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NOT THE OTHER

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One Dimensional Man

One-Dimensional Man.

One and Only

But is it Art?

One & Other was a public art project by Antony Gormley, in which 2,400 members of the public occupied the usually vacant fourth plinth in Trafalgar Square, London, for an hour each for 100 days. The project began at 9 am on Monday 6 July 2009, and ran until 14 October. The first person to officially occupy the plinth was Rachel Wardell from Lincolnshire. A documentary art book by Gormley, entitled One and Other, was published in the UK by Jonathan Cape on 14 October 2010. The Wellcome Trust has posted online at its website its series of oral-history interviews of the 2400 plinthers.

Passing by

The project was opened by the Mayor of London, Boris Johnson. Minutes before the official launch Stuart Holmes, an anti-smoking protester, managed to clamber onto the plinth and displayed a banner calling for a ban on tobacco. Gormley urged him to do the “gentlemanly thing” and give up his place to the first official “plinther”, Rachel Wardell. He did so and descended in the cherry picker used to carry participants to and from the plinth.

Change of the guard

Members of the public could apply for an hour on the plinth via the project’s website. Gormley himself applied but didn’t get a place. Reviewing the event afterwards, the Guardian’s top ten “plinthers” were:

Name Performance
Gerald Chong Demolished a cardboard replica of the London skyline, dressed as Godzilla.
Amanda Hall Constructed a full-size Gormley-style human figure from bread products.
Ollie Campbell Pitched a tent, from which a live chicken and two blow-up dolls emerged.
Steve Cousins (The Balloonatic) Performed in a red catsuit with a large, red balloon.
Sam Martin Dressed as a football referee, Martin challenged members of the public and announced half-time.
Jonathan May-Bowles (Jonnie Marbles) Invited members of the public to text their secrets to him, which were then read aloud.
Neil Studd Dressed as a living statue of Lord Nelson, in an echo of Nelson’s Column.
Liz Crow Sat in a wheelchair wearing a Nazi military uniform, as a political statement on the rights of disabled people.
Susanna Meese-Simpson Posed naked as if for a life study.
Paul Speller Performed a succession of scientific experiments submitted by the public, including an experiment with a tin can telephone.

Plinth Concept

On 14 July at 8.00 pm, poet R. N. Taber read a selection of his poems, while photographer Alex Boyd collaborated with Scottish Makar (Poet Laureate) Edwin Morgan for his time on the plinth. On 12 August at 1 am, a naked plinther was asked to cover up by the police.

Monique-Speksnyderon-on-t-002

Streamed live online by SkyArts, the exhibit quickly developed a cadre of regular Twitter followers who provided a running commentary of events on the plinth.

Balloon Man

 

Kunstakademie Dusseldorf

KF

The Kunstakademie Düsseldorf is the Arts Academy of the city of Düsseldorf. Notable artists who attended the academy include Joseph Beuys, Gerhard Richter, Sigmar Polke, Thomas Demand and Andreas Gursky. In the stairway of its main entrance, are engraved the Words: “Für unsere Studenten nur das Beste” (“For our Students only the Best”).

'Betty' by Gerhard Richter.

The school was founded by Lambert Krahe in 1762 as a school of drawing. In 1773, it became the “Kurfürstlich-Pfälzische Academie der Maler, Bildhauer- und Baukunst” (Academy of Painting, Sculpture and Architecture of the Electorate of the Palatinate).

JBThomas DemandT. S.

It has been amongst Europe’s foremost art schools for more than two centuries.

Trinity College Dublin, Candida Hofer

The German photographic movement commonly known as the Düsseldorf School of Photography, began in the mid 1970s at the Kunstakademie Düsseldorf under the instruction of the influential photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye.

Bernd and Hilla Becher

This school has not only birthed some of today’s most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium.

da16

Anime Beauty

Anime Beauty

Belle

Belle

Sirens

Sirens

In Greek mythology, the Sirens were dangerous and beautiful creatures, portrayed as femme fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the “flowery” island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.

Sirens by Boris

When the Sirens were given a name of their own they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon. Although they lured mariners, for the Greeks the Sirens in their “meadow starred with flowers” were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys. Sirens are found in many Greek stories, particularly in Homer’s Odyssey.

