The discovery of manganese oxides in Martian rocks might tell us that the Red Planet was once more Earth-like than previously believed. A new paper in Geophysical Research Letters reveals that NASA's Curiosity rover observed high levels of manganese oxides in Martian rocks, which could indicate that higher levels of atmospheric oxygen once existed on our neighboring planet. This hint of more oxygen in Mars' early atmosphere adds to other Curiosity findings--such as evidence of ancient lakes--revealing how Earth-like our neighboring planet once was.
"The only ways on Earth that we know how to make these manganese materials involve atmospheric oxygen or microbes," said Nina Lanza, a planetary scientist at Los Alamos National Laboratory and lead author on the study published in the American Geophysical Union's journal. "Now we're seeing manganese-oxides on Mars and wondering how the heck these could have formed."
Lanza uses the Los Alamos-developed ChemCam instrument that sits atop Curiosity to "zap" rocks on Mars and analyze their chemical make-up. This work stems from Los Alamos National Laboratory's experience building and operating more than 500 spacecraft instruments for national defense, giving the Laboratory the expertise needed to develop discovery-driven instruments like ChemCam. In less than four years since landing on Mars, ChemCam has analyzed roughly 1,500 rock and soil samples.
Microbes seem a far-fetched explanation for the manganese oxides at this point, said Lanza, but the idea that the Martian atmosphere contained more oxygen in the past than it does now seems possible. "These high-manganese materials can't form without lots of liquid water and strongly oxidizing conditions," said Lanza "Here on Earth, we had lots of water but no widespread deposits of manganese oxides until after the oxygen levels in our atmosphere rose due to photosynthesizing microbes."
In the Earth's geological record, the appearance of high concentrations of manganese is an important marker of a major shift in our atmosphere's composition, from relatively low oxygen abundances to the oxygen-rich atmosphere we see today. The presence of the same types of materials on Mars suggests that something similar happened there. If that's the case, how was that oxygen-rich environment formed?
"One potential way that oxygen could have gotten into the Martian atmosphere is from the breakdown of water when Mars was losing its magnetic field," said Lanza. "It's thought that at this time in Mars' history, water was much more abundant."
Yet without a protective magnetic field to shield the surface from ionizing radiation, that radiation started splitting water molecules into hydrogen and oxygen. Because of Mars' relatively low gravity, it wasn't able to hold onto the very light hydrogen atoms, but the heavier oxygen atoms remained behind. Much of this oxygen went into the rocks, leading to the rusty red dust that covers the surface today. While Mars' famous red iron oxides require only a mildly oxidizing environment to form, manganese oxides require a strongly oxidizing environment. These results suggest that past conditions were far more oxidizing (oxygen-rich) than previously thought.
"It's hard to confirm whether this scenario for Martian atmospheric oxygen actually occurred," Lanza added. "But it's important to note that this idea represents a departure in our understanding for how planetary atmospheres might become oxygenated." So far, abundant atmospheric oxygen has been treated as a so-called biosignature, or a sign of existing life.
The next step in this work is for scientists to better understand the signatures of non-biogenic versus biogenic manganese, which is directly produced by microbes. If it's possible to distinguish between manganese oxides produced by life and those produced in a non-biological setting, that knowledge can be directly applied to Martian manganese observations to better understand their origin.
The high-manganese materials were found in mineral-filled cracks in sandstones in the Kimberley region of Gale crater, which the Curiosity rover has been exploring for the last four years. But that's not the only place on Mars that abundant manganese has been found. The Opportunity rover, which has been exploring Mars since 2004, also recently discovered high-manganese deposits in its landing site thousands of miles from Curiosity, which supports the idea that the conditions needed to form these materials were present well beyond Gale crater. The ,image at the top of the page is an artist's concept of how the "lake" at Gale Crater on Mars may have looked millions of years ago. (credit Kevin Gill).
The Daily Galaxy via Los Alamos National Laboratory
Over the past two weeks, several milestones occurred that were key to a successful 35-minute burn of its rocket motor, which will place the robotic explorer into a polar orbit around the gas giant. "We have over five years of spaceflight experience and only 10 days to Jupiter orbit insertion," said Rick Nybakken, Juno project manager from NASA's Jet Propulsion Laboratory in Pasadena, California. "It is a great feeling to put all the interplanetary space in the rearview mirror and have the biggest planet in the solar system in our windshield."
