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Zentrum frinterdisziplinre Forschung
[Version 1 February 2008]
IMAGINING OUTER SPACE,1900-2000
An International Conference
February 6-9, 2008
Organization: Alexander C.T. Geppert
Program
Wednesday, February 6, 2008
15.00 Welcome Reception and Opening Remarks
Ipke Wachsmuth and Alexander C.T. Geppert
16.00 Introduction
Alexander C.T. GeppertEuropean Astrofuturism, Cosmic Provincialism. Historical Problems and Historiographi-
cal Perspectives
16.30 Keynote Lecture
Steven J. DickSpace, Time and Aliens. The Role of Imagination in Outer Space
17.30 Coffee
18.00 Feature Presentation I
Philip PocockSpacePlace. Art in the Age of Orbitization
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2Thursday, February 7, 2008
09.00 Panel I: Theorizing Outer Space
Chair: De Witt Douglas Kilgore
Debbora Battaglia
Galaxies of E.T. Discourse. An Anthropologist's First Contact with the Science ofWeirdLife
Thomas BrandstetterImagining Inorganic Life. Crystalline Aliens in Science and Fiction
Benjamin LazierThe Globalization of the World-Picture. Towards a History of Earth and Artifact inTwentieth-Century Thought
11.00 Coffee
11.15 Panel II: Personalizing Outer SpaceChair: Bernd Weisbrod
Christina WesselyCosmic Spectacular. Rocketry, Weltanschauung and the Quest for Cosmic Ice inWeimar Germany
Thore BjrnvigTranscendence of Gravity. Arthur C. Clarke and the Apocalyptic of Weightlessness
13.00 Lunch
14.00 Panel III: Localizing Outer SpaceChair: Andreas W. Daum
Kerrie Anne DoughertySpaceport Woomera
Sven MesinovicInner Space and Outer Space. Similarities, Differences and Connections
16.00 Coffee
16.15 Panel IV: Screening Outer Space
Chair: Peter Becker
Burghard CieslaOuter Space, Inner Fear. Cold War SF-Films in East and West
Henry KeazorA Stumble in the Dark. Gerry AndersonsSpace 1999
Werner SuppanzNazis in Space. Distant Worlds as Projection Screen of Cultural Memory
18.00 Feature Presentation II
Screening of Historical Films
18 30 Di t ZiF
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3Friday, February 8, 2008
09.00 Panel V: Fictionalizing Outer Space
Chair: Angela Schwarz
Claudia Schmlders
Unwriting Heaven. Tunguska Region, June 30, 1908
Steffen KrmerAncient Heroes and Early Christian Ascetics. Archetypes of Modern Science Fiction
Rainer EisfeldProjecting Landscapes of the Human Mind on Another World. Changing Features of anImaginary Mars
11.00 Coffee
11.15 Panel VI: Visioning Outer Space
Chair: Alexander C.T. Geppert
Pierre LagrangeA 'Symmetrical' Explanation for Flying Saucers
James I. MillerEncountering Aliens in the French Countryside. UFOs and the Fabrication of a NewWorld in Quarouble, France, 1954
13.00 Lunch
14.00 Panel VII: Politicizing Outer Space
Chair: Kai-Uwe Schrogl
Monica RthersOuter Space, Childrens Material Culture and Soviet Imagery after Sputnik
Michael J. NeufeldSmash the Myth of the Fascist Rocket Baron. East German Attacks on Wernher vonBraun in the 1960s
16.00 Coffee
16.15 Panel VIII: Communicating Outer Space
Chair: Ralf Blow
Guillaume de SyonBetween the Bubble and the Moon. Visions of Space Travel in Francophone ComicStrips
Bernd MtterPer Media Ad Astra? Outer Space in West Germanys Media 1957-1987
20.00 Dinner Downtown
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4Saturday, February 9, 2008
09.00 Panel IX: Automatizing Outer Space
Chair: Paul Ceruzzi
James Schwoch
Short, Nasty, and Brutish. The Curious Life of Telstar, 10 July 1962 - 21 February 1963
Gonzalo MunevarSelf-Reproducing Automata and the Impossibility of SETI
11.00 Coffee
11.15 Panel X: Designing Outer Space
Chair: Peter Davidson
William R. MacauleyInscribing Scientific Knowledge. Interstellar Communication, Universal Laws and Con-tact with Cultures of the Imagination
Tristan WeddigenAlien Spotting. Damien Hirsts Beagle 2 Mars LanderCalibration Target and the Ex-ploitation of Outer Space
13.00 Snack
14.00 Conclusion
Chair: Steven J. Dick
Helmuth TrischlerGeneral Commentary
16.00 End
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Project Proposal and Briefing - 05 April 2006
SpacePlace: Art in the Age of OrbitizationPrepared by Prof. Philip Pocock, in consultation with Prof. Dr. Peter Weibel, CEO ZKM.
