the voyager record

What Is on Voyager’s Golden Record?

From a whale song to a kiss, the time capsule sent into space in 1977 had some interesting contents

Megan Gambino

Senior Editor

“I thought it was a brilliant idea from the beginning,” says Timothy Ferris. Produce a phonograph record containing the sounds and images of humankind and fling it out into the solar system.

By the 1970s, astronomers Carl Sagan and Frank Drake already had some experience with sending messages out into space. They had created two gold-anodized aluminum plaques that were affixed to the Pioneer 10 and Pioneer 11 spacecraft. Linda Salzman Sagan, an artist and Carl’s wife, etched an illustration onto them of a nude man and woman with an indication of the time and location of our civilization.

The “Golden Record” would be an upgrade to Pioneer’s plaques. Mounted on Voyager 1 and Voyager 2, twin probes launched in 1977, the two copies of the record would serve as time capsules and transmit much more information about life on Earth should extraterrestrials find it.

NASA approved the idea. So then it became a question of what should be on the record. What are humanity’s greatest hits? Curating the record’s contents was a gargantuan task, and one that fell to a team including the Sagans, Drake, author Ann Druyan, artist Jon Lomberg and Ferris, an esteemed science writer who was a friend of Sagan’s and a contributing editor to Rolling Stone .

The exercise, says Ferris, involved a considerable number of presuppositions about what aliens want to know about us and how they might interpret our selections. “I found myself increasingly playing the role of extraterrestrial,” recounts Lomberg in Murmurs of Earth , a 1978 book on the making of the record. When considering photographs to include, the panel was careful to try to eliminate those that could be misconstrued. Though war is a reality of human existence, images of it might send an aggressive message when the record was intended as a friendly gesture. The team veered from politics and religion in its efforts to be as inclusive as possible given a limited amount of space.

Over the course of ten months, a solid outline emerged. The Golden Record consists of 115 analog-encoded photographs, greetings in 55 languages, a 12-minute montage of sounds on Earth and 90 minutes of music. As producer of the record, Ferris was involved in each of its sections in some way. But his largest role was in selecting the musical tracks. “There are a thousand worthy pieces of music in the world for every one that is on the record,” says Ferris. I imagine the same could be said for the photographs and snippets of sounds.

The following is a selection of items on the record:

Silhouette of a Male and a Pregnant Female

The team felt it was important to convey information about human anatomy and culled diagrams from the 1978 edition of The World Book Encyclopedia. To explain reproduction, NASA approved a drawing of the human sex organs and images chronicling conception to birth. Photographer Wayne F. Miller’s famous photograph of his son’s birth, featured in Edward Steichen’s 1955 “Family of Man” exhibition, was used to depict childbirth. But as Lomberg notes in Murmurs of Earth , NASA vetoed a nude photograph of “a man and a pregnant woman quite unerotically holding hands.” The Golden Record experts and NASA struck a compromise that was less compromising— silhouettes of the two figures and the fetus positioned within the woman’s womb.

DNA Structure

At the risk of providing extraterrestrials, whose genetic material might well also be stored in DNA, with information they already knew, the experts mapped out DNA’s complex structure in a series of illustrations.

Demonstration of Eating, Licking and Drinking

When producers had trouble locating a specific image in picture libraries maintained by the National Geographic Society, the United Nations, NASA and Sports Illustrated , they composed their own. To show a mouth’s functions, for instance, they staged an odd but informative photograph of a woman licking an ice-cream cone, a man taking a bite out of a sandwich and a man drinking water cascading from a jug.

Olympic Sprinters

Images were selected for the record based not on aesthetics but on the amount of information they conveyed and the clarity with which they did so. It might seem strange, given the constraints on space, that a photograph of Olympic sprinters racing on a track made the cut. But the photograph shows various races of humans, the musculature of the human leg and a form of both competition and entertainment.

Photographs of huts, houses and cityscapes give an overview of the types of buildings seen on Earth. The Taj Mahal was chosen as an example of the more impressive architecture. The majestic mausoleum prevailed over cathedrals, Mayan pyramids and other structures in part because Mughal Emperor Shah Jahan built it in honor of his late wife, Mumtaz Mahal, and not a god.

Golden Gate Bridge

Three-quarters of the record was devoted to music, so visual art was less of a priority. A couple of photographs by the legendary landscape photographer Ansel Adams were selected, however, for the details captured within their frames. One, of the Golden Gate Bridge from nearby Baker Beach, was thought to clearly show how a suspension bridge connected two pieces of land separated by water. The hum of an automobile was included in the record’s sound montage, but the producers were not able to overlay the sounds and images.

A Page from a Book

An excerpt from a book would give extraterrestrials a glimpse of our written language, but deciding on a book and then a single page within that book was a massive task. For inspiration, Lomberg perused rare books, including a first-folio Shakespeare, an elaborate edition of Chaucer from the Renaissance and a centuries-old copy of Euclid’s  Elements  (on geometry), at the Cornell University Library. Ultimately, he took MIT astrophysicist Philip Morrison’s suggestion: a  page  from Sir Isaac Newton’s  System of the World , where the means of launching an object into orbit is described for the very first time.

