INTRODUCTION the Recent Discovery of Extra-Solar Planets Has Created A

Total Page:16

File Type:pdf, Size:1020Kb

INTRODUCTION the Recent Discovery of Extra-Solar Planets Has Created A INTRODUCTION First, know that heaven and earth and the liquid fields, the moon’s bright sphere and Titan’s star, a spirit within sustains; in every limb mind moves the mass and mingles with the mighty frame.1 ―Virgil, Aeneid 6: 724−727 The recent discovery of extra-solar planets has created a wave of revolu- tionary changes in the earth and planetary sciences. In the wake of these changes, the boundaries between ‘earth scientist’ and ‘planetary scientist’ have been blurred by a surge of new studies that suggest their intersection. Yet blurred boundaries are nothing new to science. Astronomers may point to Johannes Kepler (1571–1630) as a pioneer of this interplanetary vision. In his Dream (1634), an imaginary voyage to the moon, Kepler applied his knowledge of natural philosophy to describe what life might look like on the lunar surface. By projecting the laws of perspective, Kepler also explained why a lunarian observer might reasonably conclude that the moon stood motionless at the center of the world. The analogy was clear. “Everyone declares that the motion of the heavenly bodies around the earth [is] evident to the eyes,” Kepler wrote, “but to the eyes of the lunar- ians, it is evident that our earth rotates while their moon is motionless.”2 To press the imagination further, Kepler suggested that some of the lunar beings who enjoyed this view roamed the moon nomadically, either on foot, by air, or “on boats, following the receding waters.”3 Known as an early form of science fiction, Kepler’s Dream prompts readers to marvel at the idea of alien beings crossing the lunar surface “in large hordes” and diving to “the far depths of the sea” to avoid the heat of the sun.4 At the heart of this imaginative tale, however, is a seri- ous attempt to understand the physical reality of a faraway body. Today, astronomers and marine biologists cross similar lines when they contem- plate life beneath the surface of Europa and Jupiter’s other icy satellites. This cognitive leap has been elaborated by Stephen Hawking, who claims 1 Virgil portrays this spirit as similar in nature to fire and the universal source of life. 2 JKGW, 11,2, 354.23–25. Cf. Rosen, 1967, p. 106. 3 JKGW, 11,2, 330.19–20. Cf. Rosen, 1967, p. 27. 4 JKGW, 11,2, 330.23–26. Cf. Rosen, 1967, p. 28. 2 introduction that life on the ocean floor could hold clues for alien ecosystems similar to our own.5 It has even been introduced to the general public by James Cameron in his documentary, “Aliens of the Deep,” where we encounter a new world of life inhabiting the volcanic vents. While Kepler could never have imagined such a world, he plumbed the analogical depths of the earth to similar effect. Thus, the biblical account of creation in the earth’s waters served to illuminate the origin of comets in the celestial ether. In the same way that “great whales” had been born in the sea, Kepler claimed, the ether gave rise to comets “in every corner” of the heavens.6 Kepler would later turn to human anatomy to explain the complemen- tary roles of the sun and the planets in the body of the cosmos. If the sun was “a sort of heart,” the earth was “the liver or spleen.”7 Kepler blurred disciplinary boundaries because he believed the stars were subject to change in some of the same ways as the sublunar sphere. “Copernicus granted the right of citizenship in the heavens to the earth,” he declared,8 and with it came a new way of knowing the world of mutability beyond the moon. How did Kepler account for change according to the heliocentric hypothesis? The answer reveals a forgotten feature of his world view and a critical part of the new cosmology. Kepler envisioned a world of change beyond the perennial motion of the planets. Comets and new stars cried out for explanation in his “far-reaching philosophy of the heavens.”9 The constant cycle of decay and renewal that he imagined beyond the earth echoed the ancient principle of perfection that involved continual change. According to Aristotle, God had “fulfilled the perfection of the universe by making coming-to-be [on earth] uninterrupted.”10 This constancy of cre- ation and corruption secured a state of perpetual being that allowed the world thus to participate in perfection. Kepler saw no reason to limit this principle to any part of his world picture. The new planetary status of the earth suggested the same form of physical explanation extending to the fixed stars. While Kepler continued to study closely the light conveyed by 5 In his television series, “Into the Universe,” Hawking suggests that underwater aliens on Europa “would probably swim in a similar way to our own ocean life, since liquid water is the same stuff everywhere.” 6 JKGW, 4, 59.1–10. Cf. Genesis 1: 20–22. 7 JKGW, 6, 416.31–32. 8 JKGW, 1, 246.23–24. 9 Westman, 2011, p. 317. 10 Martin, 2011, p. 42..