Conceptual Launch Pad: Dialogue Concerning the Two Chief Systems of the World (Galileo1632)ItwasnotGalileo'sastrophysicsandmaththatleddirectlytohisimprisonmentduringtheInquisition.Ironically,itwasaplay,Galileo'sSocraticdialoguefrom1632titledADialogueConcerningtheTwoChiefSystemsoftheWorldthatinfuriatedthePopeenoughtoplacehimunderhousearrest.
Afterall,'Mathematics was rated at the time as a thing for technicians,'MITProf.GiorgiodeSantillanapositsinhisbookTheCrimeofGalileoin1955.Galileo'sdramaturgicalchoiceofaSocraticdialogue,encouragingreaderstoreflectandthinkindependentlyandcritically,wasfarmorepotentpubliclythananyvirtuosodisplayofabstractmathematicalreasoningcouldbeatthetime.
Galileo'sDialogueconvincinglyandplayfullyrevealedbeforealltheworldtheneedlessabsurdityofadogmaupholdingageocentricworldview,whileaffectivelymakinghisEppur si muove(Andyetitdoemove!)argumentinfavorofCopernicus'heliocentricworldview,withnolossofmythologyanddelightandthecommonsensegainssuchacceptancewouldmetescience,technologyandculture.Ironicallyaswell,itwasthesameinventionthatGalileowentpartiallyblindpeeringthroughtoempiricallysubstantiateCopernicus'viewfromhis1543treatiseRevolutionsoftheCelestialOrbs-namely,thetelescopeorspyglass-thatsoonafteritsinventionturneditsopticalgazebackonustocentertheworldviewagainonhumankind(aswetendorliketoplaceorseeourselves?)
WiththespeedofacoupleofcenturiestelemediahaveplacedEarthonceagainatthecenterofanothevirtualgeocentricorgeo-centroidworldscheme.AtelematicuniversestarringplanetEarth,orbitedbysurveillingspyglasssatellites,shiningstand-insforplanets,FoxandCNNcompetingwithVenusandMarsformediaattention,SkyTVactingasanersatz-Jupiter,dayandnight.NamJunePaik,aTVartpioneersaiditbesttitlingaTVinstallationfrom1965:Moon is the Oldest TV.
Impetus to Launch Space Art Now: Open Discourse Concerning the Weaponization of, or the
Cultural Utilization of Outer Space?
Spacevehiclesandinter-planetarytravelfirstappearinthegreatepicofIndia,theMahabharata,at220000lines,theworld'slongestpoem,composedbysageVedVyasperhaps2500yearsago:
'Arjuna, blazing like the sun itself, ascended the celestial car (Vimana). And after he had becomeinvisible to the mortals of the Earth, he beheld thousands of cars of extraordinary beauty. And in thatregion there was no sun or moon or fire to give light, but it blazed in light of its own, generated byvirtue and ascetic merit.'VolumeIII,VanaParva,SectionXLIITranslatedbyKisariMohanGanguli,1886-1890.
