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London-based graphic artist Morag Myerscough on working with colour and communities | Lifestyle News, The Indian Express

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London-based graphic artist Morag Myerscough on working with colour and communities | Lifestyle News, The Indian Express

Written by Shiny Varghese |Updated: February 21, 2019 8:44:04 am

London-based graphic artist Morag Myerscough on working with colour and communities

Growing up in a home with a musician father and a textile artist mother, Myerscough always waited for the circus to come to town. Its fantasy world never failed to impress her.

Hues talking
Gareth Gardner
I have decided to stick with love — this quote by Martin Luther King became the cornerstone for The Temple of Agape, a temporary installation designed by graphic artists Morag Myerscough and Luke Morgan at Southbank Centre, London, for their 2014 Festival of Love. Done as a scaffolded structure in plywood, it was true to Myerscough’s use of colour and typography. Taking on the Greek connotations of the word as love for humanity, it had letters in bright neon colours saying ‘talk’, ‘strong’ and ‘circle’. Once inside the pavilion, cut outs on the façade allowed light to stream into the space, enchanting the audience with its quietness and simplicity. “Until something is actually built, you don’t know how it will be. Will it be warm or cold? How will the sun feel inside? Will it be dark in there?
One never knows, and it’s that unpredictability that I find exciting,” says Myerscough. She was a speaker at the India Design ID 2019 symposium, held in Delhi last week.
Her aim of making connections and designing joyous spaces has led to many projects in the public realm, in exhibitions and on streets, besides hospitals, cafes and schools. Last year, Myerscough’s work Belonging toured around Sussex, working with nine communities to reaffirm ideas of togetherness, love and social justice. Her first mobile installation, the bright bandstand was adorned with placards made by the different communities in each of these areas.
Growing up in a home with a musician father and a textile artist mother, Myerscough always waited for the circus to come to town. Its fantasy world never failed to impress her. “I was surrounded by music and colour in my childhood. However, most of the design and architecture then was minimalist, grey and concrete. So in my work I wanted to use a wider palette,” says Myerscough, 55.
It’s therefore against this brutalist concrete backdrop that she places many of her works. She recalls the time she came to Delhi, nearly 10 years ago. “One of the images I recall is from 2008. There were these big concrete flyovers coming up, and next to one such was a huge figure of Hanuman. It was an amazing moment to see how the temple breaks through the fabric of the city itself. I like to work in such brutalist environments to show the contrast and importance of colour. You can change a drab street into a better journey. My work attempts to bring out that beauty, to make streets more joyous, more palatable,” she says.


She recently finished a 200-metre installation in a hospital in Sweden based on her mood tweets, when she posted on Twitter in colour for over two years. “In the future, I want to work with poets and writers. I want to do more creative writing. Luke and I are moving towards building our work into a level of performance where if we create a stage, we hope to use it to the fullest,”
says she.

Multiple Grammy-winning classical guitarist Sharon Isbin on why India is special for her | Lifestyle News, The Indian Express

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Multiple Grammy-winning classical guitarist Sharon Isbin on why India is special for her | Lifestyle News, The Indian Express

Written by Suanshu Khurana |Updated: February 21, 2019 8:38:07 am

Multiple Grammy-winning classical guitarist Sharon Isbin on why India is special for her

Sharon Isbin on creating space for her nylon-stringed guitar in the world of western classical music.