According to Ovid, the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. However, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone.

Ulysses

The Sirens might be called the Muses of the lower world, Walter Copland Perry observed: “Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption.” Their song is continually calling on Persephone. The term “siren song” refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. Later writers have implied that the Sirens were anthropophagous, based on Circe’s description of them “lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones.” As Jane Ellen Harrison notes of “The Ker as siren:” “It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh.”

Siren by Anne Stokes

“They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future,” Harrison observed. “Their song takes effect at midday, in a windless calm. The end of that song is death.” That the sailors’ flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to feed for their visitors, who starved to death by refusing to leave.

According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.

The Siren, by John William Waterhouse

O Brother Where Art Thow

Sirens of Titan

Sirens of Titan Cover

“Oh Lord Most High, Creator of the Cosmos, Spinner of Galaxies, Soul of Electromagnetic Waves, Inhaler and Exhaler of Inconceivable Volumes of Vacuum, Spitter of Fire and Rock, Trifler with Millennia — what could we do for Thee that Thou couldst not do for Thyself one octillion times better? Nothing. What could we do or say that could possibly interest Thee? Nothing. Oh, Mankind, rejoice in the apathy of our Creator, for it makes us free and truthful and dignified at last. No longer can a fool point to a ridiculous accident of good luck and say, ‘Somebody up there likes me.’ And no longer can a tyrant say, ‘God wants this or that to happen, and anyone who doesn’t help this or that to happen is against God.’ O Lord Most High, what a glorious weapon is Thy Apathy, for we have unsheathed it, have thrust and slashed mightily with it, and the claptrap that has so often enslaved us or driven us into the madhouse lies slain!” -The prayer of the Reverend C. Horner Redwine”
― Kurt Vonnegut, The Sirens of Titan

Saturn from Titan

Saturn

Saturn

Himalayas

Himalayas

Black Narcissus

Title Shot

A group of Anglican nuns travel to a remote location in the Himalayas (the Palace of Mopu, near Darjeeling) to set up a school and hospital for the local people, only to find themselves increasingly seduced by the sensuality of their surroundings in a converted seraglio high up in the mountains, and by the local British agent Mr Dean (David Farrar). Clodagh (Deborah Kerr), the Sister Superior, is attempting to forget a failed romance at home in Ireland. Tensions mount as Dean’s laid-back charm makes an impression on Clodagh, but also attracts the mentally unstable Sister Ruth (Kathleen Byron), who becomes pathologically jealous of Clodagh, resulting in a nervous breakdown and a violent climax. In a subplot, ‘the Young General’ (Sabu), heir to the throne of a princely Indian state who has come to the convent for his education, becomes infatuated with Kanchi, a lower caste dancing girl (Jean Simmons).

Dancer

Black Narcissus achieved acclaim for its pioneering technical mastery and shocked audiences at the time of release with its vibrant colour and the themes of the film. Audiences gasped at some of the scenes, notably the shot of the vibrant pink flowers, which shown on the big screen was a spectacle at the time. The film’s clever use of lighting and techniques have had a profound impact on later film makers, notably Martin Scorsese who used the extreme close ups technique of the nuns for Tom Cruise’s character around the pool table in Color of Money. Martin Scorsese has said that the film is one of the earliest erotic films, in the last quarter of the film in particular, which caused controversy given its Roman Catholic content. The film was one of his favourites as a boy, and Scorsese has stated that one of the greatest experiences he has had with film is viewing Black Narcissus projected on a massive screen at the Director’s Guild in 1983. In Michael Powell’s own view this was the most erotic film he ever made. “It is all done by suggestion, but eroticism is in every frame and image from beginning to end. It is a film full of wonderful performances and passion just below the surface, which finally, at the end of the film, erupts”.

Deborah Kerr

‘Tunnel’ by Thomas Demand

Tunnel

 

Princess Diana

Princess Diana

Jackie Kennedy

Jackie Kennedy

The Meeting

The Meeting

Lightening

Lightening

Light Strike. 4am Singapore

Singapore at Night 4am lightening strike

VGER

VGER

Voyager 1

Voyager 1

Black Hole

Black Hole

The Sprout and the Bean. Joanna Newsom.

