Day: July 2, 2023

Space Sunday: a “dark” mission, recycling water and a round-up

Posted on by Inara Pey
Credit: European Space Agency

July 1st, 2023 saw the launch of a new space telescope – the European Space Agency’s (ESA’s) Euclid – on one of the most intriguing space missions yet started.

Classified as a M(edium)-class mission within ESA’s Cosmic Vision campaign, Euclid was originally to have been launched via Russian Soyuz ST-B; however, following Russia’s invasion of Ukraine, ESA ended all partnerships with Roscosmos, the Russian space agency, and the mission was  – with NASA’s assistance – shifted to using a SpaceX Falcon 9 rocket launching out of NASA’s Kennedy Space Centre (KSC), Florida.

Following a flawless launch from Pad 39A, KSC at 15:12 UTC, the booster lifted the observatory to orbit, the second stage of the rocket successfully sending it on its way towards the Earth-Sun L2 Lagrange point, with the telescope will commence observations, in a 30-day gentle transit. Along the way, the instruments and systems on the spacecraft will be powered-up and go through check-out procedures so as to be ready for commissioning as the craft arrives at the  L2 position.

For those unfamiliar with the term, the  L2 position is one of five points of equilibrium for small-mass objects under the gravitational influence of two massive orbiting bodies (points where the gravitational influences of the larger bodies effectively “cancel one another out”). Also known as libration points, they are: the L1 position sitting between both bodies, but nearer the smaller than the larger; L2, located on the opposite side of the smaller body relative to the larger; L3, located on the opposite side of the larger body relative to the smaller; and L4 leading the smaller of the two in it orbit around the larger, and L5 trailing.

The Euclid spacecraft, pictured before being sent to Florida, will blast off on a mission to find out more about the ‘dark universe’. Credit: Airbus / ESA

Those familiar with the Lagrange points will likely recognise the L2 position as being the focal point for the James Web Space Telescope (JWST) in its journey around the Sun. On arrival, Euclid will enter a similar 1-million km wide elliptical orbit around the L2 position in a manner which will prevent it ever falling into Earth’s shadow. once in place, the 1.4 billion Euro spacecraft will spend a nominal 6 years within this orbit using a combination of a visible light camera and a near-infrared spectrometer/photometer in an attempt to gain a better understanding of dark energy and dark matter.

Sometimes (often in bad science-fiction) conflated as the same thing, dark matter and dark energy are two different entities. In simple terms, dark matter is a hypothetical form of matter with a physical mass, and thought to account for the so-called “missing mass” of the universe (some 85% of its expected mass). The “dark” of the name refers to the fact that it does not absorb, reflect, or emit electromagnetic radiation, making it extremely difficult to defect. However, various gravitational effects which can be observed can only take place if there is more matter involved than can be detected – thus implying dark matter’s existence.

Dark energy, however, is an unknown form of energy which was first suggested in 2011. Up until that point, it had been believed that the expansion of the universe – the result of the big bang – was slowing imperceptibly down through the aeons, the result of the gravitational mass of the billions of galaxies within it gradually overcoming the momentum imparted to them by the big bang. However, careful analysis of the measurement of numerous supernovae suggest that the expansion of the universe is actually accelerating – which could only be due to some unknown force acting on all the galaxies. Thus, the concept of dark (again meaning hard / impossible to directly detect) energy was born, a force potentially responsible for as much as 68% of the total energy contained with in the present-day observable universe.

Animation of Euclid (purple) in a halo orbit around the the Earth-Sun L2 position (light blue), as seen from “above” and following launch from Earth (dark blue). Credit: Phoenix777 utilising data from ESA / NASA

To try to better pin down both dark matter and dark energy, Euclid will use its instruments to chart some 2 billion galaxies across one third of the night sky relative to Earth, capturing light that has taken up to 10 billion of the universe’s 13.8 billion-year lifespan to reach us. In doing so, it will measure their shape and the degree of red shift evident, whilst also using the effects of gravitational lensing on some to reveal more data about them. From this, it is hoped that astrophysicists might be able to construct a model to explain how the universe is expanding which might both explain the nature and force of dark energy and potentially offer clues as to the actual nature of dark matter – the mass of which must be having some impact on dark energy as it pushes a the galaxies.