Arjuna,bothwarrior-princeandhumanmonad(symbolicindividual,)apparentlyembarkedaVimuna
(spacevehicle)soaringupinablazethroughcloudcoverintodeepdarkouterspace.Hewastakingtwdiscreetjourneysinparallel:One,aculturalmythologicaljourney,beholding,forinstance,thecelestiacityofIndra,whileatthesametimesettingoutonanaerialmilitaryforaytoslaytribalopponentsin theancientMahabharataWar,lettinghisironarrows(Baan)flyandfindtheirtargetsfromonhigh.Althoughspaceculture,scienceandtechnologyhaveundeniablymadequantumleapsinmanyregardssincetheMahabharata,theirsharedpolicyissueastowhichpathtotakeconcerningEarth'sutilizationofNearEarthandOuterSpaceremainsthequandaryitwasforArjuna2000yearsago-theweaponizationof,ortheculturalutilizationofspace?
Accelerating Weaponization of Near Earth Space: 1960 to the Present.
VicePresidentLyndonB.Johnsonquippedin1961:'Control of space means control of the world.'
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TheUnitedNations1967TreatyonPrinciplesGoverningtheActivitiesofStatesintheExplorationandUseofOuterSpace,includingtheMoonandOtherCelestialBodiesadoptedunanimouslybytheGeneraAssemblyin1963,sinceratifiedby98statesandadditionallysignedby27states,clearlysetslimitstothemilitarizationofspaceinArticleIV:'Parties to the Treaty undertake not to place in orbit around theEarth any objects carrying nuclear weapons or any other kinds of weapons of mass destruction, installsuch weapons on celestial bodies, or station such weapons in outer space in any other manner.'
TheOuterSpaceTreatyalsocondemnsany'propaganda designed or likely to provoke or encourage anthreat to the peace, breach of the peace or act of aggression, and considering that the aforementionedresolution is applicable to outer space.'
In1996,USSpaceCommander-in-Chief,Gen.JosephW.Ashy,fannedhisspacedefensepolicycardsflatoutonthetableinAviationWeekandSpaceTechnology:' It's politically sensitive, but it's going tohappen. Some people don't want to hear this, and it sure isn't in vogue, but absolutely we're going tofight in space. We're going to fight from space and we're going to fight into space. That's why the UShas development programs in directed energy and hit-to-kill mechanisms. We will engage terrestrialtargets someday - ships, airplanes, land targets - from space. '
In2001,shortlyafter9/11,theBushadministrationwithdrewtheUnitedStatesfromtheAnti-BallisticMissileTreatyandvastlyincreasedthemissiledefensebudgetin2002,thesameyearhisadministration'sQuadrennialDefenseReviewdefined:'A key objective is not only to ensure US abilityto exploit space for military purposes, but also, as required, to deny an adversary's ability to do so. 'Followingupatthe2003USAirForceAssociationLosAngelessymposium,PeteB.Teets,USAirForceUndersecretary,declared:'Space is the ultimate high ground. Our military advantage there mustremain ahead of our adversaries' capabilities, and our own doctrine and capabilities must keep pace tomeet that challenge. We haven't reached the point of strafing and bombing from space. Nonethelesswe are thinking about those possibilities.'Hewentontoemphaticallyacclaim:'The United Stateswields airpower more effectively than any other fighting force in history precisely because it hasembraced these three principles: We jealously gain and maintain control of the air even though othersmay try to deny us that control. We aggressively apply airpower in every conceivable manner toachieve our war-fighting objectives, from global vigilance to global reach to global strike. We proudlyand actively support and nurture a culture of airpower professionals. We do all this better than anyoneelse.
We must do the same in space! If we do not pursue control of space, then someone else will. If we donot exploit space to the fullest advantage across every conceivable mode of war fighting, then someonelse will. If we do not develop a new culture of space professionals- a new form of war fighter- thensomeone else may do so first, with dire consequences awaiting our first engagement with such anadversary. Our success at wielding airpower has come with a realization that we need to do it before-and better than- anybody else. Let us do the same for space.'
In2006,theUnitedStatesAirForceSpaceCommandHeadquarterswebsitebreviloquentlyadvertisesitsmissiontotheworldonlineinboldbluetype:'To defend the United States of America through thecontrol and exploitation of space.'AndthecurrentUSSpaceCommander-in-ChiefGen.LanceLordhasvoicedhisvisionforUSNearEarthSpacepolicy:'Space superiority is not our birthright, but it is ourdestiny. Space superiority is our day-to-day mission. Space supremacy is our vision for the future.'