Recommended publications
  • “T I T a N I C 3 D”
    “T I T A N I C 3 D” “Titanic was called the Ship of Dreams. And it was. It really was...” In 1997, James Cameron’s TITANIC set sail in theaters -- and one of the world’s most breathtaking and timeless love stories was born. The film’s journey became an international phenomenon as vast as its name, garnering a record number of Academy Award® nominations, 11 Academy Awards® and grossing over $1.8 billion worldwide. On April 6th, 2012, precisely a century after the historic ship’s sinking and 15 years after the film’s initial theatrical release, TITANIC resurfaces in theaters in state-of-the-art 3D. Upon its original release, TITANIC was celebrated for transporting audiences back in time, right into the belly of the R.M.S Titanic in all her glory and into the heart of a forbidden love affair entwined with the ship’s epic collision with human arrogance, nature and fate. Now, the leading edge of 3D conversion technology has allowed Oscar® winning director James Cameron to bring moviegoers the most visceral and dynamic screen experience of TITANIC yet imagined. The artistic process of re-visualizing TITANIC in three dimensions was overseen entirely by Cameron himself, along with his long-time producing partner Jon Landau – who both pushed the conversion company Stereo D literally to unprecedented visual breadth. Cameron guided them to use the latest visual tools not only to intensify the film’s sweeping race for survival, but to reveal the power of 3D to make the film’s most stirring emotions even more personal.
    [Show full text]
  • Hollywood Places Biggest 3-D Bet Yet on 'Avatar'
    Hollywood Places Biggest 3-D Bet Yet on 'Avatar' By THE ASSOCIATED PRESS Published: July 24, 2009 Filed at 12:44 p.m. ET SAN DIEGO (AP) -- When James Cameron directed his first 3-D film, ''Terminator 2: 3-D,'' for Universal Studios theme parks more than a decade ago, the bulky camera equipment made some shots awkward or impossible. The 450-pound contraption -- which had two film cameras mounted on a metal frame -- was so heavy that producers had to jury-rig construction equipment to lift it off the ground for shots from above. The cameras, slightly set apart, had to be mechanically pointed together at the subject, then locked into place like an unwieldy set of eyes to help create the 3-D effect. At $60 million, the 12-minute film was the most expensive frame-for-frame production ever. Now, five months from its release, Cameron's ''Avatar,'' the first feature film he has directed since ''Titanic'' (1997), promises to take 3-D cinematography to an unrivaled level, using a more nimble 3-D camera system that he helped invent. Cameron's heavily hyped return also marks Hollywood's biggest bet yet that 3-D can bolster box office returns. News Corp.'s 20th Century Fox has budgeted $237 million for the production alone of ''Avatar.'' The movie uses digital 3-D technology, which requires audience members to wear polarized glasses. It is a vast improvement on the sometimes headache-inducing techniques that relied on cardboard cutout glasses with red and green lenses and rose and fell in popularity in the 1950s.
    [Show full text]
  • 2017 Summer Reading Book List PK-8
    For more information about The Ferguson Library Summer Reading Club Build A Better World: Help Each Other Grow SUMMER please visit fergusonlibrary.org READING LIST2017 PRE-K to 8th GRADE Teen Summer Reading Club image by Noelle DeJesus of AITE, winner of the Ferguson Library’s 2017 Teen Art Contest Presented by the Stamford Public Schools and The Ferguson Library 52 Planes: Fire and Rescue Strange Magic Ponyo The Tale of Despereaux The Prince’s Quest The Tale of Princess Kaguya Puss in Boots The Teacher from the Black Lagoon…and The Railway Children More Slightly Scary Stories Ralph S. Mouse* Teeny Tiny Witch Woman and 4 More The Ransom of Red Chief Spine-Tingling Tales Redwall The Thief Lord Rise of the Guardians Tikki Tikki Tembo…and More Favorite Ruby Bridges Tales The Secret Life of Pets Toy Story (series)+ The Secret of Kells The Velveteen Rabbit The Secret World of Arrietty Walking With Dinosaurs: The Movie Selma, Lord, Selma WALL-E Sing White Lion So…You Want to be President, and More Why Mosquitos Buzz in People’s Ears… Stories to Celebrate American History and More Stories from Africa Song of the Sea Willa: An American Snow White* Something Wicked this Way Comes A Wrinkle in Time Spirited Away+ Zootopia+ Informational Films Aliens of the Deep Max American Presidents Meerkat Manor: First Season The Anansi Collection Microcosmos Autism: The Musical Monkey Kingdom Bugs! A Rainforest Adventure National Geographic: Be the Creature (vol. Cave Painter of Lascaux 1 & 2) Creating with Crayons (series) Paper Clips Defender of Kids: Kids
    [Show full text]
  • Risk and Exploration