However, this is going to take time; from the start of operations in a couple of months, it will take the Euclid team 2 years to gather sufficient data  which can start to be meaningfully analysed. After that, it will take four years of gather additional data which might be used to refine and improve the initial analyses, and offer up at least some answers.

Urine is a Key to Mars

If humans are to travel to and from Mars, there are a number of issues which need to be addressed, among them the issue of drinking water for the 6-9 month trips to / from Mars (assuming the use of chemical propulsion).

One of these is how to supply the crew with water. NASA state that trained astronauts required 4.4 litres of water per day for drinking, food preparation, hygiene and cleaning. For a crew of four going to Mars that’s between 3.16 and 4.75 tonnes of payload mass alone (+ reserves for emergencies on top of that). While that mass might also be used to supplement a vehicle’s radiation shielding, the fact remains that carrying large amounts of water is just so much deadweight compared to other, more efficient means of providing radiation protection (such as Kevlar and high density polyethylene, or HDPE). To make water efficient, it needs to be recycled.

This is already the case on the International Space Station (ISS). As a part of the Environmental Control and Life Support System (ECLSS), the US / International element of the ISS has long been able to supply recycle water back into usable drinking water (the Russian segments of the station rely more heavily on resupply from Earth for water, as the Russian saw this as the easier solution to developing efficient and space-taking recycling systems).

The Brine Processor Assembly (BPA), prior to its transfer to the ISS in 2022. Credit: NASA

Within the US ECLSS are two water recycling systems – the primary Water Purification Assembly (WPA), which literally plucks water out of the station’s atmosphere in the form of condensate, sweat, exhale water molecules, water drops escaping during food processing and other acts, and water used for hygiene, and the Urine Processor Assembly, a subset of the WPA, which does exactly was that name suggests.

However, both systems have always been limited in their efficiency (the UPA to just 85% of all urine being recycled to a state where it is properly purified water). But over the last several years, various improvements have been made to the systems, raising their overall efficiency to 93.5%. In particular, urine recycling efficiency was raised to 87% through improvements in 2019/2020 and by cycling the semi-clean water through the primary WPA system to produce purified water suitable for drinking. However, a sticking point remained urine brine – a mix of water and body chemicals which could not be put through the WPA, but was simply tanked and disposed of.

Now water can even be extracted from that brine for recycling, thanks to a new addition to the ECLSS recently installed on the ISS and which has been undergoing evaluation. Called the Brine Processor Assembly (BPA), it is a combination of filter membranes and a heating system. The former traps the chemicals in the brine whilst allowing the water through. The water is then heated by the elements in the unit, forming a humid air flow which is then fed to the WPA, where the water is extracted alongside that gathered from other humid air captured by the WPA, and purified for re-use.

The result: up to 98% of all water consumed or used on the international segments of the ISS can now be recycled – an additional 4.5% compared to pre-BPA amounts. This is significant because NASA has always seen a 98% water recycling capability as a break-point for long duration space operations. It doesn’t eliminate the need for some measure of reserve supplies – but it drastically reduces the additional mass of water that might otherwise need to be carried, bringing the potential for crewed missions to Mars a little step closer to being practical.

Continue reading “Space Sunday: a “dark” mission, recycling water and a round-up” →

Of art and auguries in Second Life

Posted on by Inara Pey
Kondor Art Centre: Janus Falls – Auguries of Innocence

Having opened on June 29th, 2023 at the main gallery area of the Kondor Art Centre operated and curated by Hermes Kondor, is an evocative and provocative exhibition by UK-based Janus Fall.