On June 11, Juno began transmitting to and receiving data from Earth around the clock. This constant contact will keep the mission team informed on any developments with their spacecraft within tens of minutes of it occurring. On June 20, the protective cover that shields Juno's main engine from micrometeorites and interstellar dust was opened, and the software program that will command the spacecraft through the all-important rocket burn was uplinked.
One of the important near-term events remaining on Juno's pre-burn itinerary is the pressurization of its propulsion system on June 28. The following day, all instrumentation not geared toward the successful insertion of Juno into orbit around Jupiter on July 4 will be turned off.
"If it doesn't help us get into orbit, it is shut down," said Scott Bolton, Juno's principal investigator from the Southwest Research Institute in San Antonio. "That is how critical this rocket burn is. And while we will not be getting images as we make our final approach to the planet, we have some interesting pictures of what Jupiter and its moons look like from five-plus million miles away."
The mission optical camera, JunoCam, imaged Jupiter on June 21, 2016, at a distance of 6.8 million miles (10.9 million kilometers) from the gas giant. In the image, just to the right of center is Jupiter, with its distinctive swirling bands of orange, brown and white. To the left of Jupiter (from right to left) are the planet's four largest moons -- Europa, Io, Callisto and Ganymede. Juno is approaching over Jupiter's north pole, affording the spacecraft a unique perspective on the Jovian system. Previous missions that imaged Jupiter on approach saw the system from much lower latitudes, closer to the planet's equator.
JunoCam is an outreach instrument -- its inclusion in this mission of exploration was to allow the public to come along for the ride with Juno. JunoCam's optics were designed to acquire high-resolution views of Jupiter's poles while the spacecraft is flying much closer to the planet. Juno will be getting closer to the cloud tops of the planet than any mission before it, and the image resolution of the massive gas giant will be the best ever taken by a spacecraft.
All of Juno's instruments, including JunoCam, are scheduled to be turned back on approximately two days after achieving orbit. JunoCam images are expected to be returned from the spacecraft for processing and release to the public starting in late August or early September.
"This image is the start of something great," said Bolton. "In the future we will see Jupiter's polar auroras from a new perspective. We will see details in rolling bands of orange and white clouds like never before, and even the Great Red Spot.
Stunning new images and the highest-resolution maps to date of Jupiter at thermal infrared wavelengths shown above give a glowing view of Juno's target, a week ahead of the NASA mission's arrival at the giant planet. The maps reveal the present-day temperatures, composition and cloud coverage within Jupiter's dynamic atmosphere, and show how giant storms, vortices and wave patterns shape the appearance of the giant planet. The observations will be presented on Monday 27 June at the National Astronomy Meeting in Nottingham by
The high-resolution maps and images were created from observations with the European Southern Observatory's Very Large Telescope (VLT) in Chile, using a newly-upgraded thermal imager called VISIR. The observations were taken between February and June 2016 to characterise Jupiter's atmosphere ahead of Juno's arrival.
"We used a technique called 'lucky imaging', whereby individual sharp frames are extracted from short movies of Jupiter to 'freeze' the turbulent motions of our own atmosphere, to create a stunning new image of Jupiter's cloud layers," explained Leigh Fletcher of the University of Leicester. "At this wavelength, Jupiter's clouds appear in silhouette against the deep internal glows of the planet. Images of this quality will provide the global context for Juno's close-up views of the planet at the same wavelength."
Fletcher and his team have also used the TEXES spectrograph on NASA's Infrared Telescope Facility (IRTF) in Hawaii regularly to map Jupiter's changing appearance. The team made observations at many different wavelengths, optimised for different features and cloud layers in Jupiter's atmosphere, to create the first global spectral maps of Jupiter taken from Earth.
"These maps will help set the scene for what Juno will witness in the coming months. We have seen new weather phenomena that have been active on Jupiter throughout 2016.
These include a widening of one of the brown belts just north of the equator, which has spawned wave patterns throughout the northern hemisphere, both in the cloud layers and high above in the planet's stratosphere," said Dr Fletcher from the University of Leicester's Department of Physics and Astronomy. "Observations at different wavelengths across the infrared spectrum allow us to piece together a three dimensional picture of how energy and material are transported upwards through the atmosphere."