    NASA ADMINISTRATOR’S SYMPOSIUM Risk and Exploration EARTH, SEA AND THE STARS National Aeronautics and STEVEN J. DICK AND KEITH L. COWING, EDITORS Space Administration Office of External Relations NASA History Division NASA Headquarters Washington, DC 20546 NASA SP-2005-4701 NASA SP-2005-4701 Risk and Exploration EARTH, SEA AND THE STARS Library of Congress Cataloging-in-Publication Data Risk and exploration: Earth, sea and the stars, NASA administrator’s symposium, September 26-29, 2004, Naval Postgraduate School Monterey, California / Steven J. Dick and Keith L. Cowing, editors. p. cm. 1. Scientific expeditions—Congresses. 2. Underwater exploration—Congresses. 3. Outer space—Exploration—Congresses. 4. Technology—Risk assessment—Congresses. 5. Science—Moral and ethical aspects—Congresses. I. Dick, Steven J. II. Cowing, Keith L. Q115.R57 2005 910’.9--dc22 2005004470 Risk and Exploration EARTH, SEA AND THE STARS NASA Administrator’s Symposium September 26–29, 2004 Naval Postgraduate School Monterey, California STEVEN J. DICK AND KEITH L. COWING, EDITORS National Aeronautics and Space Administration Office of External Relations NASA History Division Washington, DC NASA SP-2005-4701 TWENTY YEARS FROM NOW YOU WILL BE MORE DISAPPOINTED BY THE THINGS YOU DIDN’T DO THAN BY THE ONES THAT YOU DID DO. SO THROW OFF THE BOWLINES. SAIL AWAY FROM THE SAFE HARBOR. CATCH THE TRADE WINDS IN YOUR SAILS. EXPLORE. DREAM. DISCOVER. Attributed to Mark Twain Contents Acknowledgments STEVEN J. DICK vii KEITH L. COWING Invitation Letter SEAN O’KEEFE ix Introduction SCOTT HUBBARD 1 The Vision for Exploration SEAN O’KEEFE 3 Race to the Moon JAMES LOVELL 11 Bold Endeavors: Lessons from JACK STUSTER 21 Polar and Space Exploration Discussion 35 SESSION ONE—EARTH Hunting Microbial Communities in DALE ANDERSEN 43 Dry Antarctic Valley Lakes High-Altitude Mountaineering ED VIESTURS 49 Exploring the Deep Underground PENELOPE J.
    [Show full text]
  • Underwater Worlds
    Underwater Worlds Underwater Worlds: Submerged Visions in Science and Culture Edited by Will Abberley Underwater Worlds: Submerged Visions in Science and Culture Edited by Will Abberley This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Will Abberley and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-1393-9 ISBN (13): 978-1-5275-1393-8 CONTENTS List of Illustrations .................................................................................... vii Preface ......................................................................................................... x Introduction ................................................................................................. 1 Mythic Creatures of the Deep Chapter One ............................................................................................... 22 At Water’s Edge: Mermaids and Sea Snails in the Symbolist Art of Arnold Böcklin and Leo Putz Nathan J. Timpano Chapter Two .............................................................................................. 52 Tennyson’s Kraken under the Microscope and in the Aquarium
    [Show full text]
  • Camera! Action! Science! 22 September 2005
    Lights! Camera! Action! Science! 22 September 2005 Dr. Pan Conrad is on a quest. Her search for signs "It could be uncomfortable sitting in a 2-meter of life in extreme environments has taken the JPL diameter space for 14 hours at a time," says astrobiologist from the icy realms of the Arctic and Conrad, "but visiting a hydrothermal vent was the dry valleys of Antarctica to the scorching sands awesome." She and Lane made four dives over a of Death Valley, California. month-long period and visited three different sites in the Pacific along the East Pacific Rise and in the The hunt landed Conrad at the bottom of the Guaymas Basin in the Gulf of California. ocean with Oscar-winning director James Cameron and a role in his film "Aliens of the Deep." "The instrument worked like a charm," says Conrad. "We got the science data we were looking Last year, Cameron invited Conrad and her JPL for: we saw organic material on the surfaces of colleague Dr. Lonne Lane to join him on an rocks. We could see where organic material was expedition to one of the most forbidding places on and where it wasn't. We saw it spewing out of Earth -the ocean floor where hydrothermal vents hydrothermal vents, and we could see that the spew scalding hot, mineral-laden water into material got less and less as the submarine perpetual darkness never touched by sunlight. ascended to the surface." Lots of questions remain, Conrad explains. "Where did these organic He asked them to bring along a unique optical materials come from? Did they come from inside instrument they use in their research, a device the vent, from deep in the Earth, or were they being designed to detect the chemical signatures of life.