Combining classical poetry, digital images, global current affairs, the increasing dichotomies of society, and reflections on human nature, Auguries of Innocence is a visual essay of juxtapositions and contrasts offered as commentary on the current downward spiral of intolerant, insensitive, judgemental otherism (of others) and denial (of others and also of things like our impact on matter of climate change, etc.) which is too quickly becoming the accepted state of being within large portions of modern societies (particularly those known for their previously more liberal lean), when we really should by now know better.

Kondor Art Centre: Janus Falls – Auguries of Innocence

The exhibition takes its title from the 132-line, single stanza poem of the same name by William Blake. Like much of Blake’s work, the poem did not gain recognition until well after his death in 1827; in fact, despite being written in the early 1800s and going to be frequently quoted (particularly the opening four lines), it didn’t actually see the light of publication until the late 1860s.

In content, the poem might be seen as a plea by the poet for humanity to do better, lest we lose all we have been given under the judgement of God. In this it contrasts the cycle of nature, wherein the world is constant reborn and remade, all the time growing in both nurturing innocence and experience / interconnectedness, with the cycle of humanity, in which we are born into that same innocence of nature, only to push it aside as we grow into adulthood, replacing it with self-serving corruption and inhumanity towards others and nature.

However, the poem is not only notable for its content, but also in its structure, which is as intentionally complex as the subject matter it contains. Throughout its length, Blake frequently switches both rhyming schemes (e.g. alternative rhyme to rhyming couplets) whilst mixing different forms of meter (e.g. trochee and anapest) with the predominant iambic meter, whilst also using a range of literally tools such as alliteration, repetition, metaphor and – most notably – juxtaposition and paradox.

Kondor Art Centre: Janus Falls – Auguries of Innocence

Within this structure, the opening four lines act as both an overall introduction to the poem’s concepts and also offer guidance on how the imagery within the rest of the poem should be interpreted. Within Janus’ exhibition, those four lines perform something of the same purpose; working with a diary extract written by a 16-year-old girl seeking to escape the war engulfing her country, they offer both an introduction to the images presented within this exhibition and give context in how they should be viewed both cognitively and physically. In terms of the physical, they – and the extract from the diary – are to be found on the left front wall of the gallery as you enter it, to form a potential starting point for viewing the mages, encouraging visitors to progress from there  and around the lower floor to the stairs and the upper level, thence back down to complete the circuit and finishing at the artist’s final notes and Memorial to a Woman in a Field.

The images are striking, Janus reflecting the diversity of styles and techniques Blake uses within his poem within each of her images. Where he uses metaphor, alliteration and simile, she uses technical and artistic approaches such as motion blur, superimposition and Chiaroscuro. However, most strikingly, Janus matches Blake’s use of juxtaposition within her images, most notably through the placement of the natural beauty of the women in her images against their backdrop. Whether drawn from images initially captured in Second Life or the result of digital manipulation of images produced outside of SL (and possibly using AI toolsets?) matters not.

Kondor Art Centre: Janus Falls – Auguries of Innocence

There is so much to unpack in these pieces, that it is possible to end up writing a treatise. The aforementioned Memorial to a Woman in a Field for example, offers so much to consider, from the manner in which it presents what should be harmony between people and humanity and nature, through to the way it offers a subtle reflection of Blake’s deeply held Christian beliefs whilst rejecting the constructs of organised religion for the manner in which it encourages the corruption of self  through the promotion of judgemental intolerance and denial of anyone who can be branded as “others” – something which we can still see only too well within modern society.

However, rather than ramble on, I think Janus herself does more than enough to present her work as it should be seen and understood. Certainly, Auguries of Innocence does much to offer a questioning challenge to us, one with which Blake himself would doubtless agree: given it is now over 200 years since he wrote the opening lines of his poem, isn’t it about time we finally started putting aside self-centred and social indifference / cruelty to one another and tried to be better, both for the benefit of others and the world as a whole?

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