Joanna

Newsom was born and raised in the small town of Nevada City, California. Her mother, Christine (née Mueller), is an internist, and her father, William Newsom, is also a doctor. Her parents were “progressive-minded professionals” who previously lived in the Bay Area. Newsom’s family includes her brother, Pete, a fellow musician, and sister, Emily, who inspired her song “Emily” (and contributed backing vocals). She is the second cousin, twice removed, of Lieutenant Governor Gavin Newsom of California.

Joanna Newsom Album Artwork

As a child, Newsom was not allowed to watch television or listen to the radio because she was raised by parents who she described as, “kind of idealists when it came to hoping they could protect us from bad influences, like violent movies, or stupid stuff”. She was exposed to music from a young age. Her father played the guitar and her mother was a classically trained pianist who played the hammered dulcimer, the autoharp and conga drums. Newsom attended a Waldorf school where she studied theater and learned to memorize and recite long poems. This skill helps her to remember lyrics while on tour.

Joanna Newsom

At the age of five, Newsom asked her parents if she could play the harp. Her parents eventually agreed to sign her up for harp lessons, but the local harp instructor did not want to take on such a young student and suggested she learn to play the piano first. Starting at the age of four she began playing the piano. Only later did she move on to the harp, which she, “loved from the first lesson onward.” From her instructor, Joanna learned composition and improvisation. She first played on a smaller Celtic harps until her parents bought her a full-size pedal harp in the seventh grade. During her teens, she and the instrument became inseparable, and she describes her relationship with the harp as similar to “an artificial limb or a wheelchair. It’s almost part of me, but more to the point, it serves a purpose, and if it wasn’t there I would wonder what was supposed to fit in its place.”

“Another Country” G9

Richard Stallman:Edward Snowdon: Julian Assange (July 2013)

Leaked copy of America’s stance on Chinese people.

image

Planet Earth

Planet Earth

More Than Honey

More Than Honey

Honey Comb

Honey Comb

THE BELL JAR

Sylvia Reading

The Bell Jar is American writer and poet Sylvia Plath’s only novel, which was originally published under the pseudonym “Victoria Lucas” in 1963. The novel is semi-autobiographical with the names of places and people changed. The book is often regarded as a roman à clef, with the protagonist’s descent into mental illness paralleling Plath’s own experiences with what may have been clinical depression. Plath committed suicide a month after its first UK publication. The novel was published under Plath’s name for the first time in 1967 and was not published in the United States until 1971, pursuant to the wishes of Plath’s mother and her husband Ted Hughes.

Victoria,

The Bell Jar addresses the question of socially acceptable identity. It examines Esther Greenwood, a young woman from the suburbs of Boston’s, “quest to forge her own identity, to be herself rather than what others expect her to be”. Esther is expected to become a housewife, and a self-sufficient woman, without the options to achieve independence. Esther feels she is a prisoner to domestic duties and she fears the loss of her inner self. The Bell Jar sets out to highlight the problems with oppressive patriarchal society in mid-20th Century America. The men in Esther’s life are all oppressive, whether it is in a physical manner or an emotional one.

SP

trapped in the bell jar

The Bell Jar

The Yellow Wallpaper

The Yellow Wallpaper

City Of Shadows

Alexey Titarenko

Atta Kim

In Buddhism, all objects, or in other words, color and matter are another word for space and space is another word for color. All objects can become one according to the concept of “all matter is emptiness” and the process of breaking down is called “emptiness is form.” In particular, Hua-yen Buddhism’s teachings of “one is all, all is one” is a physical analysis of how points build to space and space breaks down to a point. Buddhism’s “all matter is emptiness” does not mean a lack. I will use my work as an example.

New York

New York (2008) Indala Series  A photographic portrait of New York using 10,000 images.

My ON-AIR Project’s Indala Series (Indala is another word for Indra’s net, which refers to the concept of the interconnectedness of all things in the universe. New York, Washington, Moscow, Tokyo, Paris, London, Venice, Berlin, Athens, Seoul, Delhi, and others, comprise the 14 cities that are a part of this project). For the project, I took 10,000 photographs of New York and superimposed them to create one final picture.