Her guitar gently sings
Classical guitarist Sharon Isbin J Henry Fair
About a decade ago, New York-based classical guitarist Sharon Isbin received an email from sarod exponent Ut Amjad Ali Khan mentioning a meeting. Khan was a visiting professor at a few universities in the US back then, and his mail was an invitation for Isbin to meet him and attend one of his concerts to contemplate a collaboration. They both played string instruments, so a merger of the notes seemed exciting. Until Isbin threw a curveball. “I explained to him that I’d love to do it, but he’d have to have everything — the notes, rhythm and the interaction — written down for me. I needed a full score to be able to realise his vision,” says Isbin.
What seemed simple and commonplace in Isbin’s world — sheet music using staves and noteheads — was not usual in the system of Indian classical music, where music is not written down and is passed orally from one generation to the other. Khan needed someone with ample knowledge of both the systems, especially that of classical guitar technique, to be able to write his score for Isbin. It took six years to find someone and another two years to write it. “I received the music last November and we’ve been rehearsing intensely ever since,” says Isbin, 63.
The result is The Peace Tribe Concert, where Isbin along with Amaan Ali Khan and Ayaan Ali Khan, will present the world premiere of a new score that highlights artistes and instruments from different systems playing the same notes. It’s an experiment that can really work or go down the rabbit hole, but Isbin is excited. “This, perhaps, is the first-of-its-kind formal collaboration between a classical guitar and sarod,” says Isbin, a musical pioneer whose technical precision paired with a penchant for improvisation has led her to be a trailblazer in the world of classical guitar. She believes that her collaborations with artistes — including American rockstar Steve Vai, Deep Purple lead guitarist Steve Morse, iconic jazz singer Nancy Wilson, legendary singer Joan Baez, composers John Corigliano, Thomas Dunn, Christopher Rouse and jazz greats Stanley Jordan and Paul Winter — have given her the understanding of working with people who improvise.
What has also helped is her knowledge of Baroque music. “If I am learning a Bach suite or a Rodrigo concerto, the notes are written down, the exception being that if it’s Baroque music and a Bach or a Vivaldi piece, some of the notes are not written and the performer has to improvise. Indian music improvisations are similar. You are taking the skeletal structure and making it your own,” says Isbin, who cancelled a concert in the US to do a three-city tour in India. She adds that the Spanish guitar, her instrument, which has roots in Flamenco, is known to have roots in India.
Isbin has been a sort of aberration in the world of music. She is perhaps one of the few female classical guitarists in a field dominated by men and is the only classical guitarist to win a Grammy in 28 years (Dreams of a World, 2001). But early on, she also decided to never take “no” for an answer. When she felt that guitar wasn’t getting its due and there was a lack of compositions for guitar with classical orchestras, she got them written. “I’d enter competitions and they’d say that guitar cannot enter classical competitions. I’d ask why not. The organisers had no answer. They’d allow and I would win. I had to convince people of the value of my instrument,” says Isbin, who has also played at the White House for the Obamas.


With the iconic composer John Corigliano (Pulitzer winner with five Grammys and an Oscar) Isbin persevered for eight years. Corigliano thought of the guitar as being a “highly idiomatic instrument” that he didn’t fully understand. She floated a slightly dramatic idea of troubadours — French poet-musicians from the 11th century. “He agreed to write for me,” says Isbin, who was the highlight of Troubadours (variations for Guitar and Chamber Orchestra, 1993). Slowly, many composers came around. “Since I don’t use a plectrum and only the flesh of my fingers or my fingernails, I can change the timbre of the sound to hundreds of qualities by just changing the angle of my nail, the position — by the bridge or closer up the fingerboard,” says Isbin, who is also known as the Monet of classical guitar.
Growing up in Minneapolis, US, where her father was a nuclear scientist and mother was a law graduate and folk dance instructor, she aspired to be a scientist. She was nine when her father accepted a consultant’s position in Italy. Her older brother wanted to learn the guitar and their mother found Aldo Minnela, iconic guitarist Andres Segovia’s student. “The moment my brother realised that it wasn’t the Elvis Presley music, he backed out and I volunteered,” says Isbin, who trained in Italy for about six years. She also won a music competition, the prize for which was to play for the Minnesota Orchestra. “When I played in front of people, I realised this was more fun than sending my worms into space,” says Isbin, who later learned from Segovia too.
After studying music at Yale, she made her New York debut at Lincoln Center in 1979 and was soon signed by Columbia Artists Management. Two Grammys followed, in 2001 and 2010. Having performed with the best orchestras, including the New York Philharmonic, she was invited to join The Juilliard School in 1989, where she founded the classical guitar department and wrote Classical Guitar Answer Book. Subject of Susan Dangel’s award-winning documentary titled Sharon Isbin: Troubadour, Isbin isn’t tired just yet. “I’m physically exhausted but mentally the journey is likely to keep rejuvenating me,” says Isbin.
Isbin will perform at Kamani Auditorium on February 22. Tickets on bookmyshow

In their first-ever collaboration, electronic music composer Sandunes and British drummer Richard Spaven come together to tell a single story | Lifestyle News, The Indian Express

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In their first-ever collaboration, electronic music composer Sandunes and British drummer Richard Spaven come together to tell a single story | Lifestyle News, The Indian Express

Written by Anushree Majumdar |Updated: February 22, 2019 10:33:11 am



In their first-ever collaboration, electronic music composer Sandunes and British drummer Richard Spaven come together to tell a single story

Spaven and Sandunes have much more in common than one would imagine: both are gifted storytellers of sound; Spaven, especially, is a master of controlling tension and release, and Sandunes excels in weaving in little flushes of emotion in her set.