Greeting from Nick Sagan

To keep with the spirit of the project, says Ferris, the wordings of the 55 greetings were left up to the speakers of the languages. In  Burmese , the message was a simple, “Are you well?” In  Indonesian , it was, “Good night ladies and gentlemen. Goodbye and see you next time.” A woman speaking the Chinese dialect of  Amoy  uttered a welcoming, “Friends of space, how are you all? Have you eaten yet? Come visit us if you have time.” It is interesting to note that the final greeting, in  English , came from then-6-year-old Nick Sagan, son of Carl and Linda Salzman Sagan. He said, “Hello from the children of planet Earth.”

Whale Greeting

Biologist Roger Payne provided a whale song (“the most beautiful whale greeting,” he said, and “the one that should last forever”) captured with hydrophones off the coast of Bermuda in 1970. Thinking that perhaps the whale song might make more sense to aliens than to humans, Ferris wanted to include more than a slice and so mixed some of the song behind the greetings in different languages. “That strikes some people as hilarious, but from a bandwidth standpoint, it worked quite well,” says Ferris. “It doesn’t interfere with the greetings, and if you are interested in the whale song, you can extract it.”

Reportedly, the trickiest sound to record was a  kiss . Some were too quiet, others too loud, and at least one was too disingenuous for the team’s liking. Music producer Jimmy Iovine kissed his arm. In the end, the kiss that landed on the record was actually one that Ferris planted on Ann Druyan’s cheek.

Druyan had the idea to record a person’s brain waves, so that should extraterrestrials millions of years into the future have the technology, they could decode the individual’s thoughts. She was the guinea pig. In an hour-long session hooked to an EEG at New York University Medical Center, Druyan meditated on a series of prepared thoughts. In  Murmurs of Earth , she admits that “a couple of irrepressible facts of my own life” slipped in. She and Carl Sagan had gotten engaged just days before, so a love story may very well be documented in her neurological signs. Compressed into a minute-long segment, the  brain waves  sound, writes Druyan, like a “string of exploding firecrackers.”

Georgian Chorus—“Tchakrulo”

The team discovered a beautiful recording of “Tchakrulo” by Radio Moscow and wanted to include it, particularly since Georgians are often credited with introducing polyphony, or music with two or more independent melodies, to the Western world. But before the team members signed off on the tune, they had the lyrics translated. “It was an old song, and for all we knew could have celebrated bear-baiting,” wrote Ferris in  Murmurs of Earth . Sandro Baratheli, a Georgian speaker from Queens, came to the rescue. The word “tchakrulo” can mean either “bound up” or “hard” and “tough,” and the song’s narrative is about a peasant protest against a landowner.

Chuck Berry’s “Johnny B. Goode”

According to Ferris, Carl Sagan had to warm up to the idea of including Chuck Berry’s 1958 hit “Johnny B. Goode” on the record, but once he did, he defended it against others’ objections. Folklorist Alan Lomax was against it, arguing that rock music was adolescent. “And Carl’s brilliant response was, ‘There are a lot of adolescents on the planet,’” recalls Ferris.

On April 22, 1978,  Saturday Night Live  spoofed the Golden Record in a  skit  called “Next Week in Review.” Host Steve Martin played a psychic named Cocuwa, who predicted that  Time  magazine would reveal, on the following week’s cover, a four-word message from aliens. He held up a mock cover, which read, “Send More Chuck Berry.”

More than four decades later, Ferris has no regrets about what the team did or did not include on the record. “It means a lot to have had your hand in something that is going to last a billion years,” he says. “I recommend it to everybody. It is a healthy way of looking at the world.”

According to the writer, NASA approached him about producing another record but he declined. “I think we did a good job once, and it is better to let someone else take a shot,” he says.

So, what would you put on a record if one were being sent into space today?

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Megan Gambino is a senior web editor for Smithsonian magazine.

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How the Voyager Golden Record Was Made

By Timothy Ferris

We inhabit a small planet orbiting a medium-sized star about two-thirds of the way out from the center of the Milky Way galaxy—around where Track 2 on an LP record might begin. In cosmic terms, we are tiny: were the galaxy the size of a typical LP, the sun and all its planets would fit inside an atom’s width. Yet there is something in us so expansive that, four decades ago, we made a time capsule full of music and photographs from Earth and flung it out into the universe. Indeed, we made two of them.

The time capsules, really a pair of phonograph records, were launched aboard the twin Voyager space probes in August and September of 1977. The craft spent thirteen years reconnoitering the sun’s outer planets, beaming back valuable data and images of incomparable beauty . In 2012, Voyager 1 became the first human-made object to leave the solar system, sailing through the doldrums where the stream of charged particles from our sun stalls against those of interstellar space. Today, the probes are so distant that their radio signals, travelling at the speed of light, take more than fifteen hours to reach Earth. They arrive with a strength of under a millionth of a billionth of a watt, so weak that the three dish antennas of the Deep Space Network’s interplanetary tracking system (in California, Spain, and Australia) had to be enlarged to stay in touch with them.