Both sets of observations were made as part of a campaign using several telescopes in Hawaii and Chile, as well as contributions from amateur astronomers around the world, to understand Jupiter's climate ahead of Juno's arrival. The ground-based campaign in support of Juno is led by Dr Glenn Orton of NASA's Jet Propulsion Laboratory. Once in orbit around Jupiter, Juno will skim just 5000 km above Jupiter's clouds once a fortnight - too close to provide global coverage in a single image. The Earth-based observations supplement the suite of advanced instrumentation on the Juno spacecraft, filling in the gaps in Juno's spectral coverage and providing the wider global and temporal context to Juno's close-in observations.
"The combined efforts of an international team of amateur and professional astronomers have provided us with an incredibly rich dataset over the past eight months," said Dr Orton. "Together with the new results from Juno, this dataset will allow researchers to characterise Jupiter's global thermal structure, cloud cover and distribution of gaseous species. We can then hope to answer questions like what drives Jupiter's atmospheric changes, and how the weather we see is connected to processes hidden deep within the planet."
The Daily Galaxy via NASA and ESO
europeanspaceagency posted a photo:
This NASA/ESA Hubble Space Telescope image reveals the iridescent interior of one of the most active galaxies in our local neighbourhood — NGC 1569, a small galaxy located about eleven million light-years away in the constellation of Camelopardalis (The Giraffe). This galaxy is currently a hotbed of vigorous star formation. NGC 1569 is a starburst galaxy, meaning that — as the name suggests — it is bursting at the seams with stars, and is currently producing them at a rate far higher than that observed in most other galaxies. For almost 100 million years, NGC 1569 has pumped out stars over 100 times faster than the Milky Way! As a result, this glittering galaxy is home to super star clusters, three of which are visible in this image — one of the two bright clusters is actually the superposition of two massive clusters. Each containing more than a million stars, these brilliant blue clusters reside within a large cavity of gas carved out by multiple supernovae, the energetic remnants of massive stars. In 2008, Hubble observed the galaxy's cluttered core and sparsely populated outer fringes. By pinpointing individual red giant stars, Hubble's Advanced Camera for Surveys enabled astronomers to calculate a new — and much more precise — estimate for NGC 1569's distance. This revealed that the galaxy is actually one and a half times further away than previously thought, and a member of the IC 342 galaxy group. Astronomers suspect that the IC 342 cosmic congregation is responsible for the star-forming frenzy observed in NGC 1569. Gravitational interactions between this galactic group are believed to be compressing the gas within NGC 1569. As it is compressed, the gas collapses, heats up and forms new stars.
More info here: spacetelescope.org/images/potw1626a/?utm_medium=social&am...
Credit: ESA/Hubble & NASA, Aloisi, Ford
Acknowledgement: Judy Schmidt
Scientists led by Durham University's Institute for Computational Cosmology ran the huge cosmological simulations that can be used to predict the rate at which gravitational waves caused by collisions between the monster black holes might be detected. The amplitude and frequency of these waves could reveal the initial mass of the seeds from which the first black holes grew since they were formed 13 billion years ago and provide further clues about what caused them and where they formed, the researchers said.
The research is being presented today (Monday, June 27, 2016) at the Royal Astronomical Society's National Astronomy Meeting in Nottingham, UK. It was funded by the Science and Technology Facilities Council, the European Research Council and the Belgian Interuniversity Attraction Poles Programme.
The study combined simulations from the EAGLE project - which aims to create a realistic simulation of the known Universe inside a computer - with a model to calculate gravitational wave signals.
Two detections of gravitational waves caused by collisions between supermassive black holes should be possible each year using space-based instruments such as the Evolved Laser Interferometer Space Antenna (eLISA) detector (image below) that is due to launch in 2034, the researchers said.
In February the international LIGO and Virgo collaborations announced that they had detected gravitational waves for the first time using ground-based instruments and in June reported a second detection.
As eLISA will be in space - and will be at least 250,000 times larger than detectors on Earth - it should be able to detect the much lower frequency gravitational waves caused by collisions between supermassive black holes that are up to a million times the mass of our sun.
Current theories suggest that the seeds of these black holes were the result of either the growth and collapse of the first generation of stars in the Universe; collisions between stars in dense stellar clusters; or the direct collapse of extremely massive stars in the early Universe.
