Apollo liftoff

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Forty years ago I was seven years old and this sight, dear reader, was the most thrilling thing in the whole world. Even now, seeing again the classic fisheye moment of Apollo 11’s launch sparks a buried flare of childhood excitement, resurrecting a deep obsession with astronauts, Saturn V rockets, command modules and lunar landing craft. In 1969 all I could do was gape in awe at our tiny black-and-white TV screen as it showed men going to the Moon right this minute!

Now I’m the same age as the astronauts of the Apollo missions I look at these photographs and feel at different kind of awe, at the courage required to sit at the top of a metal tower as tall as St Paul’s Cathedral filled with highly-combustible rocket fuel. And that’s before you get to the liftoff itself with its punishing g-forces, followed by navigating a vacuum for several days in a tin can controlled by less computer power than you’d find now in the average mobile phone. None of this occurred to me when I was seven, all that mattered was the fact that men were going to the Moon right this minute!

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I’ll return to those childhood obsessions later (no, you don’t escape that easily). Meanwhile the fortieth anniversary of the Apollo 11 mission is naturally generating a fair amount of web attention. NASA has a new site, We Choose the Moon, which augments their older archives. And New Scientist tells us Why the moon still matters. On the same site there’s also Brian Eno discussing the Moon missions and his 1983 soundtrack album, Apollo, which I’m listening to right this minute!

Apollo 11 at the Big Picture
Weaving the way to the Moon | The beatnik and the little old ladies

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Tetragram for Enlargement

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A stunning architectural video installation produced by Apparati Effimeri for last month’s Itinerario Festival, in which the stolid Rocca Malatestiana in Cesena, Italy, is painted with stripes, then mutated, melted and finally blown apart in slow motion. I’d love to see this effect applied to large city-centre buildings but the results are so striking they’d probably create no end of traffic accidents.

Via Further.

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Alexandre Alexeieff and Claire Parker

Susan Kare

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A post for Ada Lovelace Day, “an international day of blogging to draw attention to women excelling in technology.”

Susan Kare was, and still is, a graphic designer specialising in user interface graphics. Facebook users may recognise her gift icons but her earlier work is even more familiar to Macintosh users since it was her job at Apple in 1983 to design the icons for the first Macintosh interface. Many of the original black & white images have been phased out or replaced by higher-resolution equivalents but some still remain, in particular the pointing hand, the stopwatch (which became an hourglass in Windows) and the Command symbol which was based on a map icon for Swedish camping grounds. She also designed some of the fonts used by the first Mac OS including Geneva—still a web standard—and Chicago which was the primary Mac font for many years. In a field overly-dominated by men, her work lies at the heart of technology we’re using today, right down to the Mac keyboard on which I type these words.

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