Richard Spaven
Richard Spaven
On Monday, Richard Spaven (pictured) and Sanaya Ardeshir entered Island City studios in Khar, Mumbai, with a single plan: write music from scratch, work with each other’s sounds, and produce something that will not only be sonically cohesive but also showcase their individual abilities as seasoned artistes. Except they had only four days to accomplish their goal. One must have to be a bit mad to embark on such a project, but when there’s two, it could turn out to be an exhilarating adventure. “I’ve been familiar with his work for years and connected a while ago. I remixed one of the pieces from his last record, Real Time (2018), and sent it to him; it’s set the tone of our collaboration,” says Ardeshir.
This evening, Ardeshir aka Sandunes, one of India’s leading electronic music composers, and Spaven, the globally-acclaimed genre-defying British drummer, who has toured with José James, Flying Lotus, and The Cinematic Orchestra, will take the stage at the G5A Foundation for Contemporary Culture, in Mahalaxmi, Mumbai. Presented by Red Bull Music, the hour-long performance will see the two artistes reinterpreting each other’s work to arrive at a new soundscape that is a combination of structure and improvisation. The show travels to Delhi tomorrow where it will take place at Shed 9, in Dhan Mill Compound, Chhatarpur.
What’s been the takeaway, we ask Spaven. “Indian,” he says, without batting an eyelid. There’s a second-long pause before laughter fills the studio. It’s been a long day’s night, and Spaven can’t be blamed for thinking about food. This is his first trip to India, and in between making music, he’s eaten all he could, driven an autorickshaw, played gully cricket — all of this, in less than a week. “The biggest takeaway is the impact India has had on me; this collaboration is having on me. It’s been quite intense,” he says. “For me, what I’ve learned by just being around a musician of his calibre is outrageous. There’s observed learning, philosophical approaches to music, and I feel that I’m in good hands, and that I can relinquish control. This is rare,” says Ardeshir.
Spaven and Sandunes have much more in common than one would imagine: both are gifted storytellers of sound; Spaven, especially, is a master of controlling tension and release, and Sandunes excels in weaving in little flushes of emotion in her set. “A lot of people want something with a lot of energy and volume in electronic music. But you can have an intensity burst that is contained. When I record something and I’m moved by it, I work on it a little more. When I’m really moved after that, I want to present it to the listeners. It’s a very intimate experience. But a lot of people tell me that they’ve got my CD in their car, and I groan. I want them to put on their headphones and listen to it in the dark,” says Spaven.


Both he and Ardeshir are firm about one thing: there will be no fillers in the set. “What’s the vibe? That’s the question we’ve been working to answer. We don’t want to put out anything that sounds like a compromise. We’ve been working on segues but we’re also wondering if we should inform the audience of the intensive process this show has resulted from. This isn’t a disclaimer, but something to get them on board with us, because they’re the first people to hear something so raw,” says Spaven.

Baile creativo del artista de óprea de Beijing

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La imagen puede contener: 3 personas, personas sonriendo, niños y exterior

Celebran Festival de los Faroles en China
Artistas folclóricos realizan una presentación durante un espectáculo shehuo, en el condado de Guangling, en la provincia de Shanxi, en el norte de China, el 18 de febrero de 2019. Muchos lugares en el país han sido decorados con linternas para celebrar el próximo Festival de los Faroles, que se conmemora el 19 de febrero de este año. #LanternFestival#FelizAñoNuevoChino
No hay descripción de la foto disponible.

