+++*

Symbolic Forest

A homage to loading screens.

Blog : Posts from October 2021

The spooky season

So, a trip to a particularly impressive tomb

It being the end of October, tonight is Halloween, or nos calan Gaeaf for any Welsh-speakers reading. I’m not in costume and I haven’t decorated the house, but I did think it might be nice to have a suitably Halloween-themed post on here. Rather than go with ghosts, ghouls or goblins, I’ve gone with a tomb, a relatively interesting one, so much so that English Heritage have designated it a listed building. It’s a place I only found out about a few months back via an Instagram post by Kate of Burials and Beyond. As it’s only a couple of miles or so from where I grew up, my immediate reaction was “why have I not heard about this place before?” So yesterday, I went down there with my camera.

The Haagensen Memorial

This is the Haagensen Memorial, carved from a single block of marble and desposited on a plinth in one corner of a Lincolnshire cemetery. Underneath it is a vault, the tomb of the Haagensen family. That’s them—well, most of them—in the statue: Janna Haagensen being escorted into heaven by an angel, whilst her grieving children try to drag her back to earth. The marble treestumps below almost look like the fingers of a hand, twisting around and trying to grasp her too.

The Haagensen Memorial

Janna Hagerup was Norwegian, born in Vinger in 1845. At the time Norway was not, strictly speaking, an independent country. Although self-governing, it was part of the United Kingdoms of Sweden and Norway, ruled by the King of Sweden and with its foreign policy controlled by the Swedish government. Janna married Peter Haagensen, a ship-broker, and in 1868 they moved to Grimsby to handle the English side of the family business. Three years after moving to Lincolnshire, the Swedish government appointed Haagensen as consul for Sweden-Norway in Grimsby.

The Haagensen Memorial

When Janna died in 1897 after a history of respiratory problems, Peter was—we can assume—heartbroken. Although the family lived in a large villa close to Grimsby town centre, by the junction of Bargate and Brighowgate, Peter purchased a cemetery plot out in the village of Laceby, a few miles away. The reason? He wanted to build a grand vault for the family, and (we can assume) the Grimsby cemetery authorities didn’t like the idea.

The memorial doesn’t just consist of the grand sculpture of Janna and her children. Below it, a marble-lined vault was excavated, with mosaic floor, and with spaces for both Janna and Peter’s coffins. The steps to the vault were closed with an ornate iron gate at ground level. You can see it today, firmly locked shut.

Entrance to the Haagensen Memorial Vault

The vault is still there in good condition below, though. On infrequent occasions, Laceby Parish Council open the vault to visitors, and you can go down and see the finely-carved marble, the mosaics, and the tombs of Peter and Janna themselves.

Entrance to the Haagensen Memorial Vault

Peter died 24 years after Janna, and was himself interred in the vault following a Norwegian-language funeral.* Norway had become fully independent in 1905, but I’m unclear whether Peter had remained consul of either or both countries—or, indeed, had retired from the roles completely.

What happened after Peter’s death, though, is a little unusual. The tomb was by far the largest memorial in Laceby cemetery; indeed, it was almost certainly the largest memorial to one family anywhere in the area. In the 1920s, therefore, it became something of a tourist attraction, with people from Grimsby, Cleethorpes and even further afield in Lincolnshire taking days out to Laceby to view the memorial. A tea room opened in the village to serve the tourist trade, and the Haagensen Memorial became a picture-postcard subject. China replicas were made, and Laceby tradesmen started up weekend jobs peddling them to the tourists, to take home and put on their mantelpieces. For a few years between the wars, the Haagensen Memorial was a local tourist hotspot. Earlier I doubt it could have happened, due to the difficulty of reaching railwayless Laceby, but in the 20s it was easy to take a charabanc tour out to the village to see the sculpture. I’m not sure how long the tourist boom lasted, but I would assume the outbreak of the Second World War put an end to the last dregs of the traffic.

Haagensen Memorial inscription. Not original, according to postcard evidence

Norway and Sweden both still maintain small consulates in Lincolnshire today. Norway’s is in Flour Square, Grimsby, near Lock Hill; Sweden have moved theirs out to Stallingborough.** The Haagensen Memorial is still maintained and preserved by Laceby parish council, but it’s not a tourist attraction any more. Indeed, when I was there yesterday to take these pictures, I was the only person in the entire cemetery. Hence, I suppose, why I’d never heard of it until this year: it’s almost forgotten. Still, let’s remember Peter and Janna Haagensen and their grand tomb. Maybe tonight, their souls will walk abroad.