If you perched on Voyager 1 now—which would be possible, if uncomfortable; the spidery craft is about the size and mass of a subcompact car—you’d have no sense of motion. The brightest star in sight would be our sun, a glowing point of light below Orion’s foot, with Earth a dim blue dot lost in its glare. Remain patiently onboard for millions of years, and you’d notice that the positions of a few relatively nearby stars were slowly changing, but that would be about it. You’d find, in short, that you were not so much flying to the stars as swimming among them.

The Voyagers’ scientific mission will end when their plutonium-238 thermoelectric power generators fail, around the year 2030. After that, the two craft will drift endlessly among the stars of our galaxy—unless someone or something encounters them someday. With this prospect in mind, each was fitted with a copy of what has come to be called the Golden Record. Etched in copper, plated with gold, and sealed in aluminum cases, the records are expected to remain intelligible for more than a billion years, making them the longest-lasting objects ever crafted by human hands. We don’t know enough about extraterrestrial life, if it even exists, to state with any confidence whether the records will ever be found. They were a gift, proffered without hope of return.

I became friends with Carl Sagan, the astronomer who oversaw the creation of the Golden Record, in 1972. He’d sometimes stop by my place in New York, a high-ceilinged West Side apartment perched up amid Norway maples like a tree house, and we’d listen to records. Lots of great music was being released in those days, and there was something fascinating about LP technology itself. A diamond danced along the undulations of a groove, vibrating an attached crystal, which generated a flow of electricity that was amplified and sent to the speakers. At no point in this process was it possible to say with assurance just how much information the record contained or how accurately a given stereo had translated it. The open-endedness of the medium seemed akin to the process of scientific exploration: there was always more to learn.

In the winter of 1976, Carl was visiting with me and my fiancée at the time, Ann Druyan, and asked whether we’d help him create a plaque or something of the sort for Voyager. We immediately agreed. Soon, he and one of his colleagues at Cornell, Frank Drake, had decided on a record. By the time NASA approved the idea, we had less than six months to put it together, so we had to move fast. Ann began gathering material for a sonic description of Earth’s history. Linda Salzman Sagan, Carl’s wife at the time, went to work recording samples of human voices speaking in many different languages. The space artist Jon Lomberg rounded up photographs, a method having been found to encode them into the record’s grooves. I produced the record, which meant overseeing the technical side of things. We all worked on selecting the music.

I sought to recruit John Lennon, of the Beatles, for the project, but tax considerations obliged him to leave the country. Lennon did help us, though, in two ways. First, he recommended that we use his engineer, Jimmy Iovine, who brought energy and expertise to the studio. (Jimmy later became famous as a rock and hip-hop producer and record-company executive.) Second, Lennon’s trick of etching little messages into the blank spaces between the takeout grooves at the ends of his records inspired me to do the same on Voyager. I wrote a dedication: “To the makers of music—all worlds, all times.”

To our surprise, those nine words created a problem at NASA . An agency compliance officer, charged with making sure each of the probes’ sixty-five thousand parts were up to spec, reported that while everything else checked out—the records’ size, weight, composition, and magnetic properties—there was nothing in the blueprints about an inscription. The records were rejected, and NASA prepared to substitute blank discs in their place. Only after Carl appealed to the NASA administrator, arguing that the inscription would be the sole example of human handwriting aboard, did we get a waiver permitting the records to fly.

In those days, we had to obtain physical copies of every recording we hoped to listen to or include. This wasn’t such a challenge for, say, mainstream American music, but we aimed to cast a wide net, incorporating selections from places as disparate as Australia, Azerbaijan, Bulgaria, China, Congo, Japan, the Navajo Nation, Peru, and the Solomon Islands. Ann found an LP containing the Indian raga “Jaat Kahan Ho” in a carton under a card table in the back of an appliance store. At one point, the folklorist Alan Lomax pulled a Russian recording, said to be the sole copy of “Chakrulo” in North America, from a stack of lacquer demos and sailed it across the room to me like a Frisbee. We’d comb through all this music individually, then meet and go over our nominees in long discussions stretching into the night. It was exhausting, involving, utterly delightful work.

“Bhairavi: Jaat Kahan Ho,” by Kesarbai Kerkar

In selecting Western classical music, we sacrificed a measure of diversity to include three compositions by J. S. Bach and two by Ludwig van Beethoven. To understand why we did this, imagine that the record were being studied by extraterrestrials who lacked what we would call hearing, or whose hearing operated in a different frequency range than ours, or who hadn’t any musical tradition at all. Even they could learn from the music by applying mathematics, which really does seem to be the universal language that music is sometimes said to be. They’d look for symmetries—repetitions, inversions, mirror images, and other self-similarities—within or between compositions. We sought to facilitate the process by proffering Bach, whose works are full of symmetry, and Beethoven, who championed Bach’s music and borrowed from it.

