In Sputnik’s Orbit

A few thoughts to tide you over…


Back In The Saddle Again

Today, March 3rd, 2019, everything changed. It might be just another spring day wherever you are, but this is the day the space age got back on track.

Bold statement? Allow me to back it up.

Nearly everything most people alive today think about NASA is based on the Apollo program and NASA’s high-profile attempts to keep the manned space program going through the Congressional withdrawal from its economic aftermath. The moon landings were a wondrous achievement and the Space Shuttle accomplished much, but the fact is, NASA was not founded to go to the moon or run an expensive orbiter program for three decades. NASA was created to continue The N.A.C.A.’s work of fostering and promoting American industry–to continue its legacy of aeronautical research and advancement into the space age.

While the Apollo program and Space Shuttle contributed to this goal, they were also expensive (though necessary) distractions from the entrepreneurial thinking needed to get from “One Giant Leap” to meaningful movement beyond the Earth. But now, after two decades of competitions patterned somewhat after the aeronautical Guggenheim prizes of the 1920s and 30s and administered by NASA, space entrepreneurship is booming.

In the past, firms bid on military style cost-plus contracts to sell NASA the boosters it needed. Now, Space-X (and others) are developing their own boosters with NASA as collaborator and customer for for-profit launch services. It can hardly be a surprise then, that Space-X is “boldly going” to innovate and cut costs. The cheaper they fly, the more they bank.

And so, this morning, the first privately owned crew launch system in the history of Earth docked with the ISS, without berthing by robotic arm and without manual intervention by rocket jock astronauts. It was only a test flight, but it was far more than a step toward America’s return to space following the retirement of the shuttle. It’s a sea change. It’s the beginning of space, the industrial marketplace.

It changes everything.

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For more on this topic, see my article “Do We Still Need NASA?” coming soon to Analog Science Fiction & Fact.

The Many Faces Of Radiation

“Radiation” is a catch-all term leftover from the late nineteenth century, before we knew much about physics. It is applied equally to various types of nuclear emissions and also to electromagnetic emissions, but these are not all the same.

Electromagnetic radiation includes a wide spectrum of wavelength, each with a different energy.


At one end of the spectrum are microwaves (harmless unless used in high enough intensity to heat you up) and radio (pretty much completely harmless). At the other end of the spectrum are X-rays and gamma rays, which contain enough energy per photon to break a chemical bond, and therefore potentially cause cancer or simply cell death. In the middle lies UV light, the shortest of which just barely has enough energy to influence chemical processes in living things enough to cause cell damage or cancer.

But, living things are not defenseless, and exposures are not magic death cooties. So while excessive exposure to UV light might cause sunburn and raise your cancer risk, you actually need a certain amount of exposure to maintain healthy vitamin-D and cholesterol levels, and an occasional x-ray is a valuable diagnostic tool.

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Where is NASA’s Moon Footage?

I am often asked about the claim that NASA lost the original recordings of video shot during the moon landing. This idea is frequently breathed new life either my moon hoax conspiracultists suggesting it as proof that we never went, or by those wishing to argue that government can’t get anything right.

It’s true, too–sort of. The original master recordings of the TV footage shot on the moon are lost, as far as is known. But surprise, surprise, the actual facts don’t remotely support either either argument.

In the mid 1960’s when we were preparing for the moon landings, most TV cameras weighed about 300 pounds (plus associated equipment). Early portable cameras might weigh 80, and require a backpack for power and electronics, and drew three or four hundred watts.

Mind you, this was not to record anything, this was just to take the picture and radio it back to the station for live broadcast.
These cameras were far too heavy, and used far too much power for NASA, which had already designed the spacecraft systems and simply didn’t have room or power to transmit TV back to Earth at the normal 525 lines of resolution and 30 (interlaced) frames per second used in the US.

So NASA contracted with RCA and Westinghouse to design cameras more suitable with the space program. They ended up with several, each based on brand new and clever but cutting edge technology. These “Apollo TV Cameras” weighed in at under 8 pounds and seven watts, absolutely remarkable for the day, but they captured a 320 line picture at only 10 frames per second, and sent it back to Earth as raw, analog data.