As each of these theories predicts different initial masses for the seeds of supermassive black hole seeds, the collisions would produce different gravitational wave signals.
This means that the potential detections by eLISA could help pinpoint the mechanism that helped create supermassive black holes and when in the history of the Universe they formed.
Lead author Jaime Salcido, PhD student in Durham University's Institute for Computational Cosmology, said: "Understanding more about gravitational waves means that we can study the Universe in an entirely different way. These waves are caused by massive collisions between objects with a mass far greater than our sun. By combining the detection of gravitational waves with simulations we could ultimately work out when and how the first seeds of supermassive black holes formed."
Co- author Professor Richard Bower, of Durham University's Institute for Computational Cosmology, added: "Black holes are fundamental to galaxy formation and are thought to sit at the centre of most galaxies, including our very own Milky Way.
Discovering how they came to be where they are is one of the unsolved problems of cosmology and astronomy. Our research has shown how space based detectors will provide new insights into the nature of supermassive black holes."
Gravitational waves were first predicted 100 years ago by Albert Einstein as part of his Theory of General Relativity.The waves are concentric ripples caused by violent events in the Universe that squeeze and stretch the fabric of space time but most are so weak they cannot be detected.
LIGO detected gravitational waves using ground-based instruments, called interferometers, that use laser beams to pick up subtle disturbances caused by the waves. eLISA will work in a similar way, detecting the small changes in distances between three satellites that will orbit the sun in a triangular pattern connected by beams from lasers in each satellite.
In June it was reported that the LISA Pathfinder, the forerunner to eLISA, had successfully demonstrated the technology that opens the door to the development of a large space observatory capable of detecting gravitational waves in space.
The image at the top of the page, shows gas and stars in a slice of the EAGLE simulations at the present day. The intensity shows the gas density, while the color encodes the gas temperature. Researchers used the EAGLE simulations to predict the rate at which gravitational waves caused by collisions between supermassive black holes might be detected.
The Daily Galaxy via Durham University
Image credit: The EAGLE project/Stuart McAlpine
Land snail (Catinella avara) collected in Rouge National Urban Park, Ontario, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG13756-C08; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSROB5543-14; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACI3602)
After four years of semi-permanent and roving installations, the arts organization New Orleans Airlift is ready to build a permanent town…
the expressive collection of edibles sees three-dimensional, polygon mesh graphics form seemingly studded surfaces of watermelons, pineapples, cherries and grapes
The post neon nectar and studded skin form a sticky species of low-poly fruit appeared first on designboom | architecture & design magazine.
each of the artist's carefully-constructed photographs comprises countless images painstakingly pieced together over the course of several months.
The post catherine nelson's labyrinth landscapes submerge viewers in a fictional flood of flora appeared first on designboom | architecture & design magazine.
303
US one sheet for VOYAGE OF TIME (Terrence Malick, USA, 2016)
Designer: TBD
Poster source: Indiewire
Martin Puryear, “Drawing for Untitled,” 2009, about 2009, compressed charcoal on paper, Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery
From the repetition of vaguely familiar human shapes to his copious use of warm-colored woods and matte metals, Martin Puryear's sculptures are known for their high attention to craft and allusions to a common human experience.
Yet rarely has this Washington, D.C. native's art been displayed as a collection and never has it been shown together with the paper-based prints and sketches he still produces as part of his creative process.
Martin Puryear, “Maquette for Bearing Witness,” 1994, pine, Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery. (Photography by Jamie Stukenberg, Professional Graphics)
A new exhibition at the Smithsonian American Art Museum (SAAM) changes that dynamic, covering 50 years of the artist's labors for the first time in a way that gives a glimpse into his artistic approach and influences.
The Smithsonian is the final venue of “Martin Puryear: Multiple Dimensions,” an exhibition that opened first at its organizing museum, the Art Institute of Chicago, and then the Morgan Library and Museum in New York.
For SAAM, Karen Lemmey, the museum's curator of sculpture, chose to focus on the importance of Puryear's public art. Several of Puryear's most recent works happen to be public sculptures—“Big Bling” in New York's Madison Square Park, “Memorial to Slavery” commissioned by Brown University, and a monument for the Deichman Library in Oslo. All three, along with his older monument “Bearing Witness” for Federal Triangle, are referenced in the exhibition at SAAM.
