I'm interested in planetary materials, including their early evolution in the solar system, re-creating their exotic properties in the lab, and extracting them sustainably as space resources.
Oct 29, 5:00pm: Celestial harvest: extracting space resources and learning to live off the land on the Moon and Mars. Daytona State College.
Dec 11, 2:28pm: Ancient Hydrated Silicates in the Martian Deep: Crustal Density, Water Budget, and Astrobiology. 2018 AGU Fall Meeting, Walter E. Washington Convention Center 206.
1. Carbonaceous muds (Recent abstract).
2. Martian clay formation and noble gas sequestration in the pre-Noachian (Recent publication).
3. High fidelity regolith simulants (Recent publication).
Gravity by Alfonso Cuarón has taken in $716,392,705 in worldwide box office sales as of the time of writing. At a conservative estimate of $8/ticket, just under 90 million people saw the Clooney & Bullock flick in theaters. I think the only good thing about this is that 90 million people willingly paid to watch a film about space, and I just hope those same people go see Interstellar by Chris Nolan. Quite frankly, the message of Gravity is abysmal and discouraging. Ignore the impressive special effects, let go the scientific nitpickings, and think about the message this movie sends filmgoers home with: Space is a deadly and unforgiving place, and humans have no business being there. The final frame features Bullock, back on solid earth after her near-death catastrophe, grasping soft mud and crying in relief at the safety of terran ground. The message couldn’t be more clear: we belong on the surface, and it was folly to ever experiment by venturing upwards to the sky.
And why were Clooney and Bullock in space to begin with? Those in the know will recognize a Hubble repair mission, but Cuarón shows no hint of NASA’s scientific purpose, or goals, or of humanity’s aspirations to explore. His astronauts are fucking around with jetpacks in low-earth orbit, wasting taxpayer money, because that’s what he (and maybe most of the general public) thinks astronauts do. Of course the public can be forgiven for thinking this way, given the lull in human exploration since Apollo (thanks, Nixon), but Cuarón deserves no respite for writing and carrying through with such a dispiriting movie. Everything he gets wrong, though, Nolan gets right in Interstellar: Earth is not a safe haven to hunker down on, especially given humanity’s utter lack of stewardship for this planet. Whether it be global warming, plague, or asteroid impact, we are not safe here. We must leave the Earth to survive, and should anyways because of our unwavering instinct to explore. Interstellar’s opening act shows us what happens when we follow the logical conclusions that Gravity spells out: the dereliction of our species. But there is hope, and the tone of Nolan’s film is optimistic: if only we retain some sliver of curiosity, of pioneering (captured powerfully here by McConaughey’s character), there are infinite planets lying out there in wait. The same ingenuity that now lets us see new planets being born, and find tens of thousands of them, will one day carry us to one of these new worlds.
Interstellar is a deep, emotional, powerful film, and smug potshots at the technical details will completely miss the point and impact it delivers.