On Earth, that data could only be decoded on a dedicated machine, built by Westinghouse, and the technology did not yet exist to convert and analog TV signal from one format to another, so it could not be converted to the NTSC standard used in America, much less to any of the other hundreds of broadcast standards in use around the world.
To get around this, RCA built a special console in which the Apollo TV Camera signal was displayed on a specially made, slow phosphor screen inside a dark housing, where a standard TK-22 camera filmed in using the NTSC standard.

This was a cool machine for the time. Among other things, it had an early hard disk used to store analog video frames in real time, and it had a special circuit to help stretch those frames to fit the NTSC standard—but effectively reducing the 320 line image to 262.5 lines!
That was considered okay though, because that was comparable to the old kinescope system used to archive TV on film, so it was considered good enough.
The signal was recorded twice. The raw, unprocessed signal was recorded along with all the other spacecraft telemetry and DCE messages straight from the antenna. The NTSC signal was recorded on a stock Ampex VR-660B video recorder.
Both these measures were safeguards against failure of the microwave circuit back to Houston. Neither was considered of value once the footage aired. People just didn’t think that way back then. TV was for real time. Film was for journalism.
Videotaping was still in its infancy and was not widely available. It was used mostly to save prerecorded programming until it’s schedules air times (in different time zones) and until mid-season reruns. Then it was usually written over, because the tapes were very expensive, and there was no way to compress the data. Keep in mind, there are probably a hundred homes in my neighborhood that contain more stored video than all the vaults of all the networks in the world in 1969, and at much higher resolution.
Years later, some of the operators who had worked at the Deep Space Network stations saw how ratty the archival network footage was and started thinking about what they’d seen on their monitors at the time. They realized the the original, 320 line data was recorded on tape—not on video tape but on the raw data tapes, before going through the machine and before all the subsequent interference. But by then, the Apollo program was over, the equipment was obsolete, and archived data had been moved and moved again over the years.
If we had those data tapes today, we could recover the 320 line video broadcast from the moon, and it would look something like this photograph taken of the converter screen at the time:

That would be cool, even though the cameras had a host of faults that introduced ghosting and artifacts even before the signal left the camera. That data might still be in a warehouse, or it might be in the garage of some technician who “saved it” and then died before telling anyone about it. Or it might be lost.
If I recall correctly, NASA closed the data analysis office that processed Apollo telemetry data years ago, but volunteers saved the necessary equipment to read the old tapes. In fact, a paper was just released announcing that this effort recovered a critical section of previously lost data from the Apollo Lunar Science Experiments left operating on the moon until the mid-1970s. And that’s awesome—but it’s also very possible that that data might have been written over the older data from the landings.

So yeah, NASA recorded over or lost master tapes of an historic event that had done the job they were capture for and were recorded in a bespoke format that could only be read by antiquated, one-off machinery. Anyone who’s ever worked in a an actual government office can tell you stories of similar bureaucratic penny pinching, but yeah, in this age of nearly free, nearly perfect digital storage, you can be excused for finding this a tad short sighted.

But you know what else was short sighted? In the early 1960s, RCA Victor decided to demolish the Camden, New Jersey warehouse housing four floors of audio masters, many of them wax and metal disc recordings, test pressings, lacquer discs, matrix ledgers, and rehearsal recordings. Out of all of that, RCA saved a set of recordings by the (then famous) Enrico Caruso, but that was it. Shortly before the building came down, some collectors were permitted to enter the building and salvage whatever they could carry for their personal collections. Then the building was dynamited, bulldozed, pushed into the river and used as fill for a new pier.

And in 1973, when RCA decided to remaster its Rachmaninoff recordings to mark the composer’s centennial and capitalize on the growing high fidelity audio market, they had to buy them back from private collectors. Today, the wax and other obsolete recordings could be remastered using laser scanners and computer signal processing to produce reproductions far better than the originals–but they are landfill. Obviously, RCA never really had a record business, and you can’t trust private enterprise to make a buck, right?

Why Does The Moon Dance So?

An Internet denizen asks how the moon’s axis and orbit combine to affect how we see the moon, and the answer is far more delightful than you might imagine.