La imagen puede contener: una o varias personas

La imagen puede contener: una o varias personas, noche y exterior

La imagen puede contener: una o varias personas

La imagen puede contener: cielo, exterior y agua

La imagen puede contener: noche y exterior

La imagen puede contener: 5 personas, personas sonriendo, interior

Ciudad Prohibida será abierta por primera vez para visitas nocturnas

Aparecen “manzanas fantasma” en EEUU tras lluvia helada

Concierto de fantasía en negro y blanco


Volar por buscar sueño

DRAGÓN ORNAMENTAL | CCTV - Inicio

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La imagen puede contener: una o varias personas y primer plano

Dragón ornamental, con una historia de más de 400 años
Imagen del 12 de febrero de 2019, de Lin Shunki mostrando sus habilidades de papel cortado en su casa en Beibaixiang de Yueqing, en la provincia de Zhejiang, en el este de China. Con una historia de más de 400 años, el dragón ornamental, un sacrificio para pedir por buena fortuna durante el periodo del Festival de la Linterna, es popular en las aldeas de Yueqing, en la provincia de Zhejiang. Lin Shunkui, heredero de la artesanía del dragón ornamental, nació en 1956 en la aldea Dongchan de Beibaixiang. Aprendió el arte cuando era joven de su padre, quien es un maestro del papel cortado. Lin ha practicado el oficio por más de 40 años y es famoso por su exquisita artesanía. El procedimiento para crear un dragón ornamental requiere de altos estándares y necesita un tiempo de preparación de más de medio año. El artesano debe de ser competente en varias vocaciones, como el papel cortado, carpintería, pintura y maquinaria. Usualmente con una altura de cuatro metros, una longitud de tres metros y un ancho de dos, el dragón ornamental presenta cerca de 300 figuras en más de 80 gabinetes, que son manejados por engranajes escondidos en el cuerpo del dragón. La artesanía del dragón ornamental fue enlistada como un patrimonio cultural intangible nacional en octubre de 2014. #HiChina#Craftsmanship
La imagen puede contener: 1 persona, sentado
La imagen puede contener: una o varias personas e interior
La imagen puede contener: 1 persona, en el escenario

Kung Fu Niños

Reserva de Qomolangma prohíbe a turistas comunes en zona núcleo

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Reserva de Qomolangma prohíbe a turistas comunes en zona núcleo

La Reserva Natural Nacional del Monte Qomolangma en la Región Autónoma del Tíbet de China publicó últimamente un aviso que prohibe a los turistas comunes ingresar a su zona núcleo para conservar mejor el medio ambiente de la montaña más alta del mundo. #FLASH





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Imágenes raras de monos infantiles Langur de Francois con sus padres en China

Tesoros Nacionales: Escultura de relieve en color de actuación musical

Demostración de acrobacia en el aire


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La imagen puede contener: noche

Granja Forestal Shuangfeng en Heilongjiang
Imagen del 30 de enero de 2019 tomada con un teléfono móvil de una vista nocturna de la Granja Forestal Shuangfeng, en la ciudad de Mudanjiang, provincia de Heilongjiang, en el noreste de China. La Granja Forestal Shuangfeng atestigua nevadas frecuentes y es cubierta por la nieve la mayor parte del año. El bello paisaje nevado atrae a muchos turistas locales y extranjeros cada año. #HiChina #Seechina #Buenosdias
La imagen puede contener: noche
No hay descripción de la foto disponible.
La imagen puede contener: noche
La imagen puede contener: exterior
La imagen puede contener: nieve y exterior
La imagen puede contener: una o varias personas, nieve y exterior

