MECHANICS -- A Report from Japan

Heavy metal. 

Heavy metal. 

The choreography rivals precision aerial acrobats. The teamwork reflects the forward line of a pro football team. This is the vanguard of NASA's mechanical engineering corps, and to experience them at their full operational power is to gain a profound appreciation for how much more goes into spaceflight than big, booming rockets.

Ages range from mid-twenties well into mid-sixties. A handful of women in the ranks reflects a slowly changing demographic, but it's still mostly a male crew. A visitor may have to look carefully, however. The clean room "bunny" suits everyone must wear has a way of turning human morphology into ambulatory, genderless marshmallows. They're always funny the first time someone suits up. Then they're not. Proper clean room garb includes non-static jumpsuits embedded with micro-mesh electro-diffusion wires, designed to insure that even the smallest discharge of static electricity has no chance of damaging delicate circuit boards. Face masks, hair bonnets, rubber gloves, and electrostatically inert booties complete the ensemble. Different missions have levels of "clean", necessitating nuanced differences in clean room attire, but generally speaking, wearers get used to the extra layers in no time.

The mechanical team handles physical aspects of satellite readiness. How do you move a delicate, billion dollar bird around the globe? That's mechanical's job.

Wrenches and muscle power come into play, of course, but the mechanical team needs to be knowledgable about a range of disciplines. Working closely with electrical engineers, environmental specialists, satellite designers and more, seemingly simple decisions go through rigorous analysis and consideration before they're implemented lest unintended down-stream consequences accrue.

That is, of course, the plan. When things come down to old fashioned common sense, this is the team you want to have.

Standing next to Mechanical Team Lead Jay Parker, I watch as the crew prepares to extract the satellite from it's L-frame, the mounting skeleton in which it travelled around the world in its shipping box. "See this?" he says. "There's only three inches of clearance between the satellite and the frame. We can't just lift it up and out. Too tight." The massive overhead crane can handle the weight, but the problem is a risk that part of the fragile solar array scrapes the structural girders of the frame. He tells me the plan is to simply release the satellite from it's mounting base, and slide it out of the frame horizontally. To the question about how his guys plan to keep the satellite inside it's narrow safety envelope, he deadpans, "Very carefully." The technique involves little more than horse sense, patience, superb teamwork, and a sculptor's gaze before striking chisel to stone: they're going to eyeball the situation and simply make sure the satellite doesn't swing where it shouldn't.

Twenty-minutes later the satellite hangs in space, suspended from high-tension cables. Free of its shipping skeleton, the team begins moving it slowly across the vast integration facility where it will be attached to a special articulating table. Centimeter by centimeter, the bunny suited experts make these moves look easy. On the way to space, these stately, precision maneuvers on the ground matter just as much as lighting the main engines.

SENSUAL

Sensual beach

Sensual beach

Some kisses you remember for a lifetime.

What is sensual? It's more than physicality. It's tied to memory, to emotion, to dreams. It has to be. The sensual immediacy you have recalling that summer when you were nine years old playing at your friend's house, near that gnarled oak tree in the backyard, is just as resonant now as it was those many years ago. You easily recall the roughness of the bark when you climbed the trunk, projected into imagination as if you were climbing the side of a thousand foot cliff. There was the pleasing exertion in your legs as you levered yourself onto the rickety plywood platform perched high in the main crook of the tree. There was the smell of mud and leaves, July's great passion urging the powerful tree to unfurl. You experienced those sensations then, but you remember them all to this day.

That's memory. Memory sends us into the past. But some expressions of sensuality project solidly into the future.

The press of desire you feel when lost in thought about days not yet lived are always sensual. Are you dreaming of a vacation? Most certainly those thoughts are not just abstractions. You can smell the beach, the mountains, the city, your girlfriend, the cafe where you imagine ordering fruit and cheese, even if you've never visited the location of those dreams. It's a conjuring of future moments not yet lived. It's sensual even just to imagine the brush fine Phuket sand beneath your toes. You're sent through time and space, you hear the sea. The aroma of fresh baked bread drifting over the cobblestones on Rome's Via del Moro, the morning sun sparkling on the medieval facades of the 7th Arrondissement in Paris--you always live where your mind sends you.

Sensuality is not always kind. You'll never forget the stuffy, overheated 5th grade math classroom you endured. You'll never be free of the rotting smell from the back of that twin turboprop bound for Grand Rapids you suffered for hours on the tarmac. You'll never forget the angry hunger you felt growing up when your parents lost their jobs and times got tight. Our senses imprint themselves like water etches paths through stone.

These days we all seem to push sensual experience essentially into two camps. Sensual experiences are either extreme or ignored. That's too bad. I hate to miss a minute of my day, but I also know that I cannot easily live in a purely sensual space. I often wish I could, but I know that's not realistic.

