Space Sunday: a bit of a round-up

The outside of the sample container from OSIRIS-REx showing material from asteroid 101955 Bennu scattered outside of the container proper, testament to the amounts contained within. Credit: NASA / Erika Blumenfeld & Joseph Aebersold

On October 11th, 2023, NASA revealed details of their first look at samples returned from asteroid 101955 Bennu, returned to Earth on September 24th by the OSIRIS-REx mission.

As I reported in Space Sunday: the return of OSIRIS-REx, the sample return capsule carried with it up to 250 grams of material from the carbonaceous asteroid – a lot more than had been anticipated, thanks to Bennu proving to be so brittle the sample mechanism smashed through its outer surface, clogging itself with material, rather than lightly “tapping, grabbing and departing”.

The sample container now open (left), with more materials coating the inner surfaces (right). This material was used in the initial analysis of the sample. Credit: NASA

Following its recovery after landing in Utah, the capsule and containing the sample gathering head from the spacecraft was transferred to Johnson Space Centre and the Astromaterials Research and Exploration Science (ARES) centre (as I reported here), where for the last couple of weeks the sample container has been accessed and its contents subject to initial analysis.

It has still not been confirmed how much material has been obtained from Bennu; the opening of the sample canister revealed a fair amount of material was trapped between the lid of the canister and the membrane protecting the main bulk of the sample. This was painstakingly collected and formed the materials used for the initial analysis of the sample dust.

This initial analysis as revealed that – as expected, given it is a carbonaceous asteroid – the sample has within it evidence of both carbon and water, with the latter have a similar isotopic levels similar to those of Earth’s oceans. This was expected as it has long been the theory – supported by the examination of other asteroid samples returned to Earth by Japan’s Hayabusha and Hayabusha-2 missions – that C(arbonaceous)-type asteroids were responsible for bringing water and carbon to Earth early in its history.

Mari Montoya (left) and Curtis Calva at NASA’s Astromaterials Research and Exploration Science (ARES) centre carefully collect all the overspill from the OSIRIS-REx sample container, carefully clearing it all so it can be used in the initial analysis of the material returned from 101955  Bennu. Credit: NASA

Which is not to say that the samples do not offer a lot to learn; there is much that scientists do not know for certain about the Earth’s earliest history and its formation; much of what we do know is basis on hypotheses and scientific assumptions. The study of samples like those from Bennu samples could therefore allow many of those hypotheses to to more fully tested and the knowledge we lack or assume to be correct properly framed and understood.

Following extraction, the material from inside the sample container will be distributed to research centres in museums and universities around the world to enable a more extensive and as broad-ranging spectrum of independent analysis as possible over the coming months / years.

Psyche Launched

Following on from my previous Space Sunday article, and after being delayed almost 24 hours due to inclement weather, NASA’s mission to asteroid 16 Psyche got underway at 14:19 UTC on October 19th, 2023 when a Falcon Heavy lifted-off from Pad 39A at Kennedy Space Centre, Florida.

The SpaceX Falcon Heavy which launched the spacecraft Pysche at the start of its mission at Pad-39A, Kennedy Space Centre. Note the sooty exteriors of the side boosters, marking the fact both were about to make their fourth ascent each from a launch pad. Credit: NASA

After a flawless launch the rocket – comprising a core Falcon 9 booster with two additional first stages of the same rocket acting as strap-on boosters – rose into a cloudy sky over Florida. Just over two minutes into the flight, the side boosters separated to complete a “burn back” manoeuvre allowing them to return to Florida to land at Cape Canaveral Space Force Base adjacent to Kennedy Space Centre a few seconds apart, the landings marking the 4th successful flight for both units.

The spacecraft separated from the upper stage of the booster around an hour after launch, having been delivered to an extended orbit around Earth. There then followed a further 30 minute period of silence as the vehicle powered-up and oriented its communications system to call home with its first batch of data, indicating all was well and establishing a firm link with mission control.

The next 100 days will see the spacecraft comprehensively checked-out in terms of its flight systems – notably the four Hall-effect SPT-140 ion thrusters. This will be used serially throughout the flight to propel the vehicle to its rendezvous with 16 Pysche and enable it to slow down for an orbital rendezvous.

