A dried-out felt-tip marker and a snapped-off piece of molded black plastic sold for $857,600 at a Sotheby's auction on Wednesday.

What otherwise might have been worthless bits of trash commanded the highest bids due to where the two items were 57 years ago—lifting off aboard NASA's Apollo 11 spacecraft on humanity's first mission to land astronauts on the Moon. More than flown odds and ends, one was the problem that almost stranded Neil Armstrong and Buzz Aldrin on the lunar surface, and the other was the simple solution to saving the mission.

"Houston, Tranquility. Do you have a way of showing the configuration of the engine arm circuit breaker?" radioed Aldrin to Mission Control after realizing he or Armstrong had inadvertently broken off the top of the circuit breaker switch that would enable their ascent engine to ignite, beginning their trip back to Earth. "The reason I'm asking is because the end of it appears to be broken off. I think we can push it back in again. I'm not sure we could pull it out if we pushed it in, though."

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A dried-out felt-tip marker and a snapped-off piece of molded black plastic sold for $857,600 at a Sotheby's auction on Wednesday.

What otherwise might have been worthless bits of trash commanded the highest bids due to where the two items were 57 years ago—lifting off aboard NASA's Apollo 11 spacecraft on humanity's first mission to land astronauts on the Moon. More than flown odds and ends, one was the problem that almost stranded Neil Armstrong and Buzz Aldrin on the lunar surface, and the other was the simple solution to saving the mission.

"Houston, Tranquility. Do you have a way of showing the configuration of the engine arm circuit breaker?" radioed Aldrin to Mission Control after realizing he or Armstrong had inadvertently broken off the top of the circuit breaker switch that would enable their ascent engine to ignite, beginning their trip back to Earth. "The reason I'm asking is because the end of it appears to be broken off. I think we can push it back in again. I'm not sure we could pull it out if we pushed it in, though."

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Schwarzman Centre, Oxford
Headlong’s take on Karel Čapek’s 1920 tale of romance and robots is rife with timely debates about tech’s threat but at times the philosophical discussions drag on

If our world is currently thinking through the brave new future of generative AI and super intelligence, Karel Čapek’s 1920 play RUR: Rossum’s Universal Robots proves the notion of robot consciousness and rebellion is not a new anxiety. So does Mary Shelley’s Frankenstein, which Čapek’s drama resembles in its philosophical debates and moral warnings, despite its futurism.

Ella Road adapts Čapek’s play for our times in this Headlong and Schwarzman Centre co-production, its science apparently informed by research from Oxford University academics, which gives it a cutting-edge, real-world underpinning.

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