For purposes of understanding why we can only view one side of the moon from any point on Earth, you can assume that both have the same axis of rotation (they don’t, but we’ll come back to that) and that you are looking down on the north pole of both Earth and moon:

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2018 Award Eligibility

In which I toot my own horn and you ignore me and get on with your life…

I really did have a fabulous year, a year in which I won second place in the Jim Baen Memorial Award contest, met Jeff Bezos and Harry Hamlin (and Spider Robinson) and stood in the spot where the great Edwin Hubble redefined our universe!

But look…free stories for a limited time only!

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How Did We Do It?

An Internet denizen asks:

Q: How were we able to put a man on the moon with the level of technology that was available in 1969?

The answer? By spending a crap ton of money over ten years, peaking at 5% of the federal budget. And by relying as much at possible on already proven technology, which isn’t as “high-tech” as you think (more on that below).

Q: Did NASA have advanced technologies that were just not made public?

Very little. They developed the advanced technologies they needed, and except where they were borrowing from the military, they then made them public. NASA’s primary job, after all, is to promote and nurture the American aerospace industry.

Here are a few examples of how the technology came to be:

  • Back in 1961, NASA knew it would need a big moon rocket, but they didn’t know how big or have a design for it. They knew, however, that back in 1955, Rocketdyne had started work on the granddaddy of rocket engines for the Air Force. The first attempt (the E-1) had been a dead end, but the second try (the F-1) had been successfully fired in 1957—the year before NASA was founded. The Air Force had abandoned the engine, but NASA paid Rocketdyne to continue development, and the engine was improved continually throughout the Apollo program, including thrust and reliability upgrades from one mission to another. For all that, the F-1 was in many ways a crude engine by today’s standards. In particular, it required hundreds of difficult, manual welds in refractory metal, which all had to be perfect. Today, the same engine could be formed in three (principle) pieces and welded together by robots, but back then, it was all done by hand.

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Who Started the Moon Hoax Myth?

A while back, a reader of my moon hoax debunkery asked who started the hoax idea rolling in the first place.

Naturally, at the time of the Apollo Program, some folks didn’t believe it, just as many people don’t believe anything they ought to or do believe what they shouldn’t. I had a high school teacher who didn’t believe in the Titanic because “nothing that big could float” (never mind the fact that by the time I was in high school, about a third of all ships on the oceans were larger than the Titanic).

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How ‘BOUT that Earth!

When Apollo astronauts first visited the moon, they brought back something somewhat expected (though predicted by Heinlein in Rocketship Gallieo) a gorgeous view of our little “blue marble” poised all alone in space.

Nothing will ever match the poignancy of that image, but as technology has improved, we’ve given it some competition.

This image, was used as wallpaper on the Apple iPhone until 2012:

But this is not a photograph of Earth. At all.

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His Master’s Voice

If you grew up listening to music from the great age of vinyl records, you probably recognize this image:Related image

This (often in line drawing form and often with the words “His Master’s Voice”) was used as a logo for the Gramophone

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WorldCon76 Wrap Up

As you may know, Worldcon is the annual convention of the World Science Fiction Society, and while small by the standards of today’s comic cons, it’s one of, if not the biggest, convention for the science fiction fantasy literary trade.


Best Novelette.

Han Solo, spending the year dead for tax purposes.

When last I attended, two years ago in Kansas, I said it was like a family reunion, as everywhere I turned I ran into fellow alumni of the Writers of the Future contest or one of the workshops I’ve attended.

This year it was as if the reunion has segued into a ginormous block party.  I returned from San Jose with a stack of business cards, a head full of ideas, and an exhaustion so deep, after sleeping it off I found another one hiding underneath.

In addition to my WotF family, my Superstars and Codex buddies, and now my Taos Toolbox gang, I chatted with George R. R. Martin, David Gerrold, Eileen Gunn, Rob Sawyer, Nancy Kress, and Spider Robinson. I met a whole bunch of new folks too–fellow Analog writers, editors, anthologists, producers and even a few local fans.

What I didn’t do was remember to take even one selfie, and depending on your particular tastes, for that I apologize or you’re welcome.

The important thing, though, is I came home with strong leads for a couple of possible sales and contacts for others in the future–and new motivation to write! write! write!

And that’s what it’s all about.