The historical info in this post was largely gleaned from the official Historic England listing of the memorial.

* I’m going on the information I uncovered. What that means in practice, particularly at the time period we’re talking about, is a bit unclear, but you can assume it means some form of Danish-Norwegian.

** Ironically, the Swedish consulate in Lincolnshire is located on Trondheim Way. Presumably they couldn’t find a street named after a Swedish city.

Pictures from the past (part one)

Some more digital archaeology

I mentioned in Saturday’s post that I’ve recently been pulling data off a hard disk I haven’t touched for more years than I care to think about, and saving the things that are worth saving. The original text of my degree dissertation, for example, which I thought I’d lost, and more than one terrible short story. Photos that are even older, that I’d had scanned in for one reason and another. I thought it might be worth sharing a few bits and pieces here.

First off, this post from May 2006 about local politics was picked to be quoted in The Guardian, for some reason. So, naturally, I saved an image of the clipping.

Me quoted in The Guardian

More people probably skimmed that quote than anything else I’ve ever written on here, at least to date, but I recall it didn’t lead to any noticeable spike in traffic, showing that people just don’t bother to type in URIs they read in newspapers.

Then, among the black and white photos, these pictures of an empty croft on the edge of the village of Calanais, in the Outer Hebrides. It stood in the middle of a tongue of land sticking out into Loch Róg, with nothing but grassland all around it, so you could almost imagine you were in that famous Andrew Wyeth painting. From the fragments of newspapers we found, it had last been lived in some time in the mid-1970s.

Empty house, Calanais

Empty house, Calanais

Empty house, Calanais

When I was in the Outer Hebrides, doing archaeological things, it was standard practice to carry two cameras: one loaded with black and white film, for print, and one loaded with colour slide film, so you could lecture people. These photos are from the same trip as the empty house. The first I think shows the Ullapool ferry approaching Stornoway somewhere on the east coast of Lewis; the others are another random evening around Calanais, probably with a large supply of stubby bottles of beer. I think the croft you can see in the middle picture is the same one as in the set above.

Ferry approaching Stornoway

Around Calanais

The Calanais I stones

Some of the colour photos on that trip have never been scanned in and I think I’ve hardly even looked at them; these ones were scanned by someone I was briefly seeing, years ago, who had access to a film scanner, and scanned as many as would fit onto one CD. You never know, maybe I’ll dig the others out one day. There will probably be a few more of these posts to come, too.

Code archaeology

When things become relevant again

One thing I have been doing over the past few weeks is: finally, finally, taking the hard drive out of my last desktop computer—last used about 8 years ago at a guess—and actually copying all the documents off it. It also had stuff preserved from pretty much every desktop machine I’d had before that, so there was a whole treasure-chest of photographs I hadn’t seen in years, things I’d written, and various incomplete coding projects.

Some of the photos will no doubt get posted on here over the coming weeks, but this post isn’t about those. Because, by pure coincidence, I was browsing my Twitter feed this morning and saw this tweet from @ireneista:

we were trying to help a friend get up to speed on how to make a Unix process into a daemon, which is something we found plenty of guides on in the 90s but it’s largely forgotten knowledge

Hang on a minute, I think. Haven’t I just been pulling old incomplete coding projects off my old hard disk and saving them into Github repositories instead? And don’t some of those have exactly that code in? A daemon, on Unix, is roughly the equivalent of a “Service” on Windows. It’s a program that runs all the time in the background on a computer, doing important work.* Many servers don’t even run anything else to speak of. On both Unix and Windows systems, there are special steps you have to take to properly “detach” your code and let it run in the background as part of the system, and if you don’t do all those steps properly you will either produce something that is liable to break and stop running that it’s not supposed to, or write something that fills up your system’s process table with so-called “zombie” entries for processes that have stopped running but still need some bookkeeping information kept about them.

Is this forgotten knowledge? Well, it’s certainly not something I would be able to do, off the top of my head, without a lot of recourse to documentation. For a start all the past projects I’m talking about were written in C, for Linux systems, and I haven’t touched the language nor the operating system much for a number of years now.

None of the projects I’m talking about ever approached completion or were properly tested, so there’s not that much point releasing their full source code to the world. However, clearly, the information about how to set up a daemon has disappeared out of circulation a bit. Moreover, that code was generally stuff that I pulled wholesale from Usenet FAQs myself, tidying it up and adding extra logging as I needed, so compared to the rest of the projects, it’s probably much more reliable. The tweet thread above links to some CIA documentation released by Wikileaks which is nice and explanatory, but doesn’t actually include some of the things I always did when starting up a daemon. You could, of course, argue they’re not always needed. So, here is some daemonisation code I have cobbled together by taking an average across the code I was writing about twenty-ish years ago and adding a bit of explanation. Hopefully this will be useful to somebody.

