by Shane L. Larson
The arrival of each new year always engenders a brief moment of reflection on how we all would like to improve and change our lives, and very often with a recounting of how transitory life actually is. I was reminded of this yesterday when I was reflecting on the sad fact that on December 21, astronaut Bruce McCandless II passed away at the age of 80. He was a Naval Academy graduate who joined NASA in April 1966 as part of Astronaut Group 5.
McCandless joined NASA during the Apollo era, but never flew until the Space Shuttle era, logging 312 hours on two flights: STS-41-B aboard Challenger in 1984, and STS-31 aboard Discovery in 1990. It was on his first flight that he gained notoriety: he made the first untethered spacewalk in history, flying the MMU (Manned Maneuvering Unit) some 300 feet away from the Challenger. The image of McCandless, flying free over the Earth, has become one of the most iconic images of the Space Age.There is something timeless and awe-inspiring about this image. What is it? Is it the ever-blue curve of the Earth behind him? Is the loneliness of a single human, flying in the void far from any others? Is it the thrill of the the adventure or a surge of voyeuristic fear, the “fun thrill” letting your mind roll around how you would feel in that same situation? I think it is a little bit of all of those. Just show the image to some friends at your next dinner party and ask, “Would you do that?” or “Can you imagine?” and listen to the direction of the conversation!
When McCandless made his historic untethered spacewalk, I was in high school and dreamed of being an astronaut. I didn’t become an astronaut, and likely will never travel to space, but the dream lingers in my mind and surges forward every time I see images like this one. This isn’t the only image from the Space Age that has such an effect on me. Some photographs, some moments suspended in time on celluloid or pixels, somehow capture ephemeral emotions that are indescribable by any other means.
Many such photographs come from the astronauts themselves. Astronauts have had a singular, unique experience that is transformative to their consciousness. Nothing molds a person’s worldview more dramatically than first hand experiences, there are no first hand experiences quite like those of the astronauts. They have seen the Cosmos, seen the world, from a perspective that the rest of us can only catch elusive glances of in stunning photographs delivered from the shoals of space.
Take a look at this photo. Almost exactly 49 years before Bruce McCandless passed away, the crew of Apollo 8 made the first voyage from the Earth to the Moon. They completed ten orbits around the Moon, and on their fourth orbit were the first humans ever to see the Earth emerging from behind the Moon — the first Earthrise ever witnessed by the human species.The world first saw the image in the 10 January 1969 issue of Time Magazine, burning it indelibly into our collective consciousness.
Like so many moments captured on film and revisited with reverence and awe, the Earthrise photo was taken by chance; Apollo 8 just happened to be rolling at the moment, and the image just happened to be visible through the tiny windows on the front of the capsule. In retrospect, the moment could have been predicted, but every story told of that moment when Apollo 8 rounded the limb of the Moon describes the first sight of the Earth as an unexpected and ineffable moment — the first time in human history that we had ever seen our world in Cosmic context, behaving in relation to the rest of the Universe in ways that our minds had only previously considered for other worlds.Just seven months later, Apollo 11 made the first crewed landing on the surface of the Moon, leaving humanity’s first footsteps on another world. Buzz Aldrin famously took a photograph of his bootprint on the Moon to illustrate the behaviour of the lunar surface soil; it is an image that is universally recognized as being from our first journey to another world. Most of us have made footprints, in snow or mud or soft dirt. Often alongside many other footprints, a cacophony of shapes and patterns, each one a remnant of a journey from somewhere to elsewhere. The next time we cross that particular trail or particular riverbank, the prints have changed and tell new tales of new journeys. But the footprints on the Moon are different — so far, there are only 12 sets of prints, laid down five decades ago by the few humans who crossed the gulf. And they will persist for millions of years, untold aeons beyond my life and your life and the times in which we live. If some future traveller should happen upon them, perhaps laying down their own prints alongside, what will they know of the journey that first left the prints there? Will they know of Aldrin’s famous footprint, and cast about debating which one was The Print? Or will they have utterly forgotten us and these days, the remains of Apollo on the Moon just curious forgotten relics of a civilization wiped away by time? What will they remember and know of us?
