rural setting, a place of meadows, sheep, a bubbling stream, rough footpaths and ruins. And where the town might be thought of as being caught  in a late summer, this northern rural area sits more in autumn, a place where the trees are turning a golden brown and sheep and deer roam free.

Longing Melody, January 2022

A canal cuts through this rural area; deeper than the local stream, it is crossed by a single hump backed bridge. The path beyond this continues eastwards, passing between more farm buildings and a large field guarded by drystone walls and home to sheep and cows. Once past these, the path starts a gentle climb to where a high brick wall bars the way, except for the open wooden door set within it.

This wall marks the point where the third of the region’s seasons commences, the hills beyond the wall being blanketed in winter. Snow cover the land, a narrow path winding up between the hills. Here the trees are either fir or denuded of there leaves, all equally frosted by the snow.

Longing Melody, January 2022

Cottages and more can be found on the shoulder and crown of the hill; one of the former cosily furnished, the other a shell. Watched over by foxes, snowmen and polar bears, this winter area offers further places to sit and pass the time and further opportunities for photography.

All of the above just scratches the surface of things. In the town, many of the buildings are simple façades, other have interiors that can be viewed through windows or entered and explored. Similarly, the gardens, the promenade, the rural spaces, all offer places to sit and relax. and needles to say, the region in rich in opportunities for photography.

Longing Melody, January 2022

Sharing a spiritual design with many of the settings that have surfaced within Missing Melody, Bambi’s Longing Melody offers visitors its own richness and diversity that should be savoured during a visit.

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Invisible beauty: more art of the microscopic in Second Life

Desiderartum Gallery: Guille – Invisible Beauty

In November 2011, I wrote about an intriguing exhibition of images by Guille (Antoronta) entitled Unseen Beauty, held at the Annexe of the Limoncello gallery. It was one of the the most unusual, engaging and informative exhibitions of photographic art I’d witnessed during the year, taking us as it did on a journey into the world of the microscopic (see: The art and beauty of the microscopic in Second Life).

While (at the time of writing) that exhibition is still open), I’ll delighted to say that the Desiderartum Gallery, managed by Peru Venom is hosting what might be regarded as the “part two” of a display of Guille’s work, in the form of Invisible Beauty, which formally opened on January 10th, 2022 (and my apologies to Guille for not being able to attend the opening in person).

Desiderartum Gallery: Guille – Invisible Beauty

The virtual incarnation of Antonio Guillén, Guille is a doctor in Biology and professor of Natural Sciences, whose background is as fascinating as his art, given his research projects span the environment, microbiology and astrobiology. He also has a refreshing – almost holistic, one might say – perspective on art and science in which the two interact with one another sans borders, informing one another and helping to jointly educate students and the public at large.

In particular, and given his professional focus on the microscopic, he has become a noted photographer-artist who captures the tiny worlds of micro-organisms – bacteria, fungi, archaea and protists – in all their exquisite beauty. And by “noted”, I mean precisely that not only has his photography been exhibited across his native Spain – including the National Museum of Natural Sciences, Madrid -, it has also garnered awards such as Spain’s National Prize for Scientific Photography and the Giner de los Ríos Prize, the country’s most prestigious educational award. In addition, his project The Hidden Life of Water received the first world award at a Google Science Fair (2012).

Desiderartum Gallery: Guille – Invisible Beauty

As I noted in November 2021, Guille’s work doesn’t just present images of these incredible, tiny and diverse living organisms, it takes us on a journey into their worlds, the images revealing them individually or collectively in the the most amazing detail, while the texts he has supplied to go with the images (obtained by clicking the title card either below or to the right of each image) reveal more of the realities of these micro-organisms – and not in in dry, scientific terms that are starved of emotion. Rather, Guille’s descriptions are wonderfully fluid, descriptive and in places poetic. It thus offers further life to the tiny creations his microscope has captured in still form, whiles also underscoring his belief that art and science should freely interact.

Like most of the algae of the desmids family “Euastrum” it seems to look at itself in a mirror creating a pair of green Siamese joined by the same heart in a game of symmetry in which survival today and that of the future are bathed of this simple and intense beauty.
A thick transparent layer, adorned with winding valleys, spines or sculpted buttons and made with cellulose and pectin protects the body from these beautiful algae and helps them to float and move slowly both floating and on the bottoms where they live.

Guille’s sparkling description of the supernova-like Euastrum Verrucosum

Desiderartum Gallery: Guille – Invisible Beauty – Euastrum Verrucosum

Split across the two levels of the gallery building, Invisible Beauty mixes some of the images seen within Unseen Beauty with those specific to this exhibition, providing a natural overlap between the two, and making a visit to both a natural experience.

In addition to the  journeys into the worlds of prokaryotes and eukaryotes presented by Unseen Beauty and Invisible Beauty, more of Guille’s work can be found on his Flickr stream, whilst in-world, his has – with the support and assistance of Kimika Ying – created El Universo en una Gota de Agua (“The Universe in a Drop of Water”). There, visitors can see more of Guille’s photography as well as learning about the history of the microscope and about the study of micro-organisms – and even enter their world, where a human hair offered at a scale to represent its magnification by a factor of 10,000 helps put all of this tiny life into perspective.

Universo en una Gota de Agua

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