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Fiesta de Faroles, día culminante de la Fiesta de Primavera
La Fiesta de Faroles, que se celebra el 15 de enero del calendario lunar, se trata de un festival de mucha recreación y de larga historia.
Según las tradiciones nacionales, durante esta noche se suelen colocar miles de faroles para que la gente los aprecie y trate de encontrar respuestas a los misterios que guardan, así como comer, junto a sus familiares, los Yuanxiao, albóndigas hechas de harina de arroz glutinoso con relleno dulce.
De acuerdo con las leyendas chinas, en la primera luna llena del año, los antepasados chinos participaban en representaciones y diversiones y ofrecían sacrificios a la diosa de gusanos de seda; cuando caía la noche, la gente colocaba antorchas y candelas en sus patios y huertos para "iluminar gusanos de seda" y "expulsar los ratones", con el fin de lograr una buena cosecha.
Según los datos históricos, se puede remontar a la época de la dinastía Han (hace dos mil años).
En aquel tiempo se practicaba todas las noches el toque de queda en la capital excepto los días 14, 15 y 16 de enero, cuando se permitía a los habitantes salir por la noche.
A principios de la dinastía Tang (618-907), la Fiesta de Faroles se convirtió en una fiesta oficial de tres días de duración, gracias a la prosperidad económica, cultural y social del país. En esta época, los emperadores y sus familiares también salían para disfrutar de la fiesta, que cada año más de cien poetas realizaban composiciones para la ocasión.
En la dinastía Song (960-1127), cuando los chinos lograron grandes éxitos en la ciencia y tecnología, como la invención de la pólvora, la brújula y la manera de imprimir, el festival se prolongó a cinco días y las actividades festivas comenzaron a extenderse a más regiones del país.
El vidrio coloreado y jade fueron ulitizados en los faroles, que exhibían pinturas de personajes de las leyendas chinas.
A partir de Song, las celebraciones se diversificaron e incluyeron canciones, danzas, marionetas, entre otras representaciones folklóricas. La mayor celebración tuvo lugar en el siglo XV, en la dinastía Ming (1368-1644), cuando la fiesta duraba diez días.
En Beijing, existe hoy día una calle denominada "Feria de Faroles", en la que durante la dinastía Ming se vendían faroles de día y por la noche se exhibían. Las luces iluminaban la calle en la que también había música, acrobacias, danzas del dragón y del león, así como otras representaciones artísticas.
La dinastía Qing (1644-1911) siguió la tradición de Ming, pero las actividades festivas se enriquecieron aún más, añadiendo la carrera de caballos, equitación, fuegos artificiales y espectáculos con faroles ofrecidos por tres mil personas. En el palacio real, también se colgaron faroles lujosos, e incluso los de hielo.
Hoy en día, la Fiesta de Faroles sigue siendo una parte importante de las celebraciones de la Fiesta de Primavera y una ocasión importante para los chinos para divertirse y estrechar los vínculos con la cultura y tradición nacionales.
La gente visita exposiciones de faroles en los parques y jardines, y también degusta "yuanxiao", un comestible hecho de arroz glutinoso de forma redonda y de color blanco relleno de azúcar y sésamo o azúcar y nuez, que simboliza la reunión familiar.
Al mismo tiempo de continuar las tradiciones, la fiesta también dispone de características de nuestra época, utilizando nuevas técnicas y representando la vida diaria de las personas modernas. #LanternFestival#FelizAñoNuevoChino
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Flores de ciruelo en el Templo Linyang en Fuzhou
Vista de flores de ciruelo en el Templo Linyang en Fuzhou, en la provincia de Fujian, en el sureste de China, el 10 de febrero de 2019. El paisaje atrae a muchos turistas. #Buenosdias #HiChina #Seechina
La imagen puede contener: planta, cielo, árbol, flor, exterior y naturaleza
La imagen puede contener: cielo, árbol, exterior y naturaleza
La imagen puede contener: árbol y exterior
La imagen puede contener: árbol, planta, flor, exterior y naturaleza

Dramatic Jupiter | NASA

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Dramatic Jupiter | NASA



Dramatic Jupiter

Jupiter
Dramatic atmospheric features in Jupiter’s northern hemisphere are captured in this view from NASA’s Juno spacecraft. The new perspective shows swirling clouds that surround a circular feature within a jet stream region called "Jet N6."
This color-enhanced image was taken at 9:20 a.m. PST on Feb. 12, 2019 (12:20 p.m. EST), as the spacecraft performed its 18th close flyby of the gas giant planet. At the time, Juno was about 8,000 miles (13,000 kilometers) from the planet's cloud tops, above a latitude of approximately 55 degrees north.
Citizen scientist Kevin M. Gill created this image using data from the spacecraft’s JunoCam imager. The image has been rotated approximately 100 degrees to the right.
JunoCam’s raw images are available for the public to peruse and process into image products at http://missionjuno.swri.edu/junocam.   
More information about Juno is at http://www.nasa.gov/juno and http://missionjuno.swri.edu.
Image Credits: NASA/JPL-Caltech/SwRI/MSSS/Kevin M. Gill
Last Updated: Feb. 22, 2019
Editor: Tony Greicius

NASA is Aboard First Private Moon Landing Attempt | NASA

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NASA is Aboard First Private Moon Landing Attempt | NASA



False color view of southern latitudes of Moon



NASA is Aboard First 

Private Moon Landing Attempt


Editor's note: SpaceIL’s lander launched from Cape Canaveral Air Force Station in Florida the evening of Feb. 21, 2019 (1:45 UTC Feb. 22).

