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✖ Via Metropolitan Museum of Art: “Under A Cloud” by Albert Pinkham Ryder, 1900

About Albert Pinkham Ryder:

Albert Pinkham Ryder (March 19, 1847 – March 28, 1917) was an American painter best known for his poetic and moody allegorical works and seascapes, as well as his eccentric personality. While his art shared an emphasis on subtle variations of color with tonalist works of the time, it was unique for accentuating form in a way that some art historians regard as modernist. (wikipedia)

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✖ Via Tom Gauld: 206. Shakespeare!

Previously on Skandalon


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✖ Via NASA History Division: Apollo 16 Lunar Surface Journal, Image Library, photo AS16-117-18841 (OF300) taken by astronaut Charles M. Duke on April 23, 1972 during the last EVA for Apollo 16 mission. [Hi-Res]

“HE WAS A TOURIST, a quarter-million miles from home. And like any traveler, he wanted to bring home a special memory.

So Apollo16 astronaut Charles M. Duke Jr. came up with a plan. Several months before his scheduled 1972 mission to the moon, Duke receveid permission from NASA to leave behind a family photograph. The picture—of Duke, wife Dorothy, and sons Charles III and Thomas—was taken by a friend in the Dukes’ Houston, Texas, backyard several week before the April 16 liftoff.

Astronaut Duke was given intensive photography training prior to the mission. He was taught about f-stops, exposure, and learned how to operate a custom Hasselblad camera. He took thousands of practice pictures and hundreds on the moon. But he never considered himself much of a photographer. “Just a point-and-shoot man,” he said decades later.

In the final hour of the final day of his three-day visit to the moon, Duke took out the shrink-wrapped family snapshot and gingerly placed it on the lunar surface, near the crater Descartes. It was a gift, his message to whoever might one day stumble upon it. He then took a snapshot of a snapshot. Evidence. A memory.” (Who We Were by Michael Williams, Richard Cahan and Nicholas Osborn, Chicago Cityfiles Press, 2008, p. 238).

Actually, he took at least three snaphotd : AS16-117-18839, AS16-117-18840 and AS16-117-18841, though the last one is clearly the best shot.

Previously on Skandalon: Apollo, Nicholas Osborn.


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✖ Via

The New York Times (PDF): “Of A Fire On The Moon” reviewed by Morris Dickstein (January 10, 1971). Illustration by Fons Van Woerkom.


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Hemingway had given the power to believe you could still shout down the corridor of the hospital, live next to the breath of the beast, accept your portion of dread each day. Now, the greatest living romantic was dead. Dread was loose. The giant had not paid his dues, and something awful was in the air. Technology would fill the pause. Into the silence, static would enter. It was conceivable that man was no longer ready to share the dread of the Lord.
✖ Via Norman Mailer, Of A Fire On The Moon, Boston: Little, Brown and Company, 1969, p. 4.

Mailer underlines the fact that “John F. Kennedy had made his declaration concerning the moon not six weeks before Hemingway was dead”.



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✖ Via LIFE - Hosted by Google: “On The Moon” Footprints and photographs by Neil Armstrong and Edwin Aldrin.

“Cover of LIFE magazine dated 08-08-1969 w. logo & pic of American flag planted on moon.”


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PLAYBOY: What do you think we’ll find on the moon?
STANLEY KUBRICK: I think the most exciting prospect about the moon is that if alien races have ever visited earth in the remote past and left artifacts for man to discover in the future, they probably chose the arid, airless lunar vacuum, where no deterioration would take place and an object could exist for millennia. It would be inevitable that as man evolved technologically, he would reach his nearest satellite and the aliens would then expect him to find their calling card—perhaps a message of greeting, a cache of knowledge or simply a cosmic burglar alarm signaling that another race had mastered space flight. This, of course, was the central situation of 2001.
✖ Via Playboy: Director Stanley Kubrick interviewed by Eric Nordern for Playboy Magazine, September 1968. Full article available online.

“To discover what has made Kubrick so respected—and controversial—a director, and to plumb both his own complexities and those of 2001, Playboy interviewed Kubrick at his elegant mansion outside London, a short drive from MGM’s studio at Borham Wood, where he is working on his latest film—a biography of Napoleon. Interviewer Eric Norden found Kubrick—”a slim, relaxed man with thinning hair, dark beard and intense eyes”—sprawled in a chair on the spacious expanse of lawn overlooking his elegantly tended gardens. “As Kubrick crossed one scuffed shoe over a wrinkled pants leg,” writes Norden, “I began by asking him to decipher the metaphysical message of 2001. Though his answer was enigmatically evasive, he was far more voluble about his space odyssey, and the destiny it prophesies for the human race, than about himself as man or moviemaker. It may be that he feels his private life is too dull to talk about, or perhaps too interesting, or simply nobody’s business but his own. But I think it’s more likely that he is one of those rare men whose self-concern is plural and impersonal, to whom the present is less real than the possible, who live less in the world of tangible reality than in the uncharted country of the mind.”” (read more)

I first came to know the existence of this interview through Sister Of The Raging Sea.



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✖ Via

NASA Headquarters: “Mission Control in Houston celebrates after splashdown. ” (July 24, 1969) Photo ID: S69-40299.


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✖ Via LIFE - Hosted by Google

“Joan Aldrin (C) applauding her husband, Apollo 11 astronaut Buzz Aldrin, as she watches TV coverage of splashdown at end of mission.” Houston, TX, US. Photo by Vernon Merritt III, July 24, 1969.

Splashdown time was 12:50:35 p.m. EDT.


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✖ Via NASA Human Space Flight: Appolo 11 Video Gallery

“Apollo 11 plasma glow during reentry.”


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