The completed picture appears to be nothing but a blurry, gray image, but there are physically 10,000 photographs within it. Those 10,000 photographs of New York streets, buildings, people, and events were vividly captured over the course of several years, lovingly, with proper photographic technique. I’m not Buddhist and I didn’t do this project with the intention of explaining the concept of “all is emptiness,” but this is similar to that concept of emptiness. If one penetrates into the gray image (as in Heidegger’s concept of entwurf, or the mental process of absorption in something), one is able to meet again the countless events and identities melted into the 10,000 cuts. This process of disassembly is “emptiness is everything.” If one physically dismantles an analog picture, one is left with the particles that make up analog film; in a digital process, only the pixels are left. In the final gray image of the Indala project, those 10,000 photographs have become one and each has lost its function but their identity is not gone. Just like how my DNA contains all of humanity’s genes, identity does not disappear. This is similar to how the point’s identity is inherent in space. Ironically though, the final gray picture of one city composed of 10,000 different superimposed photographs is digitized and has no mass or volume; it only has form when it comes out.

Atta Kim

Budda

Budda Kamakura

Street Of Crocs

Street of Crocodiles

Ah Pook The Destroyer

Impact

Impact

America. A Nuclear Device.

America. A Nuclear Device

Soul Out

soul out by deenesh ghyczy

They’re Back

scott listfield

Hieronymus Bosch (Detail from ‘The Garden of Earthly Delights’)

hieronymus bosch

Chaos Theory

Tornado from Outer Space

In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a deterministic nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane’s formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.

Tornado

Although the butterfly effect may appear to be an esoteric and unlikely behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill may roll into any of several valleys depending on, among other things, slight differences in initial position.

The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with hypotheses where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes.

Majestic Green Swallowtail

Comet Pan – Starrs

Comet Pan-Starrs

Mayan Sky

Mayan Sky

The Hermit

the hermit by azurylipfe

The Druids

Druids at Stonehenge

Sweet Dreams

Dreaming

2001 – Star Child

2001 Star Child

Sun

Dennis Stock

Peace

Peace

Alien Planet

michal karcz karezoid - 'alien planet'

The USS Enterprise

USS Enterprise

The Nine Million Names Of God

The Nine Million Names Of God

“The Nine Billion Names of God” is a 1953 science fiction short story by Arthur C. Clarke.

The Taktshang Monastery,

This short story tells of a Tibetan lamasery whose monks seek to list all of the Names of God, since they believe the Universe was created in order to note all the names of God and once this naming is completed, God will bring the Universe to an end. Three centuries ago, the monks created an alphabet in which they calculated they could encode all the possible names of God, numbering about 9,000,000,000 (“nine billion”) and each having no more than nine characters. Writing the names out by hand, as they had been doing, even after eliminating various nonsense combinations, would take another 15,000 years; the monks wish to use modern technology in order to finish this task more quickly.

Prayer

They rent a computer capable of printing all the possible permutations, and they hire two Westerners to install and program the machine. The computer operators are skeptical but play along. After three months, as the job nears completion, they fear that the monks will blame the computer, and by extension its operators, when nothing happens. The Westerners delay the operation of the computer so that it will complete its final print run just after their scheduled departure. After their successful departure on ponies, they pause on the mountain path on their way back to the airfield, where a plane is waiting to take them back to civilization. Under a clear night sky they estimate that it must be just about the time that the monks are pasting the final printed names into their holy books. Then they notice that “overhead, without any fuss, the stars were going out.”

Hole in the Sky

Blexen

michal karcz karezoid - 'Blexen'

The God Particle

Higgs Event

The Twilight Zone

Night of the Meek

The Twilight Zone is an American television anthology series created by Rod Serling. Each episode (156 in the original series) is a mixture of self-contained drama, psychological thriller, fantasy, science fiction, suspense, or horror, often concluding with a macabre or unexpected twist. A popular and critical success, it introduced many Americans to serious science fiction and abstract ideas through television and also through a wide variety of Twilight Zone literature.