The last screw is tightened and a private Moon lander is packed in the fairing atop a SpaceX Falcon 9 rocket at Cape Canaveral Air Force Station in Florida. It took eight years to get there, plus significant dedication by a small group of scientists and engineers building Israel’s first machine to leave Earth’s orbit. Now, the highly anticipated moment is here: a shot at the first private Moon landing, and NASA is contributing to the experiment.
An Israeli spacecraft from SpaceIL is scheduled to launch Thursday, Feb. 21 and is aiming to touch down on Mare Serenitatis two months later. NASA installed a small laser retroreflector aboard the lander to test its potential as a navigation tool. The agency also provided images of the Moon’s surface to help the engineers identify a landing site for the mission. NASA will also use its deep space telecommunications network to transmit images and science data home to SpaceIL and its partners. NASA Administrator Jim Bridenstine signed an agreement with the Israel Space Agency (ISA) in July 2018 in order to collaborate with SpaceIL on the mission. SpaceIL will provide NASA scientific data from the spacecraft’s magnetometer as part of the collaboration.
“This is the type of collaboration that will become more frequent as NASA looks to expand opportunities with a greater variety of partners to continue the exploration of the Moon and Mars,” said Steve Clarke, NASA’s Deputy Associate Administrator for Exploration. “NASA is proud to work with the Israel Space Agency (ISA) and SpaceIL and we look forward to the landing and the science data that will be gained from this important mission.”

It takes a village

SpaceIL was established in 2010 to tackle the Lunar X Prize, a competition sponsored by Google that challenged private companies to land a spacecraft on the Moon. Though no company was able to meet the competition deadline, prompting Google to end it with no winner in March 2018, the Israeli team pressed on.
But no company can make it in space alone. SpaceIL will rely on the Swedish Space Corporation’s network of antennas to communicate navigation commands to the spacecraft and to track its trajectory. Once the spacecraft lands, NASA’s Deep Space Network (DSN) will ferry data between it and Earth. DSN is a system of global antennas managed by NASA’s Jet Propulsion Laboratory in Pasadena, California, that scientists use to communicate with spacecraft in deep space.
The SpaceIL mission advances a partnership between NASA and ISA as both agencies will share the resulting discoveries with the global scientific community. 
“The team’s tension level is high, but we’re also very, very excited” said Eran Shmidt, deputy manager and head of the ground control team at SpaceIL, the Israeli nonprofit that built the Moon lander, called Beresheet, or “genesis” in Hebrew, in partnership with Israeli-government-owned defense contractor Israel Aerospace Industries.
A graphic showing Beresheet's path to the Moon.
A graphic showing Beresheet's path to the Moon. Dates correspond with Israel Standard Time.
Credits: SpaceIL
Beresheet — about 5 feet (1 meter) tall by 7.5 feet (2.3 meters) wide with its landing gear and legs deployed — is one of two payloads that will hitch a ride aboard the Falcon 9 today. The other payload is an Earth telecommunications satellite. The lander will separate first from the rocket, taking the long route to the Moon to save fuel by employing gravitational forces to propel itself. Thus, Beresheet will stay in Earth’s orbit for about a month, slowly widening its ellipse until it reaches apogee, or its farthest point from here, at nearly 250,000 miles (400,000 kilometers) away. The SpaceIL team will need to time Beresheet’s apogee precisely to meet up with the Moon in its orbit about Earth. At this point, the navigators can slow the spacecraft to allow it to be captured by the Moon’s gravity and thereby pulled into its orbit.
“Once we are captured by the Moon,” said Shmidt, “we will orbit around it, perform a few maneuvers for about a week, and then start a 20- to 30-minute autonomous descent.”