But memory or anticipations for the future can distract us from life, right now. Don't miss the sensuality of life lived today. Feel your feet beneath you. Feel the ways your heels contact the ground first, how you roll through your foot, hip joints making endless pendulum swings in their sockets high above.

Perhaps your hip joints are past their prime, bind a little when they shouldn't, cause you to wince. Perhaps you're young and spry, an athlete, a nymph. Either way, the great pleasure of being aware of your own physicality in the world is yours to experience. It's true: aching joints traditionally do not provoke pleasurable thoughts, but you're thinking about this all wrong if immediate pleasure is the only reward. Even in the distress of our days--and some of us face longer lists of distress than others--there are the roots of our future history. Each feeling is a story, and each story we allow ourselves to feel is a moment when we're each more present in our day. I'm not suggesting that you embrace what ails you, that your pains are equivalent to what makes you feel good, but I am suggesting that you reconsider the feelings, that you recognize them for what it can offer. They remind you that you're alive, and the alternative is hard to imagine at all.

The sensual aspects of our days are the essential balance to the intellectual pressure of modernity. We enjoy seeing an attractive person because of the narrative force that inevitably will accrue to that sensual experience, even if that force is pure fantasy. It's okay: you're human. The next time you smell something in the oven that makes you wonder when supper will be ready, you're doing the same thing.

When you think about this all later today, checking your email, waiting for a red light, replacing the ink cartridge in the printer, remember to connect even those most mundane experiences to your own sensual experience. It's not the smell of the ink that makes us thoughtful. It's the fact that we can stop to notice it in the first place that makes us human. The moment we try to ignore, or worse, suppress the sensual aspects of our lives is the moment that we miss the best parts of the short time we have to be alive.

--MS   (Hey, you can follow me on Twitter @michaelstarobin if you're so motivated.)

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WABI-SABI

One red leaf

One red leaf

Perfection isn't real. Perfection only exists in mind. Therefore, for something to be a perfect depiction of anything else -- a feeling, an image, a sound, an idea-- it must be imperfect.

That paradox gets my heart going every time I think about it.

Say it: wabi-sabi. It's balanced in the mouth like an aged cabernet. It's rhythmic to the ear like controlled breathing to a long distance runner. There is no perfect translation from the Japanese, it's source, but the measure of it's aesthetic is deep and profound. It speaks of balance and peacefulness, imperfection and beauty, and above all, life.

Nothing lasts forever, but in the digital age we're often led to believe otherwise. Everyone's heard that every bit of data we enter into our various electronic devices persists, eternally discoverable. There's always a record, we're told, always a copy backed up on a server, somewhere. Everything is searchable.

Wabi-sabi says otherwise. Impermanence defines all things. Wabi-sabi says that perfection is an unattainable goal. What we create––as individuals and as cultures--exists in finite time. In the digital world those lifespans may be artificially extended but ultimately they reach an end. All things are finite, and as such, all things are imperfect.

It's essential to realize that there's always a new creative discovery, a new idea to pursue, even if nothing lasts forever.  But the moment a creative person thinks his or her invention is so important that it can transcend time's infinite reach is the moment creativity fails to understand it's own finite heartbeat.  Nothing lasts forever, and an embrace of that melancholy thought confers vital license for creative people of all stripes to take passionate risks and dare to reach for greatness.

Perfection may be unattainable, but it is an asymptotic goal, and we can eternally approach it. To achieve the sublime, perfecting imperfection becomes one of the most fabulous koans of all.

--MS

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COMET

A comet is not a star, by the way

When you wish upon a star, it makes no difference who you are.

If someone's light that shines so bright-- lights up your life like sun at night-- it's hard to keep a level head if you wished it yours instead.

Songs, and films, and books, and deals: are you stuck just spinning wheels? Those who finally ignite, should not be pilloried by spite.

Instead, the measure of their due reviewed-- inspiration: refreshed, renewed.

Chance success for some, it's true: perhaps those odds are not for you. To beat The House by chance is rare, but labor's love can get you there.

Thus tales of other's success should stand as forward-leaning fetch toward land. Grab the light and ride the air and by example you'll travel there

…because…

It makes no difference who you are when you wish upon a star.

--MS

@michaelstarobin facebook.com/1auglobalmedia facebook.com/michael.starobin

THE TITLE OF THIS ESSAY WAITS TO REVEAL ITSELF

Steinway It always happens. Days, weeks, sometimes even months of grinding work suddenly reach a crest in the shadowed road and then pass over the rise into exhilarating bright light. Intangibility turns solid. Ideas become real. Light floods the space and suddenly something exists in the world in a way that didn't exist a moment before.