    [Show full text]
  • DANIEL GREENWALD SOUND BOOM & MIXER 15206 Burbank Boulevard, Unit 206 MEMBER: Sherman Oaks, CA 91411-3579 I.A.T.S.E
    DANIEL GREENWALD SOUND BOOM & MIXER 15206 Burbank Boulevard, Unit 206 MEMBER: Sherman Oaks, CA 91411-3579 I.A.T.S.E. LOCAL 695 Phone: (818) 909-3776, (310) 738-3779 Email: [email protected] http://www.imdb.com/name/nm0006990 DATE PRODUCTION/DEPT COMPANY POSITION/PROJECT DIRECTOR/SUPRVSR. FILM & TV: June 2011 MTV Sneak Peak Week MTV Networks Audio Specialist (A2) Various May 2011 Franklin & Bash Sony Pictures Television Utility Sound Technician Jason Ensler Mar. – Apr. 2011 Eat St. Seasons 1 & 2 Fastlane Food Prod., Inc. Production Sound Mixer Peter Waal Jan.-Feb. 2011 The Girl W/The Drag.Tattoo MGM/Scott Rudin Productions Utility Sound Technician David Fincher Sept. 2010 Company Men John Wells Productions Utility Sound Technician John Wells August 2010 The Possibility Shop The Jim Henson Company Sound Boom Operator Hugh Martin August 2010 Enlightened Open Vista Prod., LLC Playback Operator Various July 2010 Rizzoli & Isles Warner Horizon Television Sound Utility Technician Dirk Wallace Jul.- Sept.2010 Undercovers Bonanza Productions, Inc. Sound Utility Technician Tucker Gates Jun.- Mar. 2011 Our America W/Lisa Ling Part2 Pictures Production Sound Mixer Various June 2010 True Blood FangBanger Prods., Inc. Sound Utility Technician Daniel Minahan March 2010 A Nightmare On Elm St. New Line Cinema Sound Utility Technician Samuel Bayer Feb. 2010 Hawthorne Woodridge Productions Sound Utility Technician Ed Bianchi Sept. 2009 Intuit Website Commercial Pictures In A Row Sound Boom Operator Peter Lang Aug. 2009 American Ninja Warrior Pilgrim Films & TV Production Sound Mixer Various Aug. 2009 UAE Project Pilgrim Films & TV Production Sound Mixer Lasta Drachkovitch July 2009 Hawthorne Sony Pictures Television Utility Sound Technician Jeff Bleckner Jun.
    [Show full text]
  • From Celluloid Realities to Binary Dreamscapes: Cinema and Perceptual Experience in the Age of Digital Immersion
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2012 FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION Edwin Lloyd McGuy Lohmeyer University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Lohmeyer, Edwin Lloyd McGuy, "FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION" (2012). Theses and Dissertations--Art & Visual Studies. 2. https://uknowledge.uky.edu/art_etds/2 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Aliens of the Deep Educator's Guide
    EDUCATOR’S GUIDE Dear Educator, All my life, I have wondered what lay beyond the horizon – water – or fry trying. These ecosystems are as close to alien and below it. When I had the chance to travel to the ocean as anything ever imagined, and provide one possible blueprint floor, to see the extraordinary creatures that thrive there, and for life that might exist beyond our world. to search for clues about the potential for life on other planets, Of course, I did not go alone. With me was a team of I couldn’t wait to go. scientists from NASA and the National Science Foundation. The movie I made about this journey, Aliens of the Deep, uses We considered how the life forms we observed represent the dramatic sweep of the large-format screen to tell the story life that may one day be found in outer space – not only on of an expedition to one of Earth’s deepest, most extreme and distant planets orbiting distant stars, but also within our own unknown environments in search of the strange and alien solar system. creatures that live there. Aliens of the Deep is a compelling teaching tool. Watching Aliens of the Deep is the result of visually stunning expeditions this film and participating in the thought-provoking activities to hydrothermal vent sites in the Atlantic and the Pacific. in this Guide will engage and motivate your students. Both These are violent volcanic regions where new planet is literally deep-ocean and space research are interdisciplinary, as are the being born and where the interaction between ocean and topics presented here, all linked to national education standards.