A few moments of precious science

Beresheet is due to touch down between April 11 and 12 in a dark patch of an ancient volcanic field visible from Earth, known as the Sea of Serenity (Mare Serenitatis in Latin). NASA’s Apollo 17 astronauts landed near this region on Dec. 11, 1972.
Now, Beresheet will have an opportunity to mark a new first in space exploration with its landing. Though the primary goal of its mission is to land safely, the spacecraft will attempt to do science in orbit, during landing, and on the ground. The window of opportunity for research is small, though: just three Earth days maximum after landing that the spacecraft can withstand the crushing heat — 212 degrees Fahrenheit (100 degrees Celsius) at local noon — of the lunar day (14 Earth days). But every second counts to scientists back on Earth.
NASA’s Lunar Reconnaissance Orbiter (LRO), one of the agency’s three spacecraft circling and studying the Moon, will analyze the gases released by Beresheet’s descent engine as the lander approaches the surface.
“What we’re trying to learn is how volatile compounds, such as water or other gases, are transported around the Moon,” said John W. Keller, an LRO project scientist at NASA’s Goddard Space Flight Center in Greenbelt, Maryland. “If we can predict where these compounds will go and where they’ll settle, we’ll know in what regions of the Moon to look for water and other valuable resources.”
Illustration of the Lunar Reconnaissance Orbiter.
Illustration of the Lunar Reconnaissance Orbiter.
Credits: NASA Goddard Space Flight Center
Meanwhile, scientists from the University of California in Los Angeles, Israel’s Weizmann Institute of Science, and from other global organizations will rely on data from Beresheet’s magnetometer to study whether Moon rocks contain a history of the magnetic field there.

An old, new instrument

Another experiment on Beresheet will involve a tiny but robust instrument called a Laser Retroreflector Array. Smaller than a computer mouse, this device features eight mirrors made of quartz cube corners that are set into a dome-shaped aluminum frame. This configuration allows the device to reflect light coming in from any direction back to its source. LRO’s laser altimeter, an instrument that measures altitude, will try to shoot laser pulses at Beresheet’s retroreflector and then measure how long it takes the light to bounce back. By using this technique, engineers expect to be able to pinpoint Beresheet’s location within 4 inches (10 centimeters).
One day, this simple technology, requiring neither power nor maintenance, may make it easier to navigate to locations on the Moon, asteroids, and other bodies. It could also be dropped from a spacecraft onto the surface of a celestial body where the reflector could help scientists track the object’s spin rate or position in space.
“It’s a fixed marker you may return to it any time,” said David E. Smith, principal investigator of the Lunar Orbiter Laser Altimeter, or LOLA, on the LRO.
Laser retroreflectors have already been instrumental to space exploration. Apollo- astronauts left three large reflector panels at various Moon locations 50 years ago. They’re still reflecting light today, with their 100 mirrors each, though they’re reflecting light all the way back to Earth instead of a close-by orbiter. Using these mirrors, scientists have learned many things about the Moon, particularly that it is moving away from Earth at a rate of 1.5 inches (3.8 centimeters) per year.
Laser reflector
A laser retroreflector.
Credits: NASA Goddard Space Flight Center
These days, smaller laser reflectors are commonly used to track Earth-orbiting satellites from the ground and have been included on several recent space missions. NASA installed an Italian Space Agency-provided retroreflector on the deck of the InSight lander, which arrived on Mars in November 2018. Though there’s no orbiter with a laser instrument at Mars today to shoot light to InSight’s reflector, scientists expect that there will be one in the future.
In Beresheet’s case, too, the reflector will live on forever, even though Beresheet is expected to stop working within a few days of landing. It may be a simple dome of mirrors, yet Beresheet’s reflector may be one of the first flickers of light future explorers undertaking NASA’s Moon to Mars exploration will see as they descend to the Moon in the coming decade.
Banner image: A false color view of the Moon's southern latitudes. The large blue area at the bottom of the frame is the South Pole-Aitken Basin, an enormous and very old impact feature on the far side of the Moon. Credits: NASA/Goddard Space Flight Center Scientific Visualization Studio.
Last Updated: Feb. 22, 2019
Editor: Svetlana Shekhtman
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