That transformative jolt is not simply an epiphany suddenly making it's presence known. That jolt is akin to the lighting that reanimated Dr. Frankenstein's monster. Hard, incremental work prepared the space, with little emotional resonance. Hard work yesterday turns into hard work today, with the promise of more to come tomorrow. Intellectually we may understand the trajectory of an undertaking, but emotionally it's hard to believe that tiny steps taken day after day will actually amount to anything useful. But then the lifecycle of a project reaches a mid-point, and something must transform somehow, or at least make room for new components. When it's clicking some sort of new, élan vital enters the body, takes a breath and fires cells to life…

…and here's the crazy thing: those moments are hard to predict.

But sometimes you can get a hint that they're coming.

I'm writing this blog entry sitting in a recording studio in Athens, Ohio while our music master Andre (Hey! Check the rest of our website for a photo and bio!) is hunched over the piano working on a score for our new Science On a Sphere movie WATER FALLS. I think I speak for the whole team when I say that we all look forward to this phase of a big production, even as we're all starting to feel the strain of exertion and fleeting time. The work is serious and hard but simultaneously joyful. The process is a complete embrace of the best parts of life. It creates matter from void; it declares emotional resonance from nothing but memory and inspiration. For WATER FALLS, months of effort have led us here. We finally have a rough cut of the film capable of supporting serious dialogue between itself and musical ideas. No doubt that music will re-inform the visuals, and we'll be in a sudden pas-de-deux between the two, pictures influencing audio, audio influencing picture.

I've been doing this work for decades, and it still makes my heart rate pick up the pace. A moment ago, something that never existed before suddenly sprang into being, achieving enough mass and complexity to transform from a pile of matter into a gleaming structure, a temple, a town, a soul. There's music behind the pictures, and an a flooding list of notes running off the the pages in my notebook, and though the hour is late, I am wide awake and scribbling as fast as I can.

Moments of discovery are rare. The do not come easily. They are milestones along long, often forced marches, and they do not, by themselves, pay the rent. But placed against the endless labors of ordinary days, they are gleaming cracks in the often opaque facades of what we're all forced to endure in ordinary days. Moments of discovery shine light on what we all so desperately want to believe could be great, meaningful, shimmering substance of lives worth living.

--MS

--MS

Twitter @michaelstarobin Facebook facebook.com/1auglobalmedia

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Like what you see? Set it free.

 

ALONE

Pen and Notebook Modern electronic media and traditional art are not synonymous, although they both draw water from the same well. Creative media always seeks to establish a relationship with an audience, while art may be the product of other motivations. Both inevitably require substantial creative energies to come into being. Both may invest a great measure of personality from their creators. But above all, creative work of all types inevitably demands a sizable measure of time on the part of the creator focused in his or her own head, often alone.

The irony here should be obvious. Whether by force of a pen inscribing a few precious lines of poetry, or a stage director looking to send shivers all the way into the back row of the theater, most moments that convey meaning and emotional response stem from intense, focused, often private labor. We understand the poet immediately, quietly scratching out verse while leaning thoughtfully against the trunk of a tree. If you're wondering about the stage director, remember that long before he or she meets with actors and set designers and lighting techs, a director must do the work of refining a vision. There's reading and there's often writing, too. There's research and study, and like your parents always used to tell you about homework, no one can do it for them.

The same is true for those who produce soda commercials and magazine make-up advertisements. Even as more billable creative work tends to operate inside the forum of larger organizations, the day- to-day effort of writing scripts, drawing storyboards, or processing digital images from photographic memory cards comes down to one person leaning in to the work, often for many hours alone.

Of course, creative types often DO work with other people; most disciplines demand it. But I find those to whom I pay most attention are capable of motivating themselves outside the pressures of groups.

Make no mistake: I love working with teams. The energy and invention and even bonhomie camaraderie of creative teams has rare equal, even if it occasionally comes with intense interpersonal challenges. The pleasures of sharing ideas, of finding growth that always surpasses the limits of what any one person could singularly invent, imbues resonant satisfactions. People are interesting! The best experience from working in groups is the reflection of larger humanity's historical sweep of achievement, of culture. In a narrow microcosm, we recreate the best of our own shared triumphs as a species and celebrate it with re-enactment.

But like all performances, the lights ultimately dim. Even after standing ovations, audiences always go home. Players who live for the applause often don't survive. Applause is fleeting. But those who can take pleasure and satisfaction in the intense world of singularly creative mind return to quiet spaces and dream again. If they're good, applause may very well return. If they're perceptive, they may even be aware that applause is something they can court. But if they care about their craft, whatever it may be, that time alone is something they're not going to trade for anything in the world.

--MS

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