A comet breaks apart
On February 12 members of the amateur astronomy organization Slooh actually viewed the break-up of Comet 73P/Schwassmann-Wachmann into two large fragments.
On the night of February 12th, Slooh members using the company’s telescopes in Chile were able to view the comet as it broke into two pieces. This seems to be the continuation of a process that was first witnessed in 1995, then again in 2006.
Slooh members were among the first to confirm that the nucleus of comet 73P/Schwassmann-Wachmann had split into at least two large pieces. “They immediately pointed Slooh’s telescopes to capture the event,” says Slooh Astronomer, Paul Cox. “Members will continue to monitor the comet live over the coming weeks – assuming the comet survives that long.”
They have created an animation from their images, but it appears that they only started taking images after the actual breakup, so the animation shows the two fragments, but not the moment they broke apart.
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On February 12 members of the amateur astronomy organization Slooh actually viewed the break-up of Comet 73P/Schwassmann-Wachmann into two large fragments.
On the night of February 12th, Slooh members using the company’s telescopes in Chile were able to view the comet as it broke into two pieces. This seems to be the continuation of a process that was first witnessed in 1995, then again in 2006.
Slooh members were among the first to confirm that the nucleus of comet 73P/Schwassmann-Wachmann had split into at least two large pieces. “They immediately pointed Slooh’s telescopes to capture the event,” says Slooh Astronomer, Paul Cox. “Members will continue to monitor the comet live over the coming weeks – assuming the comet survives that long.”
They have created an animation from their images, but it appears that they only started taking images after the actual breakup, so the animation shows the two fragments, but not the moment they broke apart.
Readers!
My annual February birthday fund-raising drive for Behind the Black is now over. Thank you to everyone who donated or subscribed. While not a record-setter, the donations were more than sufficient and slightly above average.
As I have said many times before, I can’t express what it means to me to get such support, especially as no one is required to pay anything to read my work. Thank you all again!
For those readers who like my work here at Behind the Black and haven't contributed so far, please consider donating or subscribing. My analysis of space, politics, and culture, taken from the perspective of an historian, is almost always on the money and ahead of the game. For example, in 2020 I correctly predicted that the COVID panic was unnecessary, that the virus was apparently simply a variation of the flu, that masks were not simply pointless but if worn incorrectly were a health threat, that the lockdowns were a disaster and did nothing to stop the spread of COVID. Every one of those 2020 conclusions has turned out right.
Your help allows me to do this kind of intelligent analysis. I take no advertising or sponsors, so my reporting isn't influenced by donations by established space or drug companies. Instead, I rely entirely on donations and subscriptions from my readers, which gives me the freedom to write what I think, unencumbered by outside influences.
You can support me either by giving a one-time contribution or a regular subscription. There are four ways of doing so:
1. Zelle: This is the only internet method that charges no fees. All you have to do is use the Zelle link at your internet bank and give my name and email address (zimmerman at nasw dot org). What you donate is what I get.
2. Patreon: Go to my website there and pick one of five monthly subscription amounts, or by making a one-time donation.
3. A Paypal Donation or subscription:
4. Donate by check, payable to Robert Zimmerman and mailed to
Behind The Black
c/o Robert Zimmerman
P.O.Box 1262
Cortaro, AZ 85652
You can also support me by buying one of my books, as noted in the boxes interspersed throughout the webpage or shown in the menu above.
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