Bear in mind this isn’t real code: it depends on functions and variables that you can assume we’ve declared in headers, or in the parts of the code that have been omitted. As the old saying goes, I accept no responsibility if this code causes loss, damage, or demons flying out of your nose.**

/* You can look up yourself which headers you'll need to include */

int main(int argc, char **argv)
{
    /* 
     * First you'll want to read config and process command line args,
     * because it might be nice to include an argument to say "dont'
     * run as a daemon!" if you fancy that.
     *
     * This code is also written to use GNU intltools, and the setup for that
     * goes here too.
     */

    /* Assume the daemonise variable was set by processing the config */
    if (daemonise)
    {
        /* First we fork to a new process and exit the original process */
        switch (fork ())
        {
        case -1:
            syslog (LOG_ERR, _("Forking hell, aborting."));
            exit (EXIT_FAILURE);
        default:
            exit (0);
        case 0:
            break;
        }

        /* Then we call setsid() to become a process group leader, making sure we are detached
         * from any terminals */
        if (setsid () == -1)
        {
            syslog (LOG_ERR, _("setsid() failed, aborting."));
            exit (EXIT_FAILURE);
        }

        /* Then we fork again */
        switch (fork ())
        {
        case -1:
            syslog (LOG_ERR, _("Forking hell x2, aborting."));
            exit (EXIT_FAILURE);
        default:
            exit (0);
        case 0:
            break;
        }

        /* Next, a bit of cleanup.  Change our CWD to / so we don't block any umounts, and 
         * redirect our standard streams to taste */
        umask (0022);
        if (chdir ("/"))
            syslog (LOG_WARNING, _("Cannot chdir to root directory"));
        freopen ("/dev/null", "w", stdout);
        freopen ("/dev/null", "r", stdin);
        freopen ("/dev/console", "w", stderr); /* This one in particular might not be what you want */

        /*
         * Listen to some signals.  The second parameters are function pointers which 
         * you'll have to imagine are defined elsewhere.  Reloading config on SIGHUP
         * is a common daemon behaviour you might want.  I can't remember why I thought
         * it important to ignore SIGPIPE
         */
        signal (SIGPIPE, SIG_IGN);
        signal (SIGHUP, warm_restart);
        signal (SIGQUIT, graceful_shutdown);
        signal (SIGTERM, graceful_shutdown);

        /* And now we're done!  Let's go and run the rest of our code */
        run_the_daemon ();
    }
}

The above probably includes some horrible mistake somewhere along the way, but hopefully it’s not too inaccurate, and hopefully would work in the real world. If you try it—or have opinions about it—please do get in touch and let me know.

* NB: this is a simplification for the benefit of the non-technical. Yes, I know I’m generalising and lots of daemons and services don’t run all the time. Please don’t write in with examples.

** “demons flying out of your nose” was a running joke in the comp.lang.c Usenet group, for something it would be considered entirely legitimate for a C compiler to do if you wrote code that was described in the C language standard as having “undefined behaviour”.

On Cleethorpes Beach (part two)

A postapocalyptic folk-art wonder

A month or so ago, I wrote about going walking on Cleethorpes Beach in the early morning, and I said at the time that as the tide goes out and comes back in, I would come back here with more to say about it. Well, I’m not the only one. Yesterday The Guardian published a travel article about just how nice a place Cleethorpes is to visit, including the beach of course, and including the thing I was always planning to write about in Part Two. So, before you click on that link there, read this first.

If you walk along the cycle path that divides dry land (and miniature railway) from marshland, and look out to see, you might from some spots see a flag fluttering out in the dunes beyond the marshes. If you wander along the tideline, let the marsh fall between you and the dry land, and wade across the beck, then you will start to see a strange, organic growth on the horizon, between the dunes and the smooth tide-washed sand, with flags flying above it. The flags are usually tattered and torn, because they don’t last long in such a windy spot.

A growth on the horizon

As you get closer it becomes a strange agglomoration, as if something has grown out of a strange affair between the sea and the marshland. Every surface is covered with something, with writing, with ornament, with rope, with decoration.

The bench

This is the Buck Beck Beach Bench, named after the beck which we waded across on our way here. If you look closely, you can see there are places to sit, although they are hugely overshadowed by all the other decorative parts of the structure.

