This space artist changed the way we see the universe Los Angeles Times

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• Lost and found: Should California return Cambodia’s stolen art?
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• Commentary: LACMA finally is getting its satellite space. Regrettably, it’s in another state

For example, every culture on our planet creates music and language through endless variations of a few simple building blocks and rules. Lomberg believes this instinct to play with patterns could be common to all intelligent beings. If you can imagine the swirling spiral of the Milky Way galaxy, you are almost certainly picturing a version of Lomberg’s vision of our celestial neighborhood. Erosion in space occurs slowly, so the pictures should be readable for at least the next billion years. Long after the last Homo sapiens has perished, Lomberg’s drawings may provide the universe’s most compelling clue that our colorful, complicated species was ever here.

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Before joining The Times, she worked as the senior London correspondent for GlobalPost (now PRI) and as a reporter and assignment editor at the Cambodia Daily in Phnom Penh. She is a native of Southern California and a graduate of Stanford University. Microscopic cells together form a human; minuscule atoms together form a universe. Lomberg himself doesn’t believe the Golden Records will ever be found — space is simply too big, the Voyagers too small. He has described them as darts thrown randomly in the dark at Madison Square Garden, their chances of striking a target effectively nil. “A lot of people say, ‘Well, aren’t you afraid that sending messages out there is going to invite somebody to come and destroy us?

Lost and found: Should California return Cambodia’s stolen art?

Department of Energy’s Waste Isolation Pilot Plant, a nuclear waste storage facility that will remain radioactive for at least 10,000 years — longer than any human language or symbol has ever endured. It’s not the only time Lomberg’s work has crossed into popular culture. He painted the cover illustration of Carl Sagan’s 1985 novel “Contact” and designed the opening sequence of its 1997 film adaptation. “Encyclopedia Cosmologica” is merely the latest in a lifetime of work that attempts to visualize what we can’t truly see, and to communicate with creatures we can’t yet imagine.

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This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. That’s why looking to the stars still fills him with optimism, even on a planet that feels increasingly imperiled.

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The two spent Sagan’s layover discussing science fiction, art and astronomy. When designing for a different time or species, Lomberg structures the work around principles most likely to be universally shared. Scientists assume that mathematical relationships and the fundamental laws of physics apply everywhere in the universe, and Lomberg looks for the artistic equivalent of these universal truths. Were it possible to bend the laws of physics to send a camera into space at the speed of light, that camera would take 26,000 years to reach the galaxy’s outer edges. For the last half-century, Lomberg has been at the center of efforts to help inhabitants of this humble planet understand their place in the universe. The process has taken him on a journey as well, one that can’t compare to Voyager in distance but that has revealed truths no less sublime than the images the craft has captured.

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Jon Lomberg’s most far-flung work of art is currently more than 14.8 billion miles away, in the cold no-man’s land between the sun and its closest stars. Corinne Purtill is a science and medicine reporter for the Los Angeles Times. Her writing on science and human behavior has appeared in the New Yorker, the New York Times, Time Magazine, the BBC, Quartz and elsewhere.

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The piece is a metallic album cover affixed to the surface of the Voyager 1 spacecraft. Inside is the Golden Record, a calling card from humanity designed to introduce alien beings to the sounds and images of Earth. Lomberg’s pictorial instructions for playing the record are engraved on the cover, which travels another 912,000 miles away from us every day.

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The Cornell University professor spearheaded an effort to create plaques engraved with a simple map of Earth’s location within the galaxy and the figures of a man and a woman. The identical plaques on the sister spacecraft were the first things humans sent into space for the inhabitants of a different civilization. In 1991, the Smithsonian Institution commissioned Lomberg to paint a portrait of the Milky Way for an exhibition at the National Air and Space Museum.

’ I think we’re just projecting our own fears about ourselves,” he said. Depictions of the future grew grim — all zombies and apocalypses in fiction, violence and climate catastrophe in the news. Meanwhile, NASA was preparing to launch its first missions to Jupiter and Saturn in 1972 and 1973. After Pioneer 10 and Pioneer 11 visited the gas giants, they would become some of the first human-made objects to leave the solar system. He was part of the team that drafted warning signs for the U.S.

Pass the orbit of Saturn, where its trajectory diverged from that of Voyager 2 and its identical copy of the Golden Record. Cross the orbit of 6446 Lomberg, the asteroid named in honor of his contributions to science, and sail by Mars, where the Spirit, Opportunity and Curiosity rovers bear sundials he helped design. The spiraling hedges are planted with gold dust croton, a leafy green plant dotted with yellow. He chose it as the site for the first Galaxy Garden, a topiary re-creation of the Milky Way. We’re so wary of one another that even the stars seem suspect, he said.

His two-dimensional Smithsonian mural can’t convey scale. He wanted to make something that let people feel that vastness, without becoming intimidated by it. Lomberg grew up in Philadelphia, the only child of a single mother. He loved drawing and space, specifically the idea that other kinds of life lay somewhere in its immensity. Upon receiving a childhood gift of an encyclopedia, he flipped through the pages looking for the nonexistent section about life on other planets.

To appreciate the book will require readers to accept themselves as a small part of a giant cosmic production, one in which every star and proton counts. It’s a point of view Lomberg has spent a lifetime realizing through art. Lomberg doesn’t expect aliens to identify the images or sounds, or to share his emotional reaction to Mozart’s “Queen of the Night” aria, his favorite track on the record.