Decelerating Institutional and Private Support for Awareness and Cultural Utilization of
Space
Itmaywellbethatitisapan-cultural,almostinnate,humanurgetomaintainamythologyforouter space.Itisequallyarguablethatthemythologicalauraofthe'redplanet'hasraisedinterestandinvestmentforcurrentspaceexplorationgoalsandinnovationinthearrivingtwoorthreedecades.Likthenaturalsciences,culturalproductionisaphysicalresponsetoanenvironment(RenDubos),yet,likemythology,culturalproductionisasharedpsychicresponsetothehumanenvironmentaswell.Anthatincludes,certainlysincetheinventionofthetelescopeandGalileo,outerspace.Subculturefeedsmainstreamculture.Theculturalutilizationofspaceisnodifferent.Whileunfoldingaextendedurbanorhyper-urbanmythologyforspacetravelanddiscovery,itinspiresandexpands
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mainstreamcultureaswellwhenvisionary,meanwhilenourishinghardscienceandtechnologywithdataanddesign.Farmorethanmostothersubculturalactivities,inventingandconstructingspace culturehasimmenselymoreatstake,andindisputablyaswell,intheoffingforhumankind.Whenaestheticallywiseandpertinent,therebyaffectivelyinfluencingpublicawarenessandopinion,opendevelopmentofspaceculturecutsapathandruddersmuchofthecoursebacktotheMoonandontoMars,spaceexplorationandexploitationingeneralafectlifetimestocome.Don'tforgetitwasaculturaldiscoursethatGalileoinitiatedwhichsetoffaculturalchainreaction-JulesVerneandKonstantinTsiolkovskytonameonlytwo-catalyzingthemoderneraofspacescienceandtechnologyculture,Apollo11andtheMarsExpress.
Spaceartistandactivist,ArthurWoods,considersinhis1993addresstothe44thInternationalAstronauticalCongress,TheExplorationofSpacebyArtistsandWriters,that:"Visualartistsandwriterhavecreatedfictionalimagesandscenariosonthedevelopmentofspace.Suchvisionsaretheprimarywaythatthegeneralpublicisintroducedtoideasaboutspaceexploration.Artistsandwriters,infact,laythefoundationwhichmakesfuturespaceactivitiesunderstandablebythegeneralpublicandthus securesthenecessarypoliticalsupport."Artthatisnotcosmeticmustprecedeitsapplication,appliedartordesign.Assuch,artinscribesdesign'sveryfoundation.Inspiteoftheapparentmaskingthattheseeminglyendlessandexorbitanttechnicalcomplexitybehindaspaceprogrammemayprovide,itilludes.Itisamirage,andartor,moregenerally,culturalproduction,remainsinthekeypublicsupportingroleforfurtheringthespaceexplorationandtravelindustry.Withoutart,Galileowouldhavebeenleftwithabstractmathematicalprinciplestoconvinceanalreadyindoctrinatedpublicthatthey
werenolongeratthecenteroftheuniverse.PerhapsGalileo'sgreatestpublicsuccesswashisknowledgethatthereisanarttoscience.
ThelegendaryvideoartistandSatelliteArtpioneer,NamJunePaik,in1988notedininterviewwithmediaartistandanthologistEduardoKactheneedforapeace-instillingroleforartintheglobalpublicperceptionof,andpositionontheactualandpotentialusesoftheEarth'sorbitandsatellitespace:'Since today we have satellites, we want to use them, discover what we, artists, can do with them. Wewant to try something new, in the tradition of Monet and Picasso. These same instruments (satellites)are used in the applied arts, which are essential to humankind because they are useful in everyday lifeBut there is also the military use of satellites. We want to use satellites for pacifist purposes.'Itisnotoutlandishtoimagineorevenforecastthatthegreatestcontributionspaceexplorationanddiscoverymaymakehumankindallinallisinthearts,andnotinscience.