The bench

It all started, apparently, a few years ago. A couple of the local dog walkers, who visit the spot regularly, fancied having somewhere to sit and take a break midway through their walk. They pulled together a few big pieces of driftwood, and made a rough bench, which they could sit on when passing. And from there: it just grew. More people added new parts, and started to nail and screw it together to make it a bit more robust. People started to bring decoration, to specially make signs with their name on and add it to the bench. Slowly, without any single guiding hand, it turned into the structure that’s there today.

The bench

You might be able to see changes between one of the photos in this post and the rest, because one was taken several months before the others: the tattiness of the flags is a clue. Some people must bring things a long distance, must bring hammers and nails to make their mark on it. Every winter parts get blown down or washed away, and each time people come and try to mend things, try to bring the bench back the same but different. A community has built up around it now to take care of it, to try to ensure that it is built up from wood and that plastic parts are if possible removed, and to generally make sure it stays safe and well-maintained.

The bench

If you are at the bench, it looks as if there is a tempting direct path straight back in a line to dry land. It’s not. What looks like a path actually leads straight through a bed of thick, sticky, black mud, as my friend Ms T. found when she tried it. The safe route is much longer and contorted, with a large double-back to it, and still is rather dangerous at times due to the creeks winding through the marsh, several feet deep at high tide. As I said I prefer to wade across the beck at low tide, when it spreads out across the sands into a delta a mere few inches deep. The most dangerous route of all is to cut directly across to Cleethorpes seafront, through a maze of flooded channels and sticky mud. There is a firm bar of sand out near the bench itself, but walking from that bar across to the Prom is much more hazardous than any other option.

Nothing lasts forever, of course, everything grows and then fades once more. Maybe the bench will become a victim of its own success, now it’s appeared in the national press. Maybe it will keep growing and evolving and changing until it is unrecognisable; until it will become almost a castle of gnarls and tangles, or picks up its feet and begins to walk. Right now, though, it is a lovely spot to visit, a lovely spot to clear your mind, a spot to sit and watch the waves go by. May it stay so, at least for now.

Insomiac

Or, the trouble with sleep

Sleep has been difficult, recently. It’s been difficult for a while.

I’m not quite sure exactly, what’s been wrong. There’s been a bit of upheaval in my life lately, but it started before that. It started back in April or May or so. I started to have trouble sleeping, and moreover it always fell—falls—into a very particular pattern. I go to bed at a sensible time (about ten, say). I then wake up between midnight and one, convinced it is already morning, and have trouble getting back to sleep. I then wake up a second time around four, and have trouble getting back to sleep again. Sometimes I then wake between five and six and just give up at that point. If I really had trouble at four, my alarm will catch me in deep sleep and I’ll feel awful for the rest of the day.

Why does it happen, though? Why always at those times, every night, and why can I not get back to sleep again. One issue with the latter is the temptation to pick up my phone, to type out whatever is going round and round in my head or see who else is similarly troubled. When I do that, when my brain switches on the mode for assembling thoughts into concepts and words into sentences, I’m always going to struggle to turn it off again. Especially as, the first time I wake up in the night, I always seem to wake feeling it must be almost alarm time, that dawn is only just around the corner, even if in reality I’ve only been asleep an hour or two.

I’m not sure. Maybe I do have lots of problems bubbling away in my head, but the problems change, the ground shifts, but I still keep waking at those same times. Wherever I happen to be sleeping, whatever time I went to bed, I still keep waking at those same times. And I wish it woudl stop, that one night I would sleep right through rather than waking and worrying and wondering how to fix whatever is on my mind.

Still, one day, I’ll manage to at least partly put the world to rights, one way or another. And then, I’ll be able to sleep.

Dark therapy

Or, going to a gig for the first time in a long time

There’s nothing quite like going to see a gig, is there? I haven’t been to see a gig in years—let’s not even count them—but there’s still nothing quite like the thrill of going into the dark venue space and seeing the empty stage all set up and ready.

There’s nothing quite like going to see a gig in a little local venue, is there? I mean, the sort of venue that is a properly local space for new talent to practice and learn their stagecraft, the sort of venue where there isn’t a backstage, the bands have to squeeze through the audience to get on and off, and the stage is really just a raised area at one end of the room.

There’s nothing quite like going to see a band that you’ve loved for years, either, is there? The sort of band that you loved in your teens and you still love their new material now, because they’ve grown and developed as you’ve grown and developed.

