surface, a treasure chest of humanity’s creative intellect. The New York Times recently uncovered that the moon is soon to be the permanent home of a digital vault of human creativity \u2013 the Lunar Codex.<\/span><\/p>\nThe Lunar Codex is a space-bound time capsule, storing a kaleidoscope of our modern creative expressions. It\u2019s a cosmic library of art, poetry, magazines, music, film, podcasts, and books. Housing the imagination of 30,000 artists, writers, musicians, and filmmakers across 157 countries, it’s a global endeavor initiated by the semi-retired Canadian physicist and author, Samuel Peralta.<\/span><\/p>\nThe Cosmic Anthology<\/b><\/h2>\n
As the brainchild of Peralta, the executive chairman of Toronto-based media and technology firm Incandence, the Lunar Codex project came to life through numerous collaborations. Peralta reached out to creators far and wide, seeking their masterpieces and permissions for free inclusion in this interstellar anthology. However, each work had one qualifying criterion \u2013 they must have been showcased in an exhibition, catalogue, or anthology previously.<\/span><\/p>\nThe Lunar Codex, a compact vault of our creative endeavours, neatly divided into four time capsules, brims with data etched onto digital memory cards. These lightweight analog media storage devices hold up to 150,000 laser-etched microscopic pages of text or photos, all on one 8 1\/2-by-11-inch sheet.<\/span><\/p>\n“There isn’t anything like this anywhere,” Peralta stated proudly in an interview. He was right; the Lunar Codex is truly a global first in launching cultural works into space.<\/span><\/p>\n \r\n \r\n \r\n \r\n \r\n
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\r\n Discover the Lunar Codex, an interstellar time capsule of human artistry set to call the moon home. Dive into unique project launching our culture into the cosmos.<\/span><\/p>\n <\/span>\r\n\r\n \r\n
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Drawing Parallels from Past Endeavours<\/b><\/h2>\n
The Lunar Codex, whilst unique, brings to mind past projects like NASA’s Golden Record. Launched in 1977, this time capsule, hitching a ride on the Voyager probes, carried audio and visual images imprinted on a metal disk.<\/span><\/p>\nYet another lunar artistic footprint is “The Moon Museum,” a tiny ceramic tile with line drawings from artists like Forrest Myers, Andy Warhol, and others, which travelled to the moon attached to Apollo 12 in 1969. The Belgian artist Paul van Hoeydonck also left his mark with an aluminum sculpture during the Apollo 15 mission in 1971.<\/span><\/p>\nModern artists like Jeff Koons, Sacha Jafri, and Xu Bing have even tried dispatching their works to space, with varying degrees of success.<\/span><\/p>\nA Glimpse into the Lunar Codex<\/b><\/h2>\n
Unlike the Apollo missions, the Lunar Codex is a testament to diversity, featuring works by female artists. Notable mentions include linocuts by Olesya Dzhurayeva, the Ukrainian printmaker who fled Kyiv in 2022, Ayana Ross\u2019s 2020 painting New American Gothic, Alex Colville\u2019s 1980 serigraph New Moon, and archives from the poetry radio show\/podcast \u201cThe Poet and the Poem.\u201d<\/span><\/p>\nLast year, a codex orbited the moon as part of <\/span>NASA\u2019s<\/span><\/a> Orion mission. As we eagerly anticipate fall, we can expect further capsules launching under NASA\u2019s Commercial Lunar Payload Services program.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":10028,"featured_media":166516,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[411],"tags":[],"class_list":["post-166425","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-interest"],"acf":[],"_links":{"self":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/166425"}],"collection":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/users\/10028"}],"replies":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/comments?post=166425"}],"version-history":[{"count":0,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/166425\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media\/166516"}],"wp:attachment":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media?parent=166425"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/categories?post=166425"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/tags?post=166425"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}