I’m often asked whether we quarrelled over the selections. We didn’t, really; it was all quite civil. With a world full of music to choose from, there was little reason to protest if one wonderful track was replaced by another wonderful track. I recall championing Blind Willie Johnson’s “Dark Was the Night,” which, if memory serves, everyone liked from the outset. Ann stumped for Chuck Berry’s “ Johnny B. Goode ,” a somewhat harder sell, in that Carl, at first listening, called it “awful.” But Carl soon came around on that one, going so far as to politely remind Lomax, who derided Berry’s music as “adolescent,” that Earth is home to many adolescents. Rumors to the contrary, we did not strive to include the Beatles’ “Here Comes the Sun,” only to be disappointed when we couldn’t clear the rights. It’s not the Beatles’ strongest work, and the witticism of the title, if charming in the short run, seemed unlikely to remain funny for a billion years.

“Dark Was the Night, Cold Was the Ground,” by Blind Willie Johnson

Ann’s sequence of natural sounds was organized chronologically, as an audio history of our planet, and compressed logarithmically so that the human story wouldn’t be limited to a little beep at the end. We mixed it on a thirty-two-track analog tape recorder the size of a steamer trunk, a process so involved that Jimmy jokingly accused me of being “one of those guys who has to use every piece of equipment in the studio.” With computerized boards still in the offing, the sequence’s dozens of tracks had to be mixed manually. Four of us huddled over the board like battlefield surgeons, struggling to keep our arms from getting tangled as we rode the faders by hand and got it done on the fly.

The sequence begins with an audio realization of the “music of the spheres,” in which the constantly changing orbital velocities of Mercury, Venus, Earth, Mars, and Jupiter are translated into sound, using equations derived by the astronomer Johannes Kepler in the sixteenth century. We then hear the volcanoes, earthquakes, thunderstorms, and bubbling mud of the early Earth. Wind, rain, and surf announce the advent of oceans, followed by living creatures—crickets, frogs, birds, chimpanzees, wolves—and the footsteps, heartbeats, and laughter of early humans. Sounds of fire, speech, tools, and the calls of wild dogs mark important steps in our species’ advancement, and Morse code announces the dawn of modern communications. (The message being transmitted is Ad astra per aspera , “To the stars through hard work.”) A brief sequence on modes of transportation runs from ships to jet airplanes to the launch of a Saturn V rocket. The final sounds begin with a kiss, then a mother and child, then an EEG recording of (Ann’s) brainwaves, and, finally, a pulsar—a rapidly spinning neutron star giving off radio noise—in a tip of the hat to the pulsar map etched into the records’ protective cases.

“The Sounds of Earth”

Ann had obtained beautiful recordings of whale songs, made with trailing hydrophones by the biologist Roger Payne, which didn’t fit into our rather anthropocentric sounds sequence. We also had a collection of loquacious greetings from United Nations representatives, edited down and cross-faded to make them more listenable. Rather than pass up the whales, I mixed them in with the diplomats. I’ll leave it to the extraterrestrials to decide which species they prefer.

“United Nations Greetings/Whale Songs”

Those of us who were involved in making the Golden Record assumed that it would soon be commercially released, but that didn’t happen. Carl repeatedly tried to get labels interested in the project, only to run afoul of what he termed, in a letter to me dated September 6, 1990, “internecine warfare in the record industry.” As a result, nobody heard the thing properly for nearly four decades. (Much of what was heard, on Internet snippets and in a short-lived commercial CD release made in 1992 without my participation, came from a set of analog tape dubs that I’d distributed to our team as keepsakes.) Then, in 2016, a former student of mine, David Pescovitz, and one of his colleagues, Tim Daly, approached me about putting together a reissue. They secured funding on Kickstarter , raising more than a million dollars in less than a month, and by that December we were back in the studio, ready to press play on the master tape for the first time since 1977.

Pescovitz and Daly took the trouble to contact artists who were represented on the record and send them what amounted to letters of authenticity—something we never had time to accomplish with the original project. (We disbanded soon after I delivered the metal master to Los Angeles, making ours a proud example of a federal project that evaporated once its mission was accomplished.) They also identified and corrected errors and omissions in the information that was provided to us by recordists and record companies. Track 3, for instance, which was listed by Lomax as “Senegal Percussion,” turns out instead to have been recorded in Benin and titled “Cengunmé”; and Track 24, the Navajo night chant, now carries the performers’ names. Forty years after launch, the Golden Record is finally being made available here on Earth. Were Carl alive today—he died in 1996 at the age of sixty-two—I think he’d be delighted.

This essay was adapted from the liner notes for the new edition of the Voyager Golden Record, recently released as a vinyl boxed set by Ozma Records .

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The Voyager Golden Record

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Voyager’s special cargo – the golden record.