USAirForceUndersecretaryPeteB.TeetsalreadymadeitclearthatspacecultureisacornerstonefortheUSSpaceCommandandabudgetpriority.TheHon.PeteTeetsunderstandingofspacecultureisthat'If we do not develop a new culture of space professionals - a new form of war fighter - thensomeone else may do so first.'Woulditnotseemplausiblethatwithoutthedemocraticcheck-and-balancethatanappropriateculturalcounterweightfromtheartswouldserveinraisingpublicawarenessforothercoursesforspaceculturetotake,littlewouldstandinthewayoftheelectionbytheUSDefenseDept.tocontinueaspaceculturepolicybentonthepridethattotalmilitarydominatioofspacewouldinstill.Andisitnotequallyplausiblethatsuchapolicymaysparktheinsurgencyofa spacearmsrace?
FacedwithTeets'gamble,itseemsprudentheretorespondpreemptively,ifthatisstillpossible,andbfirst,notbydevelopingacountercultureofprofessionalspacebelligerents,butinsteadfirstfightingto
findfundingtosearchforanddevelopameaningfulculturalpanoplyforspaceprofessionals.Itseemstobedemocraticallyprudent,evenprophylactic,fororbitalandEarthlypeaceandstabilitythatart affectivelycontradicttheTeetsiandoctrineforallourouterspaceanditsacculturation.Notbyreactinginprotestandfeedinghismessagetothepressasafirstlineofdefense.Notbyactingcircumstantiallydidacticallyormimeticallybyrestagingspaceprogrammes,suchasmirroringthepanopticsurveillanceofEarthasaprimaryfocus,enablingareadingofculturalproductioninspaceasameremilitary-industrialspin-off.Thefactisthatmanyworksofspacearttodatefallclosetothiscategoryduetoinsufficientandnarrowbandfundingfortheproductionofideasandworkswhichasaresultalltooofteremainaloof,rarelyconnectingtotheaesthetic,conceptualandphilosophicalconcernswhichorbitandareundertheinfluenceofothermajorgenresofactivityinthecontemporaryarts.
NASA and ESA's Space Culture and Education Expenditures
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NASA'sbudgetreleasedfor2007apparentlydemonstratesanewmoremyopicviewoftheinterdisciplinarynatureandsynergyofartandtechnology.AtNASAthedeclineinculturalfunding continuesexponentially,allthemoreso,whenmeasuredagainstanincreaseingeneralspending.EducationalfundingfellatNASAbetween2005and2007from179to28millionUSdollars.Biologyanphysicalscienceexpendituretookanosediveduringthesameperiodfrom925to145millionUSdollars,whiletotalnewobligationspendingincreasedatNASAto10,364millionUSdollars.In2007from8,371millionUSdollarsin2005.Numberssometimesspeaklouderthanwords.
FromtheEuropeanSpaceAgencywebsite:'ESA'sbudgetfor2006isanestimated2904million.Europeanpercapitainvestmentinspaceisverylittle.Onaverage,everycitizenofanESAMemberStatepays,intaxesforexpenditureonspace,aboutthesameasthepriceofacinematicket.IntheUnitedStates,investmentincivilianspaceactivitiesisalmostfourtimesasmuch.'InESA'sbudget breakdownbyprogrammethereisnolistingofadiscreeteducationorculturalbudgetallotmentorprogramme.TherearehoweverseveralESA-andpartner-fundededucationalandculturalprogrammessuchastheInternationalSpaceUniversityestablishedin1987inStrasburgFrance,ArtCatalystUKresearchprojectDevelopingaCulturalPolicyfortheInternationalSpaceStationin2006,aswellasESA'sErasmusUserCentre'sArtist-in-ResidenceprogrammeinNoordwijk,theNetherlands,alsoencouragingthedevelopmentofculturalusesfortheInternationalSpaceStation(ISS),withJapanesespaceartistAyakoOnohavingjustfinishedaresidencyinFebruary2006.
Cultureisamirrorofproduction,themirrorthatthepublicsees.Artisticvisiondrawsperspective,andperspectivenotonlydrawsfactories,itdrawsopinion.Culturalfundingisallthemoreimportantto
innovationanddiscoveryinadomainofactivityasinvisibleasNearEarthandOuterSpace.Successfuandsafeinterplanetarytravel,NearEarthSpacetourismandotherneo-culturalproductsandpracticesarehard-to-imaginewithoutart'sgenericabilitytocognitivelyextendthehumansensesofsightandsound,eventouch.TheCanadianmediapundit,MarshallMcLuhan,quippedthatartistsaresociety's antennae,makingtheinvisiblevisibleandtheinaudibleaudible.Culturalfundinggoeshand-in-handwithtransducingandtransmittingthepracticesandpurposeswellknowntoinsidersinthespacescienceandtechcommunitybutonlytothepublicatlargethroughculturalrepresentation,thatlikemetaphorandmythologymotivatesunderstanding,rewardingpublicandprivateagencyinvestmentinspaceprogrammesandservices.
