Did Carl Sagan play a role in the famous Arecibo message transmitted toward the Hercules Cluster in 1974? I’ve always assumed so, given Sagan’s connection with Frank Drake, who was then at Cornell University, where Sagan spent most of his career. But opinion seems to vary. Artist/scientist Joe Davis, who now has affiliations with both MIT’s Laboratory of Molecular Structure and Harvard Medical School, noted in an email this morning that Sagan’s widow, Ann Druyan, supports the connection, but according to Davis, Drake himself denied Sagan’s role in the composition or transmission of the message. I mention all this because of Tuesday’s post on the simulated SETI signal being sent via ESO’s Mars ExoMars Trace Gas Orbiter, as a kind of work of art in its own right as well as a test case in building public involvement in the decoding of an unusual message. The idea of doing that irresistibly recalled Joe Davis because in 1988 Davis performed his own act of scientific art involving SETI,...

Now and again scientists think of interesting ways to use our space missions in contexts for which they were not designed. I’m thinking, for example, of the ‘pale blue dot’ image snapped by Voyager 1 in 1990, an iconic view that forcibly speaks to the immensity of the universe and the smallness of the place we inhabit. Voyager’s cameras, we might recall, were added only after a debate among mission designers, some of whom argued that the mission could proceed without any cameras aboard. Fortunately, the camera advocates won, with results we’re all familiar with. Now we have a project out of The SETI Institute that would use a European Space Agency mission in a novel way, one that also challenges our thinking about our place in the cosmos. Daniela de Paulis, who serves as artist in residence at the institute, is working across numerous disciplines with researchers involved in SETI and astronautics to create A Sign in Space, the creation of an ‘extraterrestrial’ message. This is not a...

With landers on places like Enceladus conceivable in the not distant future, how we might recognize extraterrestrial life if and when we run into it is no small matter. But maybe we can draw conclusions by addressing the complexity of an object, calculating what it would take to produce it. Don Wilkins considers this approach in today's essay as he lays out the background of Assembly Theory. A retired aerospace engineer with thirty-five years experience in designing, developing, testing, manufacturing and deploying avionics, Don tells me he has been an avid supporter of space flight and exploration all the way back to the days of Project Mercury. Based in St. Louis, where he is an adjunct instructor of electronics at Washington University, Don holds twelve patents and is involved with the university’s efforts at increasing participation in science, technology, engineering, and math. Have a look at how we might deploy AT methods not only in our system but around other stars. by Don...

The old trope about signals from Earth reaching other civilizations receives an interesting twist when you ponder just what those signals might be. In his novel Contact, Carl Sagan has researchers led by Ellie Arroway discover an encrypted TV signal showing images from the Berlin Olympics in 1936. Thus returned, the signal announces contact (in a rather uncomfortable way). More comfortable is the old reference to aliens watching “I Love Lucy” episodes in their expanding cone of flight that began in 1951. How such signals could be detected is another matter. I’m reminded of a good friend whose passion for classical music has caused him to amass a collection of recordings that rival the holdings of a major archive. John likes to compare different versions of various pieces of music. How did Beecham handle Delius’ “A Walk in the Paradise Garden” as opposed to Leonard Slatkin? Collectors find fascination in such things. And one day John called me with a question. He was collecting the...