This image highlights the special cargo onboard NASA’s Voyager spacecraft: the Golden Record. Each of the two Voyager spacecraft launched in 1977 carry a 12-inch gold-plated phonograph record with images and sounds from Earth. An artist’s rendering of the Voyager spacecraft is shown at bottom right, with a yellow circle denoting the location of the Golden Record. The cover of the Golden Record, shown on upper right, carries directions explaining how to play the record, a diagram showing the location of our sun and the two lowest states of the hydrogen atom as a fundamental clock reference. The larger image to the left is a magnified picture of the record inside. The Voyagers were built by NASA’s Jet Propulsion Laboratory in Pasadena, Calif., which continues to operate both spacecraft. JPL is a division of the California Institute of Technology in Pasadena. The Voyager missions are a part of the NASA Heliophysics System Observatory, sponsored by the Heliophysics Division of the Science Mission Directorate. For more information about the Voyager spacecraft, visit https://www.nasa.gov/voyager and http://voyager.jpl.nasa.gov .

Image credit: NASA/JPL-Caltech

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Will Aliens Understand Voyager's Golden Record?

Could an alien observer truly understand the messages we have sent to the stars.

The Pioneer and Voyager spacecraft famously contain messages to anyone who might someday find them. Both Pioneers carry a plaque, while the Voyagers carry a phonograph record. An enormous amount of effort went into creating these objects, but could an alien observer truly understand the messages we have sent to the stars?

While we cannot take anything for granted when it comes to how these messages might or might not be interpreted, let’s assume that the beings who might find the spacecraft can at least see or hear with eyes or ears similar to our own. Each message was designed with not only the information it was to carry in mind, but also the means to establish understanding through common denominators found throughout the universe.

The Pioneer Plaque

Pioneer 10 and 11 each carry a 6 x 9-inch (15 x 23 centimeters), gold-anodized aluminum plaque. The plaque is affixed to support struts close to the spacecraft’s bus (main body). Carl Sagan and Frank Drake played key roles in designing the plaque and Linda Salzman Sagan, Sagan’s wife at the time, was the artist who actually drew the images engraved on the plaque.

The most striking feature of the plaque are the figures of the man and the woman overlying the silhouette of the Pioneer spacecraft itself. While this does clearly convey our physical size and shape, as well as that sexual dimorphism is present in humans, the facial features of the couple have little detail and the sort of sensory organs are being depicted (the couple’s ears are barely shown at all) might be unclear. The man and woman both have their mouths closed, and viewers might not understand that these are even mouths at all. Given how the image is drawn, an observer could also be forgiven for not understanding that both the male and female have hair on their heads.

The couple both have a bland expression (which may have been an attempt to avoid anything that could be interpreted as hostile) and the man is seen raising his right hand with the palm facing the viewer. While this gesture clearly conveys a greeting when viewed by another human, an extraterrestrial may have no way of interpreting this gesture. (Could you interpret a gesture made by an antelope … or a praying mantis?) It does show, however, that humans have opposable thumbs, as well as the general range of motion of the upper limbs.

With regards to the scientific data presented, the top left of the plaque shows the hyperfine transition of neutral hydrogen as a means of conveying to the reader baseline units of time (0.7 nanoseconds, the frequency of the transition) and distance (21 cm, the wavelength of the light released by the transition). If one is able to deduce that the image is that of hydrogen, the time and distance should be understandable.

The plaque also contains a map of our sun relative to 14 pulsars as well as the center of our galaxy, conveying both the distances to the pulsars and their frequency in binary notation. As this image conveys copious objective data, a spacefaring species might well be able to easily interpret it.

Finally, the plaque contains a map of the solar system. The solar system map is likely among the more easily interpreted parts of the plaque, with Pioneer shown to have originated from the third planet. The plaque was created at a time when Pluto was still considered the ninth planet (before the discovery of other trans-Neptunian dwarf planets such as Eris and Sedna, among others), but it would still direct the reader’s attention to Earth if they were able to figure out that our solar system was the one depicted.

Voyager’s Golden Record

The Voyager record asks more of whoever finds it but gives more information in return. These phonographs, attached to the spacecraft bus, feature a cover illustration and over 90 minutes of audio on the reverse side. The cover illustration features the same image of hydrogen and the same pulsar map as found on the Pioneer plaque. Of critical importance, the Voyager records convey instructions on how to play them, such as how to affix the attached stylus, at what rate of rotation the record must be spun, and the proper waveform of signals generated by the record. It also explicitly tells the reader how to know if they are viewing the images properly via an engraving of what the first image (a circle) should look like. While this may seem very daunting, the challenge is primarily technical and might well be easily overcome by an advanced spacefaring species.

An alien species might well find more difficulty in interpreting the audio samples, music, and images contained on the record. There are over 50 greeting messages in different languages. While the specifics of the messages are likely to be uninterpretable, they would at least convey to the listener the diversity of the creatures who created the Voyagers.

Similarly, the musical selections chosen demonstrate a wide range of human musical styles (ranging from works of Beethoven and Stravinsky to those of Chuck Berry, among others). While the lyrics of “Johnny B. Goode” are probably gibberish to an extraterrestrial, the beat and rhythm of the song would convey a tremendous amount to an alien listener.

