The Voyager transmitters work much better than free space loss because of a special antenna that focuses the X-band microwave signal directly back to earth: An estimation rule for signals in free space is that use lose 22 dB in the first wavelength of distance and an additional 6dB for each subsequent doubling of the distance: But in the meantime, you could send out Voyagers 3, 4 5 and 6 in other directions, just so that Kirk can find V'Ger in the future?Ī link budget (the total anticipated loss) of only 203dB getting to Earth is pretty amazing. Much better to leave both craft as they are, until the DSN loses contact with them around 2036. Such an imaginary craft would need to have a velocity of at least 440,000 mph (say 11 miilions miles per day) and it would then take at least 3 or 4 years (about 1100 days?) just to catch up.Īnd once it got to either Voyager, it would need some extreme braking to slow it down, then capture the craft, secure it and then turn around and return to Earth at a very high velocity, as otherwise, the engineers with the knowledge to fix/upgrade Voyager would be long dead.Īdding the time to slow down, turn around and then accelerate back up to 400,000 mph for the return journey and the entire mission might take 10-15 years? And for what? To retrieve an old 1970s era metal craft that has been in space (by then for 50+ years) and is so irradiated with cosmic radiation, it might be untouchable (by humans) for a hundred years. Well, you'd need a mighty big rocket, with plenty of fuel onboard just so it catches up with the Voyagers which are travelling at around 40,000 mph (960,000 miles per day).Īnd given that both Voyages are about 115 AU (about 10.7 billion miles) away from the sun (or about 114 AU away from the Earth at it's closest to the craft), a spacecraft to go and collect them would need to be going very, very fast just to catch up. Do you want your car brakes software written by a script-kiddie?Īnon as I have software and hardware, that I was in charge of, going into space on a regular basis, and with multiple operators, some of whom are more sensitive than others.Įxpecting plenty of down votes by web site 'designers' and up votes from 'engineers'. configurations over budget and not achieving their goals)Ĭommercial software : Degree level - if the company if relying on the product then they will have at least specified the features and tested themĬertifiable software : Doctorate level - properly designed and tested by people who know why and whose ar5es are on the line if it doesn't workĬost increases hugely as you go up the scale, but then so does reliability. Website : something produced at Kindergarten level from borrowed script building blocks and coloured crayonsĬustomisation of commercial software : High school level (see all the stories about SAP/Oracle/etc. ” The exposure has created a global network of opportunities, not just for new hopefuls but for longtime artists who have struggled for space and tools to form their artistic visions.When people ask about "this or that" sh1t website, I just point out that there is a hierarchy of software production: There’s probably more in central Seattle than there is in the whole of the U.K., but every studio has benefited. Season 2 winner Elliot Walker said, “ In the U.K., we don’t have many studios. And for the established studios, not everyone has the expansiveness or tools viewers see in the Blown Away hot shop. Unfortunately, for many aspiring glass artists, studios do not exist in every city. The attention has not only created profit for the Corning Museum but greater access to glass studios. A way to see the buzz the Netflix original created is in the increase of attendance at the Corning Museum of Glass, where the season winner’s work is displayed. Architectural Digest profiled the rise in two different aspects: profitability and access. While visibility does not always translate to numbers, Blown Away has created opportunities longtime glassblowers could never dream of.
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