    [Show full text]
  • Robert Rodriguez and the Transformation of a Microbudget
    FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL By Copyright 2015 Zachary Ingle Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chairperson _______________________________ Tamara Falicov, Ph.D. ______________________________ Michael Baskett, Ph.D. ______________________________ Germaine Halegoua, Ph.D. ______________________________ John Tibbetts, Ph.D. ______________________________ Ben Chappell, Ph.D. Date Defended: April 24, 2015 The Dissertation Committee for Zachary Ingle certifies that this is the approved version of the following dissertation: FROM EL MARICHI TO EL REY: ROBERT RODRIGUEZ AND THE TRANSFORMATION OF A MICROBUDGET FILMMAKER INTO A LATINO MEDIA MOGUL ________________________________ Chairperson Tamara Falicov Date approved: April 24, 2015 ii ABSTRACT Studies based on a director often follow a common model, generally resorting to an overview of that director’s films and examining shared aesthetic qualities and themes. This sort of study was grounded in the auteur theory—following authorship approaches in literature—and was invested in a consistency that justified the place of film authorship as a worthy pursuit in academia. In this study, however, I examine Mexican-American filmmaker Robert Rodriguez through a discursive analysis, unencumbered to textual analysis or even a chronological approach, with a look at the media discourse, Rodriguez’s own writings and interviews, and the pertinent scholarship. His debut award-winning debut feature, El Mariachi (1992), as well as the production diary that would soon follow, Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player inspired a generation of filmmakers into making ultra-low (or microbudget) films.
    [Show full text]
  • 8625 IMAX SYD A4 NWS.Indd
    DEAR TEACHERS STARTS TERM 2 2005 FUNDRAISING UPDATE In February, 1150 students saw Forces of New fi lm Sharks 3D offers an astonishing, Nature at the LG IMAX Theatre Sydney as up-close encounter with nature’s ultimate, part of a booked school excursion. A total yet endangered predator, while delivering of $1150.00 ($1.00 per student) has been a compelling conservation message. donated Australian Red Cross Tsunami Appeal by IMAX. As a result National Watch the Sharks 3D trailer online at: Geographic will match 50% of our funds, www.sharks3d.com bringing the total contribution to Tsunami Fundraising to $1725.00 for February. Sharks 3D will bring your students face to face with a to end the steady decline of the shark population, but multitude of the world’s great shark species, including to rehabilitate its image among the general public,” A great big thank you to all teachers and the Great White, Whale Shark and Hammerhead. said the United Nations Environment Programme’s students involved. You have not only Shot on location in Mexico, Colombia, Egypt, South Executive Director, Klaus Toepfer. “We believe that this learned a lot more about the impacts of Africa and French Polynesia, Sharks 3D consists entirely outstanding IMAX theatre fi lm is an ideal means of natural disasters on human communities of underwater footage, showing sharks and other reaching a vast audience and changing a great number but you have also helped us contribute marine creatures interacting in their natural habitats. of people’s perception of these animals. Sharks 3D funds towards their reconstruction.
    [Show full text]
  • Mercyhurst Bookstore Works to Prevent Human Right Violationstha T Prepares for a Bright Future
    THE STUDENT NEWSPAPER OF MERCYHURST COLLEGE SINCE 1929 Res Life With ethiCS (McQufflen works for [named students interim By Jason Endress Contributing writer president While there have been rumors that By Jon e l l e Davis female students will not be placed in News editor basement apartments in the future, this is essentially unfounded. nf On Friday, J a n . 14 the Mercyhurst Col- As mentioned in last week's article, lege Board of Trustees announced that there is not, nor will there be any policy Dr. Michael J. McQuillen, former Vice prohibiting females from living in a loca- President of Aca- tion of their choice, basements included demic Affairs and college officials said. dean, would take Housing, as students are well aware, is the position of determined by a lottery. While this does interim president mean that choices can become limited, of the college, students have as much choice as possible once Dr. William given the circumstances. R Garvey retires During selection, students are made on Feb. 23. File photo aware that they have chosen a base- When asked to Dr. McQuillen ment apartment, and if students wish discuss his future """"" 35 to change their decision, or move later presidency, McQuillen first said he was in the year, every consideration is given honored to accept the position. "I am to them. honored that the board and Mercyhurst "1 think the college is more commit- Community has chosen me and hope I ted to making the campus safe rather do not disappoint9' than prohibiting living in basement "I am gratified by the support I have apartments," said Laura Zirkle, Director received from the community and will of Residence Life.
    [Show full text]