Of perhaps the greatest importance are the 115 images encoded on the record. The first six images, if decoded properly, provide immense technical data for the reader regarding mathematical definitions, scales and sizes, as well as additional information regarding our location and how to find us. Images of the sun and its spectrum, as well as some of the planets in our solar system, could help the discoverer of the Voyagers to find us should they decide to pay the Earth a visit. There are also approximately 20 medical and scientific diagrams including the structure of DNA and detailed images of human anatomy. These images could likely be interpreted correctly given their concrete nature.

The Voyager record also contains a plethora of images of humans engaged in a variety of activities (including eating, looking through a microscope, and even going on a spacewalk). While many of these images would be hard to interpret (e.g., a picture of a woman licking an ice cream cone or a photo of a string quartet) the images would at least convey that humans have created a complex civilization with some degree of advanced technology.

The Big Picture

As Marshall McLuhan famously said, “The medium is the message.” While the recipients of the Pioneer plaque or the Voyager record might never understand everything we are trying to convey, the fact that these messages were placed on interstellar spacecraft carry (both for them and for us) a deeper message — that humans created these spacecraft and that we want to tell the universe who we are.

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NASA finally hears from most distant spacecraft Voyager 1 months after it was last heard from

N ASA has finally received intelligible information from Voyager 1 , after the most distant spacecraft from Earth stopped sending back understandable data in November.

Flight controllers traced the blank communication to a bad computer chip and rearranged the spacecraft’s coding to work around the trouble. NASA’s Jet Propulsion Laboratory in Southern California declared success after receiving good engineering updates late last week.

The team is still working to restore transmission of the science data. It takes 22 1/2 hours to send a signal to Voyager 1, more than 15 billion miles (24 billion kilometres) away in interstellar space. The signal travel time is double that for a round trip.

READ MORE: Trump channels 'brooding Silverback Alpha' trying to look 'menacing' in court

Contact was never lost, rather it was like making a phone call where you can’t hear the person on the other end, a JPL spokeswoman said on Tuesday.

It comes after scientists exploring the farthest reaches of our solar system detected an eerie 'hum' using the Voyager 1. Instruments on board NASA's Voyager 1 spacecraft, which more than a decade ago left our solar system's outer reaches, picked up the faint, monotonous sound in 2017.

Experts said it was caused by the constant vibrations from small amounts of gas found in the near-emptiness of interstellar space. It represents the background noise present in the vast expanse between star systems, according to a study published in the journal Nature Astronomy.

For all the latest on news, politics, sports, and showbiz from the USA, go to The Mirror US .

Stella Koch Ocker, a Cornell University doctoral student in astronomy and lead author of the study, said: "The persistent plasma waves that we've just discovered are far too weak to actually hear with the human ear. If we could hear it, it would sound like a single steady note, playing constantly but changing very slightly over time."

Voyager 1 previously detected disturbances in the gas in interstellar space triggered by occasional flares from our sun. NASA’s Voyager 2 spacecraft had a brief blip in August before flight controllers corrected a mistake that had led to weeks of silence. Hurtling ever deeper into interstellar space billions of miles away, Voyager 2 stopped communicating. Controllers sent the wrong command to the 46-year-old spacecraft and tilted its antenna away from Earth.

Then, NASA’s Deep Space Network sent a new command in hopes of repointing the antenna, using the highest-powered transmitter at the huge radio dish antenna in Australia . Voyager 2’s antenna needed to be shifted a mere 2 degrees. It took more than 18 hours for the command to reach Voyager 2 — more than 12 billion miles (19 billion kilometres) away — and another 18 hours to hear back.

The long shot paid off, as eventually, the spacecraft started returning data again, according to officials at California’s Jet Propulsion Laboratory.

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Well, hello, Voyager 1! The venerable spacecraft is once again making sense

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Members of the Voyager team celebrate at NASA's Jet Propulsion Laboratory after receiving data about the health and status of Voyager 1 for the first time in months. NASA/JPL-Caltech hide caption

Members of the Voyager team celebrate at NASA's Jet Propulsion Laboratory after receiving data about the health and status of Voyager 1 for the first time in months.

NASA says it is once again able to get meaningful information back from the Voyager 1 probe, after months of troubleshooting a glitch that had this venerable spacecraft sending home messages that made no sense.

The Voyager 1 and Voyager 2 probes launched in 1977 on a mission to study Jupiter and Saturn but continued onward through the outer reaches of the solar system. In 2012, Voyager 1 became the first spacecraft to enter interstellar space, the previously unexplored region between the stars. (Its twin, traveling in a different direction, followed suit six years later.)

Voyager 1 had been faithfully sending back readings about this mysterious new environment for years — until November, when its messages suddenly became incoherent .

NASA's Voyager 1 spacecraft is talking nonsense. Its friends on Earth are worried

It was a serious problem that had longtime Voyager scientists worried that this historic space mission wouldn't be able to recover. They'd hoped to be able to get precious readings from the spacecraft for at least a few more years, until its power ran out and its very last science instrument quit working.

For the last five months, a small team at NASA's Jet Propulsion Laboratory in California has been working to fix it. The team finally pinpointed the problem to a memory chip and figured out how to restore some essential software code.

