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The Cassini-Huygens mission is a cooperative project of NASA, the European Space Agency and the Italian Space Agency. NASA plans to continue the mission through 2017, with the anticipation of many more images of Saturn, its rings and moons, as well as other scientific data. Launched in 1997, Cassini has explored the Saturn system for more than nine years. "Beyond showing us the beauty of the Ringed Planet, data like these also improve our understanding of the history of the faint rings around Saturn and the way disks around planets form - clues to how our own solar system formed around the sun." "With a long, intricate dance around the Saturn system, Cassini aims to study the Saturn system from as many angles as possible," said Linda Spilker, Cassini project scientist based at NASA's Jet Propulsion Laboratory in Pasadena, Calif. A good opportunity came on July 19, when Cassini was able to capture a picture of Earth and its moon, and this multi-image, backlit panorama of the Saturn system. Cassini team members looked for an opportunity when the sun would slip behind Saturn from Cassini's point of view. "The E ring in particular shows patterns that likely reflect disturbances from such diverse sources as sunlight and Enceladus’ gravity.”Ĭassini does not attempt many images of Earth because the sun is so close to our planet that an unobstructed view would damage the spacecraft's sensitive detectors. “This mosaic provides a remarkable amount of high-quality data on Saturn’s diffuse rings, revealing all sorts of intriguing structures we are currently trying to understand," said Matt Hedman, a Cassini participating scientist at the University of Idaho in Moscow. Image Credit: NASA/JPL-Caltech/SSI Larger Image This collage includes about 1,600 images submitted by members of the public as part of the NASA Cassini mission's "Wave at Saturn" campaign. They use computers to increase dramatically the contrast of the images and change the color balance, for example, to see evidence for material tracing out the full orbits of the tiny moons Anthe and Methone for the first time. Scientists who focus on Saturn's rings look for patterns in optical bonanzas like these. Because it is so tenuous, it is best seen with light shining from behind it, when the tiny particles are outlined with light because of the phenomenon of diffraction. The E ring shines like a halo around Saturn and the inner rings. Zooming into the image reveals the moon and the icy plume emanating from its south pole, supplying fine, powder-sized icy particles that make up the E ring. Seven Saturnian moons are visible, including Enceladus on the left side of the image. 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Among the Lyric Players, their friends and associates is Mary in the middle of the balcony with Sam McCready on her right, and Alice Berger Hammerschlag and Helen Lewis on her left. The last night at Derryvolgie Avenue in June 1968. She liked poetic dramas, but local taste was for realism and comedy. She was a socialist, but potential audiences were much more likely to be conservative. She would run out of the room as fast as she could when the first note of ‘God Save the Queen’ started. The task was made even harder by the fact that Mary was a nationalist in a Unionist city. ![]() Neither Mary nor Pearse had any experience of managing a fully professional theatre. But Mary’s ambitions were grand – and after many years of purposeful work in her tiny theatre, The Lyric Players Theatre became a non-profit association. ![]() Until 1960 it was a wholly amateur operation, subsidized by the earnings of Mary’s husband, the psychiatrist Patrick Pearse O’Malley, who provided active, lifelong support for her projects. After the play the public would gather for coffee – and sometimes even meals – in the O’Malley’s breakfast room and the actors would join them. There was a family feel to productions at Derryvolgie Avenue. It’s worth noting that Icaro took place with the actors on the same level as the audience, although eventually a stage was built with two shallow steps leading up to it from the auditorium. This initial outing convinced Mary that her stable could become a professional theatre even though it meant, for now, a weekend home invasion as the audience walked in through a side door, along the front hall, up the stairs, through a corridor and then down some stairs to get to their seats. privileged to see last night’s production must have felt grateful to these performers who call themselves the Lyric Players’. The press was invited to this first venture in her new playhouse and was complimentary about this ‘unusual play in an unusual city theatre’. Photo from the Lyric archive at University of Galway.Īudience area viewed from studio theatre stage. Interior of the fifty-seater studio theatre, 1950s. The cast included many who had already stepped out on the Ulsterville bay window stage and some new names, including the precociously talented Norman Stevenson, who was still at school. The production involved ‘all the arts – music, dance, setting and costume’. She and her children’s nurse had made the scenery her mother had helped with the costumes. She managed to move no fewer than twenty-two players around her tiny stage. Mary, being Mary, made her first production an ambitious one: Icaro, an Italian play she had helped to put on some years ago with the New Theatre in Dublin. The audience sat in the larger of the two rooms where there was just about enough space for fifty seats. The Studio, as her theatre was sometimes called was divided by folding doors, which were soon removed to make a stage that was deeper than it was wide – twelve by ten feet – and an auditorium. There, in Derryvolgie Avenue, she made a theatre out of a room above the stable where she created a fine company of actors, turned distinguished Ulster artists into set designers, found a choreographer and a composer and put on 140 plays in seventeen years. In 1951 she had begun to put on verse dramas in the bay window of the front room of her Belfast home in 1952 she moved to a bigger suburban house with a stable block at the back. So Mary tried another tack: she directed her considerable energy to asserting her own culture, in her own theatre – trying to add a wider, Irish dimension to theatre-going in Belfast.īelfast Corporation elections, 1952. ![]() But she found the Unionist monolith too hard to crack at that moment. She had encountered desperate deprivation in the ramshackle homes of her constituents in Smithfield and, as a socialist, laboured hard to alleviate it. She served for three years in the early 1950s as an Irish Labour councillor on the Belfast Corporation. She wanted to transform her Belfast world, politically and culturally. In 1947 she came up from the South of Ireland to live in a place which badly needed changing – the Unionist-dominated statelet of Northern Ireland. 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