SpacePlace: Art in the Age of Orbitization and The OrbitantsTwo-Stage Plan
Therearetwostagestothisproject.Thefirstpopulatesacontextforthesecond.StageOnecomprisesamobileinteractiverepositoryencompassingspace-relatedartproducedsinceGalileoGalilei'sDialoguConcerningtheTwoChiefSystemsoftheWorldfirstappeared.Likehischaracters,SpaceisthePlacewillalsobe'orbitants.'Thedatabaseentriesweighinfavorofcontemporaryartandmedia.Nonetheless,architecture,film,literature,music,painting,soundareinabundance.StageOneistitledSpacePlace:ArtintheAgeofOrbitization.
WithStageOne'saggregateofcontextualspaceartcontentlaunched,instableorbitandaggregatingmorespaceartcontent,fromthewings,StageTwoliftsoff.StageTwoisthelaunchofanartsatellite(orpico-payloadtotheISS)thatinteractsfromorbitwithaseriesofartinstallationsorgroundstationatvariousfar-flungculturalvenuesandmuseumsonEarth.StagetwoistitledTheOrbitants.Itistimeforartaboutorbittoenterorbit.
Apoeticdiversionordetournottodefineordenoteorbit,buttoigniteinsightenoughtoformanunderstandingoforbitiskeytorecognizingthecurrenttransformationofourenvironmentalparadigmunderwayfromoneofinfluentialglobalizationtoperhapstotalorbitization.
AfterGalileo'slongnight,thedawningoftheageoforbitizationnotonlycontinuestostimulatedebatebetweenpeacefulandenrichingversusbelligerentanddominatingvisionsinthegreaterspacecommunity,itindicatestheneedforaestheticandphilosophicalresearchwhichspaceartinitsbroadessensecanonlyprovide.Notionsandconnotationsoforbitandorbitizationunderpinthisentiretwo-stageprojectproposal:SpacePlace:ArtintheAgeofOrbitization(StageOne)andTheOrbitants(StagTwo).
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TheenvironmentalparadigmshiftfromglobalizationtoorbitizationisillustratedonarecentcoverofthGermanSpiegelmagazine.Hoveringabitabovepagecenter,itshowsashippingcontainercubeonwhichtheimageoftheEarth'ssurfaceistexture-mapped.Notonlytheglobebutalsoglobalizationhasbecomeamarketablecommoditytobeboughtandsoldoftenthroughcrypticorbitalchannelsinaninvisiblemarketplace,closedtomanyandoverseenbysupra-orbitantbodies,usuallythemilitary.Thistransportablecubicglobeonthecoverhangssuspendedbychainsandacranehook,balancedagainstablackskyaboveahorizonbelowwhichappearsastarkmoonscape,thatuncannilycallstomindplanetEarth,perhapsafutureZombieEarth.TheillustrationisemblazonedwithtypographythatreadsSpiegelSpecial-InternationalEdition-Globalization:ANewWorld.Whatthisillustratesisthat globalizationisnolongerourmostfar-reachingcontext.Itiseffectivelynolongertheborderguardcontainingourworld.Theglobalvillagehasbecomeexactlythat,nowsurroundedbyaterritorythatisorbitalinnature.Itsnucleusnolongerresidingatthesystem'sgeometricalcenterbutratheracollectiveofcitycenters,financialhubs,parliamentforums,evenartcenterstowhichorbitalculturebothgravitatesandattemptsescape.