"When the mission flight team heard back from the spacecraft on April 20, they saw that the modification worked: For the first time in five months, they have been able to check the health and status of the spacecraft," NASA stated in an update.

The usable data being returned so far concerns the workings of the spacecraft's engineering systems. In the coming weeks, the team will do more of this software repair work so that Voyager 1 will also be able to send science data, letting researchers once again see what the probe encounters as it journeys through interstellar space.

After a 12.3 billion-mile 'shout,' NASA regains full contact with Voyager 2

• interstellar mission

Contact restored with NASA’s Voyager 1 space probe

Contact restored.

That was the message relieved NASA officials shared after the agency regained full contact with the Voyager 1 space probe, the most distant human-made object in the universe, scientists have announced.

For the first time since November, the spacecraft is returning usable data about the health and status of its onboard engineering systems, NASA said in a news release Monday.

The 46-year-old pioneering probe, now 15.1 billion miles from Earth, has continually defied expectations for its life span as it ventures farther into the  uncharted territory of the cosmos .

More: Voyager 1 is 15 billion miles from home and broken. Here's how NASA is trying to fix it.

Computer experts to the rescue

It wasn't as easy as hitting Control-Alt-Delete, but top experts at NASA and CalTech were able to fix the balky, ancient computer on board the probe that was causing the communication breakdown – at least for now.

A computer problem aboard Voyager 1 on Nov. 14, 2023, corrupted the stream of science and engineering data the craft sent to Earth,  making it unreadable .

Although the radio signal from the spacecraft had never ceased its connection to ground control operators on Earth, that signal had not carried any usable data since November, NASA said. After some serious sleuthing to fix the onboard computer, that changed on April 20, when NASA finally received usable data.

In interstellar space

The probe and its twin, Voyager 2, are the only spacecraft to ever fly in interstellar space (the space between the stars).

Voyager 2 continues to operate normally, NASA reports. Launched  more than 46 years ago , the twin spacecraft are standouts on two fronts: they've operated the longest and traveled the farthest of any spacecraft ever.

Before the start of their interstellar exploration, both probes flew by Saturn and Jupiter, and Voyager 2 flew by Uranus and Neptune.

More: NASA gave Voyager 1 a 'poke' amid communication woes. Here's why the response was encouraging.

They were  designed to last five years but have become the longest-operating spacecraft in history. Both carry  gold-plated copper discs  containing sounds and images from Earth, content that was chosen by a team headed by celebrity astronomer  Carl Sagan .

For perspective, it was the summer of 1977 when the Voyager probes left Earth. "Star Wars" was No. 1 at the box office, Jimmy Carter was in the first year of his presidency, and Elvis Presley had just died.

Contributing: Eric Lagatta and George Petras

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April 27, 2024

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NASA hears from Voyager 1, the most distant spacecraft from Earth, after months of quiet

by Marcia Dunn

NASA has finally heard back from Voyager 1 again in a way that makes sense.

The most distant spacecraft from Earth stopped sending back understandable data last November. Flight controllers traced the blank communication to a bad computer chip and rearranged the spacecraft's coding to work around the trouble.

NASA's Jet Propulsion Laboratory in Southern California declared success after receiving good engineering updates late last week. The team is still working to restore transmission of the science data.

It takes 22 1/2 hours to send a signal to Voyager 1, more than 15 billion miles (24 billion kilometers) away in interstellar space . The signal travel time is double that for a round trip.

Contact was never lost, rather it was like making a phone call where you can't hear the person on the other end, a JPL spokeswoman said Tuesday.

Launched in 1977 to study Jupiter and Saturn, Voyager 1 has been exploring interstellar space — the space between star systems — since 2012. Its twin, Voyager 2, is 12.6 billion miles (20 billion kilometers) away and still working fine.

© 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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You’re gonna need a bigger number: Scientists consider a Category 6 for mega-hurricane era

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In 1973, the National Hurricane Center introduced the Saffir-Simpson scale, a five-category rating system that classified hurricanes by wind intensity.

At the bottom of the scale was Category 1, for storms with sustained winds of 74 to 95 mph. At the top was Category 5, for disasters with winds of 157 mph or more.

In the half-century since the scale’s debut, land and ocean temperatures have steadily risen as a result of greenhouse gas emissions. Hurricanes have become more intense, with stronger winds and heavier rainfall. This week a research team at the University of Pennsylvania led by climate scientist Michael Mann predicted that the North Atlantic will see an unprecedented 33 named tropical cyclones from June 1 to Nov. 30.

With catastrophic storms regularly blowing past the 157-mph threshold, some scientists argue, the Saffir-Simpson scale no longer adequately conveys the threat the biggest hurricanes present.

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Earlier this year, two climate scientists published a paper that compared historical storm activity to a hypothetical version of the Saffir-Simpson scale that included a Category 6, for storms with sustained winds of 192 mph or more.

Of the 197 hurricanes classified as Category 5 from 1980 to 2021, five fit the description of a hypothetical Category 6 hurricane: Typhoon Haiyan in 2013, Hurricane Patricia in 2015, Typhoon Meranti in 2016, Typhoon Goni in 2020 and Typhoon Surigae in 2021.