Puryear's maquettes, which are small-scale models of a full-sized work, and drawings for “these monumental outdoor sculptures are never just preparatory models. Each one stands alone as a finished artwork while adding to our understanding of his creative process,” Lemmey says. “Seeing these models and drawings together in our exhibition gives us an opportunity to recognize continuities in commissions he completed at different times for sites around the world. His work often invites thought and discourse on important civic concerns, and what better place to do this than through public sculpture?”
Martin Puryear, “Maquette for Big Bling,” 2014, birch, plywood, maple, and 22k gold leaf, Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery. (Photograph by Jamie Stukenberg, Professional Graphics)
Puryear may be best known in his hometown of Washington, D.C. for “Bearing Witness,” a 40-foot-tall sculpture made of panels of hammered bronze standing guard outside the Ronald Reagan Building and International Trade Center. The exhibition features maquettes and drawings for several of his major outdoor public sculptures, including “Bearing Witness,” and the artist's new 40-foot-tall “Big Bling,” which debuted May 16 in Madison Square Park in New York City. That colossal work features a large, gold-leaf shackle and is on display throughout 2016.
Another large-scale work featured in the exhibition is “Vessel,” created from curving ship-sized timbers.
Puryear earned his undergraduate degree in fine arts at Catholic University in 1963, then joined the Peace Corps as a volunteer in Sierra Leone from 1964 to 1966. Without a camera in Sierra Leone, Puryear instead produced faithful drawings of villages and their inhabitants, which he sent along with letters home to family.
“For someone who is known for his public monuments, this exhibition is a rare opportunity to see some early drawings from the artist's personal collection made while he was in Sierra Leone, works he created for himself or for his family,” Lemmey says.
After the Peace Corps, Puryear began his training at the Swedish Royal Academy of Art in Stockholm. His works shift to become less of a mirror, and more of a lens through which he projects experiences in a way that evokes his memories and encounters.
“These prints show Puryear's origins before he became a sculptor,” says Joann Moser, who helped bring the exhibition to SAAM before she retired as the museum's senior curator of graphic arts and deputy chief curator. Despite a fire in 1977 that damaged or destroyed many of his early works, the pieces that survive show how some of Puryear's ideas got started.
Martin Puryear, “Bower,” 1980, Sitka spruce, pine, and copper tacks, Smithsonian American Art Museum, © 1980, Martin Puryear, Courtesy Matthew Marks Gallery
“Bower,” a bent-wood object from SAAM's collection on display only in Washington, echoes the shape of a Phrygian cap, a garment that dates from the fourth century B.C. that became popularized as a symbol of liberty during the French and American revolutions and at times was also a symbol adopted by abolitionists. While “Bower” was made in 1980, Puryear revisited the shape again nearly 20 years later, from 2001 to 2003, on three untitled prints, and again in 2012.
Martin Puryear, “Phrygian,” 2012, soft ground etching with spit bite, drypoint and aquatint on paper, laid down on paper (chine collé), Smithsonian American Art Museum. © 2012, Paulson Bott Press
“This exhibition provides an exciting look at the persistence and evolution of ideas in Puryear's work going back to the early 1960s,” Lemmey says. “I am particularly delighted to see ‘Bower,' one of Puryear's acknowledged masterpieces from the museum's collection, situated with works on paper from other collections so we can see how Puryear returned to latticework forms and ideas about shelter across the decades.”
Another form repeated often throughout Puryear's art is a kidney-shaped ellipse, sometimes looking more like a human head and neck, sometimes more like a teardrop. “Bearing Witness” and “Vessel” both recall this shape, as does “Big Bling” and a smaller, all-iron work, “Shackled,” where the shape appears as a negative space.
Martin Puryear, “Vessel,” 19972002, eastern white pine, mesh, and tar, Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery
Through the familiarity of the forms and materials he uses, Puryear aims to open up discourse about the meaning of the shapes he uses without dictating any concrete meaning.
“I tend not to tell people what they're looking at when they're in the presence of my work,” Puryear said at the dedication of his Madison Square Park piece. “I trust people's eyes. I trust their imagination. I trust my work to declare itself to the world.”
“Martin Puryear: Multiple Dimensions” is on view through Sept. 5, 2016.
The post New facets of Martin Puryear's inspiration explored in ‘Multiple Dimensions' at American Art appeared first on Smithsonian Insider.
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