So when I heard that Echobelly were playing Le Pub in Casnewydd/Newport, obviously, I had to get a ticket. I’ve been listening to Echobelly ever since their early single “I Can’t Imagine The World Without Me,” which I bought in cassingle format in its first week of release.* For my first gig in many years to be one of my favourite bands, at a tiny little venue, it seemed as if all the stars were in alignment.

The support were a local band called Murder Club, an excellent four-piece group who call themselves “the quiet grrrls of riot grrrl” and who might well end up being the next big thing on the South Wales music scene, even though it’s a crowded place. Their drummer was also doing duty checking tickets on the door, and their keyboardist said: “Thank you for coming to our gig!” to me as I went in. It was just a shame their set wasn’t a bit longer, because their songs were great.

Murder Club

After Murder Club had left the stage, the room started to fill up** as Echobelly started to put their equipment together. Until, finally, all went quiet, and the band squeezed their way through the audience and into position. And then, it was time.

Glenn and Sonya of Echobelly

Given what I said at the start, you can hardly expect this to be an impartial critical review.*** As soon as Sonya Madan sang the opening line of the first song—I think it was “Gravity Pulls”—I was bowled away. To hear songs I’ve heard the recorded versions of time after time after time, sung live, with the band only a couple of feet away from me, was almost overwhelming. I must have been grinning like a loon throughout.

“I can’t bounce about on stage like I normally would,” Sonya apologised. She’d fallen off the stage at their previous gig, apparently, and one foot was still recovering. Still, she managed to move about and take full control of the stage, even if she couldn’t really be seen from the back of the room. The whole band clearly loved being there to perform, and Sonya encouraged everyone to join in with a couple of the more anthemic songs, such as “Great Things” and “King Of The Kerb”. “We love to hear you sing along,” she said.

A couple of photographers were slipping in and out of the crowd, recording as much as they could. I did pull my phone out of my pocket every so often and try to take a quick snap or two, but as I was concentrating on listening to the music, the results are almost all terrible.

Sonya Aurora Madan

Bassist James of Echobelly

I wasn’t there to take photos, though, I was there to gather memories.

Sonya Aurora Madan

Sonya admitted they couldn’t be bothered—given the state of her foot—to pretend they hadn’t planned to do an encore. They played the “final song”, took their applause, then after some slightly comic and sarcastic chants of “More!” from the audience, went into the encore. The main set ended with “Scream”, the encore with “Dark Therapy”. Both are among my favourite songs of theirs, and I couldn’t have chosen better ones to end on. For my first gig in many years, it was a perfect night.

* It wasn’t the first Echobelly release, but it was the second single from their first album. They’d released an EP and another single before that.

** As an aside here, I’m always a little bit disappointed when people get tickets for a gig and only bother to see the headline act. So many people do it, and it’s such a shame, because it’s really important to support bands when they’re on the way up as well as when they’re at the top. Mind you, maybe I’m biased, because at the very first gig I ever saw, the support act was an unknown (to me at least) local band who went on to become major international stars.

*** You might also have noticed I didn’t give you any clue at all what Murder Club actually sounded like, which would make it a pretty rubbish review really.

Sailing away

A visit to an iconic place

A trip away last weekend, to what is arguably one of the most iconic sites in British, or at least Anglo-Saxon, archaeology. It’s been famous since the 1930s, there have been TV series made about it, and it has shaped the way we see Anglo-Saxon Britain ever since. The site I’m talking about is: Sutton Hoo.

Sutton Hoo

Given that Sutton Hoo is only a few miles outside Ipswich, I met up with regular correspondant Sarah from Ipswich and her husband and dog. Sarah is almost as fascinated by archaeology as I am, which is probably a good thing because at first sight there isn’t much to see at Sutton Hoo itself. The “royal burial ground”, the field where all the famous archaeology was found, is a particularly lumpy and humpy fallow field, covered in long grass with a scattering of gorse and broom bushes, and with a stark, narrow viewing tower watching over it. The famous ship burial, Mound 1, is marked by steel rods where the prow and stern of the ship originally were.

Mound 1 at Sutton Hoo

If you’re interested in history, there’s always an awful lot to be gained from visiting a site in person, not just reading about it. Archaeological literature, particularly the older sort, tends to focus very much on the confines of sites themselves without considering their wider perspective in the landscape. I hadn’t realised, for example, just how high up the burial site is above the river. When you think of a ship burial, you tend to assume it would be close to a riverbank. Sutton Hoo does overlook a river, but it’s quite a long way from it: about half a mile away and, more importantly, about a hundred feet up. In modern times a wood has grown up, but when it was built the burial mounds would have been a commanding sight from a ship on the river. One of the mounds has been reconstructed to roughly its original height, to give visitors some idea of how it might have looked within a decade or two of construction.