This checkout will be completed over the next week or so, and prior the vehicle being ordered to use the thrusters to start pushing itself away from Earth and into a heliocentric orbit around the Sun to reach Mays in 2026. Once there, it will use the planet’s gravity to help swing itself onto an intercept with 16 Psyche, where it will arrive in the latter part of 2029 to commence its science operations over an initial 21-month period.

A view from the forward end of the Falcon Heavy upper stage showing the departing Psyche spacecraft, the 24-metre span of its solar arrays still stowed. Credit: SpaceX / NASA TV

As I noted last time around, the journey to Mars will see NASA carry out a test of their Deep Space Optical Communications (DSOC) laser communications system, which could greatly increase the data rate and bandwidth of communications used with deep-space missions. The first test for DSOC should come in about three weeks from launch, when the vehicle will be 7.5 million kilometres from Earth. They will then be periodically repeated and extended as the spacecraft reaches a distance of to 2.5 AU from Earth.

The launch marked the eighth for what is now the world’s second most powerful launch vehicle currently regarded as operational (the most powerful title having been taken by NASA’s Space Launch System), and the 4th for 2023. However, it was particularly noteworthy for SpaceX, as it marks the first time NASA has used the rocket, and several concessions had to be made in order for this to go ahead.

The booster is also set to become a mainstay for several major NASA missions over the next few years. These comprise the launch of the 2.8 tonne GOES-U weather satellite and Europa Clipper mission to the Jovian system (both in 2024), the Nancy Grace Roman Space Telescope in 2026/7 and – perhaps critically for NASA’s human spaceflight operations, the joint launch of the first two sections of the Lunar Gateway Station in the form of the Power and Propulsion Element (PPE) and the Habitat And Logistics Outpost (HALO), a launch currently targeted for November 2025.

In this, and in difference to the hype and questionable capabilities of the SpaceX Starship / Super Heavy system, Falcon Heavy is proving itself as reliable a launch vehicle as the rocket from which it has been formed.

Continue reading “Space Sunday: a bit of a round-up”

Phantoms of moods in Second Life

IMAGOLand Art Galleries: Carelyna – Phantasmagoria

Having opened at the start of October and occupying a skybox gallery at Mareea Farrasco’s IMAGOLand galleries, Phantasmagoria is the latest exhibition by Carelyna.

Whilst the title might well evoke thoughts of ghosts and spectres, this is a collection which takes the term in a different direction to ideas of ghosts and demons, being far more subtle in intent – as I’ll get to in a moment.

The term phantasmagoria is said to have originated in the last decade of the 18th Century as a French concatenation of the Ancient Greek phántasma (“ghost”) with either agorá, (“assembly” or “gathering”) or (agoreúō, “to speak publicly”).  Exactly who coined it is subject to debate, but Paul Philidor, a magician and showman, is perhaps most widely recognised as having popularised it in the late 1790s and early 1800s, using the terms to promote his shows featuring ghostly apparitions and the shades of departed famous people – although such shows, utilising everything from concave mirrors to magic lanterns and camera obscura to create / project such ghostly phantoms, reach back into at least the 17th century. Others who started using the term around the same time as Philidor include French dramatist and proto-science fiction writer Louis-Sébastien Mercier, and Belgian showman Étienne-Gaspard Robert – who is also credited with coining the term fantascope to describe the equipment he, Philidor and others used to create their spectres.

IMAGOLand Art Galleries: Carelyna – Phantasmagoria

For her show, Carelyna has created a collection of sepia-rich, ghost-like images of individuals. It overall tone, they are suggestive of the flickering images witnessed by those sitting through one of Philidor’s shows. Some are clearer than others, presenting an well-defined study; others are caught in a halo of light and brightness which both adds to the suggestion they have perhaps caught the spirit of a person who may not have been there – or that the image was taken a long time ago, and time and light have not been kind to it.

However, while they have that faded, ghostly sense about them, as noted above, these images are not intended to portray the spirits of the departed or suggest we’re within a magic lantern show; rather they and intended to evoke ideas of mood and emotion. From celebrations of life and expressions of love, to studies of strength and introspection and of potential loss or aloneness, the emotional depth found within these 12 pieces is both intense and also entirely open to interpretation: while Carelyna offers a suggestion or theme within the title of each. it is very much down to how we individually respond to each of them in its own right.

IMAGOLand Art Galleries: Carelyna – Phantasmagoria

An engaging and expressive exhibition.

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