Patricia, which made landfall near Jalisco, Mexico, in October 2015, is the most powerful tropical cyclone ever recorded in terms of maximum sustained winds. (While the paper looked at global storms, only storms in the Atlantic Ocean and the northern Pacific Ocean east of the International Date Line are officially ranked on the Saffir-Simpson scale. Other parts of the world use different classification systems.)

Though the storm had weakened to a Category 4 by the time it made landfall, its sustained winds over the Pacific Ocean hit 215 mph.

“That’s kind of incomprehensible,” said Michael F. Wehner , a senior scientist at the Lawrence Berkeley National Laboratory and co-author of the Category 6 paper. “That’s faster than a racing car in a straightaway. It’s a new and dangerous world.”

In their paper, which was published in the Proceedings of the National Academy of Sciences, Wehner and co-author James P. Kossin of the University of Wisconsin–Madison did not explicitly call for the adoption of a Category 6, primarily because the scale is quickly being supplanted by other measurement tools that more accurately gauge the hazard of a specific storm.

“The Saffir-Simpson scale is not all that good for warning the public of the impending danger of a storm,” Wehner said.

Science & Medicine

After months of silence, Voyager 1 has returned NASA’s calls

The spacecraft launched in 1977 and is now 15 billion miles from Earth. It went silent in November. Scientists at JPL figured out how to get it talking again.

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The category scale measures only sustained wind speeds, which is just one of the threats a major storm presents. Of the 455 direct fatalities in the U.S. due to hurricanes from 2013 to 2023 — a figure that excludes deaths from 2017’s Hurricane Maria — less than 15% were caused by wind, National Hurricane Center director Mike Brennan said during a recent public meeting. The rest were caused by storm surges, flooding and rip tides.

The Saffir-Simpson scale is a relic of an earlier age in forecasting, Brennan said.

“Thirty years ago, that’s basically all we could tell you about a hurricane, is how strong it was right now. We couldn’t really tell you much about where it was going to go, or how strong it was going to be, or what the hazards were going to look like,” Brennan said during the meeting, which was organized by the American Meteorological Society. “We can tell people a lot more than that now.”

He confirmed the National Hurricane Center has no plans to introduce a Category 6, primarily because it is already trying “to not emphasize the scale very much,” Brennan said. Other meteorologists said that’s the right call.

“I don’t see the value in it at this time,” said Mark Bourassa , a meteorologist at Florida State University’s Center for Ocean-Atmospheric Prediction Studies. “There are other issues that could be better addressed, like the spatial extent of the storm and storm surge, that would convey more useful information [and] help with emergency management as well as individual people’s decisions.”

Simplistic as they are, Herbert Saffir and Robert Simpson’s categories are the first thing many people think of when they try to grasp the scale of a storm. In that sense, the scale’s persistence over the years helps people understand how much the climate has changed since its introduction.

“What the Saffir-Simpson scale is good for is quantifying, showing, that the most intense storms are becoming more intense because of climate change,” Wehner said. “It’s not like it used to be.”

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Sounds of Mars: Hello from the children of planet Earth

NASA attached golden records to each of the twin Voyager spacecraft before they launched in 1977. The purpose was to send a message from Earth to any spacefarers that might find the spacecraft in the future. In addition to images, music, and sounds from Earth, greetings in 55 languages were aboard, including this one in English.

This audio clip has been adjusted to simulate what it might sound like in the atmosphere of Mars. Scientists on the Perseverance rover team took into account the three key variables of atmospheric temperature, density and chemistry to generate this Mars version.

Sounds of Mars: Hello from the children of planet Earth (Earth)

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• The Contents
• The Making of
• Where Are They Now
• Frequently Asked Questions
• Q & A with Ed Stone

golden record

Where are they now.

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Mission Status

Instrument status.

Where are the Voyagers now?

To learn more about Voyager, zoom in and give the spacecraft a spin. View the full interactive experience at Eyes on the Solar System . Credit: NASA/JPL-Caltech

View Voyager

Space Flight Operations Schedule (SFOS)

SFOS files showing Voyager activity on Deep Space Network (DSN)

2024 Tracking Schedule

2023 tracking schedule, 2022 tracking schedule, 2021 tracking schedule, 2020 tracking schedule, 2019 tracking schedule, 2018 tracking schedule, 2017 tracking schedule, 2016 tracking schedule, 2015 tracking schedule, 2014 tracking schedule, 2013 tracking schedule, 2012 tracking schedule, 2011 tracking schedule, 2010 tracking schedule, 2009 tracking schedule, 2008 tracking schedule, 2007 tracking schedule, 2006 tracking schedule, 2005 tracking schedule, 2004 tracking schedule, 2003 tracking schedule, 2002 tracking schedule, 2001 tracking schedule, 2000 tracking schedule, 1999 tracking schedule, 1998 tracking schedule, 1997 tracking schedule, 1996 tracking schedule, 1995 tracking schedule, 1994 tracking schedule.