A peculiar evening on January 3, 2004 contained a terrifying five minutes for researchers at NASA's Jet Propulsion Laboratory in California. Around 7:45 p.m., the Spirit rover started its descent to the Surface of the planet, as a crowd of technicians as well as others, being unable to obtain contact from the spacecraft for the period being, awaited proof of its progress with bated breath. The moving robotic lab would just have to apply the brakes from 13,000 miles/hour to zero miles/hour, supported by a rocket engine, a huge umbrella, airbags, and opposite way firing rockets, with no feedback from its animation effects, who'd been frantically playing drums on their tables in California. Finally, successful human exploration of Mars could be established, remotely of course.
However, how does someone catch the intensity of the moment, the friction between spectators, the glory of the effort, and its consequences for scientists and the wider community? José Francisco Salgado, an astrophysicist, had some thoughts. He put together such a movie some few years ago wherein the arrival occurrence happens as a surreal, and eventually heroic film. Attendees at the film's screenings — one among many in his "Technology and Science Symphony" series — see a recreation of Spirit's path on a massive screen as a symphony band performs "Mars, The Savior of War" from "The Galaxies," Gustav Holst's most popular addition to the renowned music.
In Salgado's version, the aesthetics and sound are perfectly aligned, so that the spacecraft's tense fall happens throughout a prolonged and growing chorus in Holst's piece. At the instrumental culmination of the design roaring warning of music blasting trumpets and tympani—the aquila of a rover sigh and move into the foreign soil. A scenario like this will be completely at home in any range of science-fiction movies.
In addition, this is not fictional story. Salgado produces which he calls "scientific driven art" from KV 265, an organization he founded to develop movies and other science projects. He created a micro movie for all of the six to seven sections of Holst's of suite for the project of planets (Holst centered his projects on the meteorological character traits than the scientific facts—of each universe, and Holst didn't included the planet Earth). All the movies blend real footage with projections, video clips, and drawings from different sources, such as historical documents and artistic perceptions. Salgado's universe films first appeared 17 years ago.