View of Woodbridge and the River Deben from Sutton Hoo

Mound 2 sits in the long grass

In the nearby National Trust museum, they are unequivocal that the king buried in the ship burial was Raedwald of East Anglia. This is something we will never know for certain, whatever techniques of analysis we manage to develop in the future. The chances are it was likely Raedwald, or his son Eorpwald, or with an outside chance his other son Sigebehrt. We’ll never really know, but we do know that, whoever it was, he was left-handed.

Watching from the viewing tower

The new viewing tower, built from galvanised steel, gives an excellent bird’s eye view of the site. I couldn’t resist spending a few minutes taking photos of the scene so I could stitch it together into a panorama-collage, to give you some idea of what the whole place looks like. The view a seagull would have got, maybe, the day that Raedwald-or-whoever was interred in his warship under a great mound of bare earth.

The cemetery

No person would have seen it that way at the time, of course; very few until this year, in fact. And now we can.

Do we get a better idea of Sutton Hoo by visiting these mounds, instead of going to London and seeing the artefacts in the British Museum? I think we do. This was an important place, one which has to some degree survived when many other similar important places have been lost to us forever. It might have changed significantly in the last 1,500 years, but nevertheless, you can’t understand the site, you can’t feel its relationship with the sea, with the river, with the surrounding landscape, unless you have actually been there and seen it. It might be a field of grassy lumps, but it is definitely worth the trip.

The exercise book

Or, a meander

My exercise routine, minimal as it is, has changed a few times this year.

At the start of the year, living in Bristol, I didn’t do much exercise at all in the week. At the weekend I would go out and do things such as investigating local cemeteries, some of which ended up as posts on here. In the week, though: well, I’d got bored of walking around all the nearby streets, over twelve months of ongoing international pandemic, and had given up on leaving the house during the week at all.

Moving to Wales, I started out going for walks on my lunch break, as in my old job I could get away with having a longish lunch whenever I wanted. When I changed jobs, though, the working day became a bit shorter, so those walks moved to the morning instead. From half past six, I would go for a ramble around the neighbourhood, through the gloom of the early-morning woods or along the riverbank.

Now, things have changed again. In the morning I drive down to the coast, and go for a ramble along the shoreline. It’s certainly enjoyable, but it’s not really strenuous. So, in the evening, I’ve been going for a second walk, around the village. At the moment, the equinox a couple of weeks behind us but the clocks still on summer time, this happens at dusk. When I leave the house the sky is starting to darken; when I am halfway along my route it is properly dark.

Tonight, it was a clear sky when I set out, with the sun just falling below the western horizon and Jupiter just visible in the south. As I walked the sky grew darker, into a deeper blue, and more things started to become visible. Saturn, just to the west of Jupiter. Cassiopeia and Pegasus in the western sky. When I was almost home, I realised it was fully dark, with Vega up near the zenith and Arcturus over in the west. There was a fainter star just east and below Jupiter, which I think must have been δ Capricorni, or Deneb Algedi, magnitude 2.85. Fairly good seeing then, even with the streetlights on. I didn’t feel in a stargazing mood, but I felt peaceful, watching the transition from the day and watching the stars come out.

Look to the skies

But, specifically, at the moon

An upcoming astronomy event: in a couple of weeks time, on October 16th, it’s International Observe The Moon Night. The idea being, everyone gets together around the world and, well, looks at the moon.

You might expect an event like this to happen on the full moon. It’s not, however: the moon will be waxing gibbous, a couple of days after passing First Quarter. In many ways this makes it a more interesting sight, as there will be a day/night terminator visible. That is: the line between the bright sunlit part and the dark night-time part. If you get a telescope or binoculars and look at the terminator, you can see the low-angled sunlight picking up ridges and hills, and casting deep shadows into the craters. Because the moon has essentially no atmosphere, the picture you see will be wonderfully crisp and sharp, the ridge of every crater picked out perfectly.

The Moon might be the nearest heavenly body, most of the time, but there’s still an awful lot we don’t know about it. Moreover, it’s fascinating just to go outside and look at. On International Observe The Moon Night you can go and join an established event, or you can put your hand up to host one yourself. Or, if you don’t like either of those options, just go outside and look at it yourself. It will—clouds permitting—be beautiful.