The program followed in the tradition of earlier shows like Tales of Tomorrow (1951–1953)—which also dramatized the short story “What You Need”—and Science Fiction Theatre (1955–1957), as well as radio programs such as The Weird Circle, X Minus One, and the radio work of Serling’s hero, dramatist Norman Corwin.

The success of the series led to a feature film, a radio series, a comic book, a magazine, and various other spin-offs that spanned five decades, including two “revival” television series. The first ran on CBS and in syndication in the 1980s, the second ran on UPN from 2002 to 2003.

An Occurrence at Owl Creek Bridge

As a boy, Rod Serling was a fan of pulp fiction stories. As an adult, he sought topics with themes such as racism, government, war, society and human nature in general. Serling decided to combine these two interests as a way to broach these subjects on television at a time when such issues were not commonly addressed.

Throughout the 1950s, Serling established himself as one of the more popular names in television. He was as famous for writing televised drama as he was for criticizing the medium’s limitations. His most vocal complaints concerned censorship, which was frequently practiced by sponsors and networks. “I was not permitted to have my senators discuss any current or pressing problem,” he said of his 1957 production The Arena, intended to be an involving look into contemporary politics. “To talk of tariff was to align oneself with the Republicans; to talk of labor was to suggest control by the Democrats. To say a single thing germane to the current political scene was absolutely prohibited.”

Poster

Imagination

Imagine

Composite

 

The Tree Of Life

Tree of Life

 

You Are Here

 

Solar Eclipse

 

The Crown of the Sun

 

Tree

 

HAL 9000

HAL 9000 is a character in Arthur C. Clarke’s science fiction Space Odyssey saga. The primary antagonist in 2001: A Space Odyssey, HAL (Heuristically programmed ALgorithmic computer) is an artificial intelligence that controls the systems of the Discovery One spacecraft and interacts with the ship’s astronaut crew. Being a computer, HAL has no distinct physical form, though is visually represented as a red television-camera eye located on equipment panels throughout the ship. HAL is voiced by Douglas Rain in the two film adaptations of the Space Odyssey saga, and speaks in a soft, calm voice and a conversational manner, in contrast to the crewmen, David Bowman and Frank Poole, who speak tersely and with little emotional inflection. HAL became operational on 12 January 1992, at the HAL Laboratories in Urbana, Illinois, as production number 3; in the film 2001 the activation year was 1992, and 1991 in earlier screenplays. In addition to maintaining the Discovery One spacecraft systems during the interplanetary mission to Jupiter, HAL is capable of speech, speech recognition, facial recognition, natural language processing, lip reading, art appreciation, interpreting and reproducing emotional behaviours, reasoning, and playing chess.

‘Sole Solution…

‘Sole Solution’ by Eric Frank Russell. (1956)