After 21 hours and 36 minutes on the surface of the Moon, Armstrong and Aldrin lifted off to rejoin Michael Collins, who had remained in lunar orbit. On their approach to dock with Collins, he snapped this picture of the lunar module over the surface of the Moon, with the Earth in the background sky. Collins famously remarked that this photograph was a picture of every person in the human race, except him. What a stunning observation, a perspective that reflects how small and alone we all can be in the face of the immensity of the Cosmos.Such images are not confined to cameras held by humans. Over the past six decades, we have hurled many robots into space, mechanical emissaries designed to carry our senses to places we cannot easily visit ourselves. Among that mechanical flotilla are eight explorers sent into the outer reaches of the solar system, to visit the giant, gaseous planets and even tiny Pluto. Among them is an 800 kilogram spider of wires, foil, antennae and cameras called Voyager 1. Today it is still faithfully travelling outward, gently probing the space around it to map out the invisible bubble that defines here, the neighborhood of the Sun, from there, the wildlands of interstellar space. On 14 February 1990, a little more than nine years after its encounter with the planet Saturn, Voyager 1 was commanded to make one last photographic survey of the neighborhood it came from — a Family Portrait of all the worlds of the Sun. Turning inward one last time, it snapped off sixty frames. Laid side by side, one over the next, the last pictures from Voyager built a unique and humbling portrait of our homeworlds. Buried on one of these frames is a pale point of light, small and blue, easy to miss in the flared light of the Sun bursting though Voyager’s lens. That’s the Earth, our home in the vastness of the void. That small meager point of light inspired Carl Sagan to write one of the most poignant and eloquent assessments of human nature ever penned. The “Pale Blue Dot” soliloquy can be found in the book of the same name, but in one of the great magics of the modern age, a recording of Sagan reading it has been found and preserved; it is as moving to listen to as it is to stare at the delicate fleck of light captured by a simple robot from 6 billion kilometers away. When leafing through stacks of images from the Space Age, I’m struck by one very clear fact: there are no boundaries to the grandeur and ineffable wonder that can be captured on film. Each frame, each snapshot, each pixel, is a gift to future generations, a record of what we attempted, a record of what we aspired to, a record of what we risked during this time in history. On most days achievements like this stand in stark contrast with the lows our civilization has sunk to, and it is difficult to understand how both can be the legacy of the same species.
Some people look at images like these, and are nonplused. For them I weep. I hope they find wonder and awe in some other visions of the world, because the emotions and exhultations that these images evoke hearken to something deep in the soul, something I think we have lost in the modern morass of social media, reality TV, consumerism, and soundbites that claim to capture the quintessence of life. There is something deep and abidingly important in being able to see and experience amazing things and tremendous accomplishments, even in the face of serious and possibly overwhelming challenges to our way of life and our future on this planet. It provides a focal point for our aspirations to be better. It provides a poignant bludgeon of hope for the better selves that we aspire to be.
Other people look at these images, and all they see are dollars spent on endeavours they regard as frivolous. I can’t help but feel agony at such narrow visions of the world. In no small way, today’s world was made by these images. Not the images themselves, of course, but the thousands and thousands and thousands of hours of problem solving, prototyping, invention, innovation, creativity, and imagination required to make every one of these possible. We didn’t strap a gazillion dollars onto the side of Voyager and catapult it into space. We paid an army of engineers and as a result fed their families and sent their kids to school. We created entire new technologies, birthed companies that today make the backbone of the trillion dollar aerospace industry. We inspired a generation of children who wanted to be astronauts, but became enamoured with science and went on to become computer scientists, cancer specialists and brain surgeons, molecular biologists, ecological physicists, and aerospace engineers. I bet if you talk to many of today’s technical professionals, there is a time in their past where they swooned over pictures of the Moon.
The point is pictures are just one small return on each of the investments that were made to send people to the Moon, or to send a robot into the depthless void of space. Maybe you don’t think they’re interesting or the cost was worth it, but consider this: these are pictures we unfailingly recognize and know of — that simple recognizability is an indicator of the intrinsic and often unspoken value we as a society put on these ephemeral moments, captured forever as a frozen memento of places we once visited and knew and experienced.