He brooded in darkness and there was no one else. Not a voice, not a whisper. Not the touch of a hand. Not the warmth of another heart.
Darkness.
Solitude.
Eternal confinement where all was black and silent and nothing stirred. Imprisonment without prior condemnation. Punishment without sin. The unbearable that had to be borne unless some mode of escape could be devised.
No hope of rescue from elsewhere. No sorrow or sympathy or pity in another soul, another mind. No doors to be opened, no locks to be turned, no bars to be sawn apart. Only the thick, deep sable night in which to fumble and find nothing.
Circle a hand to the right and there is nought. Sweep an arm to the left and discover emptiness utter and complete. Walk forward through the darkness like a blind man lost in a vast, forgotten hall and there is no floor, no echo of footsteps, nothing to bar one’s path.
He could touch and sense one thing only. And that was self.
Therefore the only available resources with which to overcome his predicament were those secreted within himself. He must be the instrument of his own salvation.
How?
No problem is beyond solution. By that thesis science lives. Without it, science dies. He was the ultimate scientist. As such, he could not refuse this challenge to his capabilities.
His torments were those of boredom, loneliness, mental and physical sterility. They were not to be endured. The easiest escape is via the imagination. One hangs in a strait-jacket and flees the corporeal trap by adventuring in a dreamland of one’s own.
But dreams are not enough. They are unreal and all too brief. The freedom to be gained must be genuine and of long duration. That meant he must make a stern reality of dreams, a reality so contrived that it would persist for all time. It must be self-perpetuating. Nothing less would make escape complete.
So he sat in the great dark and battled the problem. There was no clock, no calendar to mark the length of thought. There were no external data upon which to compute. There was nothing, nothing except the workings within his agile mind.
And one thesis: no problem is beyond solution.
He found it eventually. It meant escape from everlasting night. It would provide experience, companionship, adventure, mental exercise, entertainment, warmth, love, the sound of voices, the touch of hands.
The plan was anything but rudimentary. On the contrary it was complicated enough to defy untangling for endless aeons. It had to be like that to have permanence. The unwanted alternative was swift return to silence and the bitter dark.
It took a deal of working out. A million and one aspects had to be considered along with all their diverse effects upon each other. And when that was done he had to cope with the next million. And so on . . . on . . . on.
He created a mighty dream of his own, a place of infinite complexity schemed in every detail to the last dot and comma. Within this he would live anew. But not as himself. He was going to dissipate his person into numberless parts, a great multitude of variegated shapes and forms each of which would have to battle its own peculiar environment.
And he would toughen the struggle to the limit of endurance by unthinking himself, handicapping his parts with appalling ignorance and forcing them to learn afresh. He would seed enmity between them by dictating the basic rules of the game. Those who observed the rules would be called good. Those who did not would be called bad. Thus there would be endless delaying conflicts within the one great conflict.
When all was ready and prepared he intended to disrupt and become no longer one, but an enormous concourse of entities. Then his parts must fight back to unity and himself.
But first he must make reality of the dream. Ah, that was the test!
The time was now. The experiment must begin.
Leaning forward, he gazed into the dark and said, “Let there be light.”
And there was light.

Image

Earth by Nasa

Earth by Nasa

Solar Storm

Solar Storm

Image

witch

witch

01010111 01010111 01010111

Image

Image

The Voyager 2 spacecraft is a 722-kilogram (1,592 lb) space probe launched by NASA on August 20, 1977 to study the outer Solar System and eventually interstellar space. Operating for 34 years, 8 months and 5 days as of today (25 April 2012), the spacecraft receives routine commands and transmits data back to the Deep Space Network.

Part of the Voyager program with its identical sister craft Voyager 1, the spacecraft is currently in extended mission, tasked with locating and studying the boundaries of the Solar System, including the Kuiper belt, the heliosphere and interstellar space. The primary mission ended December 31, 1989 after encountering the Jovian system in 1979, Saturnian system in 1980, Uranian system in 1986, and the Neptunian system in 1989. It was the first probe to provide detailed images of the outer gas giants.

Each Voyager space probe carries a gold-plated audio-visual disc in the event that either spacecraft is ever found by intelligent life-forms from other planetary systems. The discs carry photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from the people (e.g. the Secretary-General of the United Nations and the President of the United States, and the children of the Planet Earth) and a medley, “Sounds of Earth”, that includes the sounds of whales, a baby crying, waves breaking on a shore, and a variety of music.

Image

The Voyager spacecraft are not heading towards any particular star, but Voyager 1 will be within 1.6 light years of the star AC+79 3888 in the Ophiuchus constellation in about 40,000 years.[1]

As the probes are extremely small compared to the vastness of interstellar space, the probability of a space-faring civilization encountering them is very small, especially since the probes will eventually stop emitting any kind of electromagnetic radiation. If they are ever found by an alien species, it will most likely be far in the future as the nearest star on Voyager 1’s trajectory will only be reached in 40,000 years.

Carl Sagan noted that “The spacecraft will be encountered and the record played only if there are advanced space-faring civilizations in interstellar space. But the launching of this ‘bottle‘ into the cosmic ‘ocean’ says something very hopeful about life on this planet.”[2] Thus the record is best seen as a time capsule or a symbolic statement rather than a serious attempt to communicate with extraterrestrial life.

 

Michal Karcz Karezoid - 'Exit'

Michal Karcz Karezoid - 'Exit'

unknown galaxy

unknown galaxy

Martin Zalba

Martin Zalba

myself

myself