Globalization,oncethemostinfluentialenvironmentalprocess,actedinvisiblytoallbutthemosttunedinart,scienceandtechnologyantennae.Environmentsandtheprocessescausingtheirformationarealmostinvariablyinvisiblebynecessity.Unlessunsharporout-of-focustomost,anenvironment,abackgroundbydefinition,cannotworkasabackground.Ironically,themostinfluentialorbitalenvironment,calledNearEarthSpace,isnotnearatall,unlesseyesandearsareupdatedwithaudio-visualtransceivers.Orbitalinfluencesonhumanactivityandtheprocessoforbitizationitselfremainfothepublic-at-largeoutofsight(andoutofmind?)Thisparticularblindnessisexacerbatedbytherecen
apparitionofglobalizationasanentityresemblingitsdepictionontheSpiegelcover,yetstillassumedtobethatwhichitonceformed,theenvironment,wheninactualityitonlycontainsthishistoryasamemory,asouvenir.Andthisisexactlywhytheorbitalisstealthilyemergingasourall-purpose,all-inclusiveenvironment,andorbitizationtheformativeprocesstowhichweadaptasorbitants,aggregatingandsyndicating.
Globalizationlikeprecedingparadigmsmarkingthecourseofsomecivilizationshasbeendrawnoutoftheenvironmentitoncecomprised,distilledbyanewgenerationofcontrollingcommercial,cultural,industrial,militaryandsocialtechnologies'thatextendtothosewithreachaccesstoagreatercontextpromisingagreatersphereofinfluence.Thisnewlyformedcontextorenvironmentisofcoursethespaceoforbit,anditsupersedestheglobe.Fromitscommandingandwell-camouflagedposition,orbitizationoverseestheprocessesofurbanization,cyber-urbanizationandglobalizationunderthe
watchfuleyeofsupra-orbitantcommandingorgans.OrbitizationhasallbutgroundedglobalizationlikeorganizedclustersofLilliputianslandedGulliver.Globalizationundertheinfluenceoforbitizationbecomesagiantfigureinahumungouslandscapethatismostlysky.
TheorbitizationprocessdubiouslybeganasGalileoempiricallydisprovedgeocentricitywithaspyglassThespyglassanditsprogenyareimmobilizingplanetEarthatthecenterofanewgeocentricmodel-thecenterofaswarmingmilitantmediacosmosoforbitingcontrol,undersupra-orbitantcontrol.Thatsurmountsandsurpasses,relegatesandregulatesevenglobalactivity,allmachineandhumancommunicationandexchangenotonlyonbutalsoaroundtheplanet.Tobesecured,ifdeemedadvantageousornecessary,tochangethepoliticaloreconomiccourseoftheglobe,oralesserregimeasupra-orbitantpower-that-be,mayheed,applyorperfectorbitalthespacesupremacywartacticsthatUSAirForceSpaceCommander-in-ChiefGen.LanceLorddescribedtotheAmericanCongressin2004as:'Simplyput,it'sanAmericanwayoffightingfreedomtoattackaswellasfreedomfrom
attack."SinceutteringthisnewspacewarstratagemtotheAmericanpeoplewithnexttonocriticalresponseinthemainstreamAmericanpress,bothChinaandRussiahaveuseddiplomaticchannelstocallforinternationalsolidarityagainstthemilitarydominationofEarth'sorbitalspace,withlittle success,andnoresolutionfromtheUN.
USSpaceCommand'srepeated,provocativespacesupremacypolicyannouncementsopenthemselvesuptotemptation,topartialinterpretationbysomecompetitivenationsandobserversasadoctrineabettingorbitalhitandruntacticswithsupremeimpunityandwithoutatrace,andeverywheretohideIfso,itisimaginablethataspaceracemightbecomemoreaggressivelyAresianthancompetitivelyOlympian.J
JeanBaudrillardwritesoforbitinhisessayThePataphysicist:'Outside of this gravitational pull which
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TheOrbitantsartsatelliterequiresconsiderablefundingtoacquirethenecessaryservicesincludingtheinvolvementofanaerospacesatellitesystemteamwithexperienceorinterestinlaunchingapico-satellite,preferablybasedinatechnicaluniversitylabwithpriorsuccesswithpico-sats(UniversityofTokyo?)orsponsoredbyaprofessionalsatellitelaunchserviceprovider.
Apico-satisnotrecoverableandslightlyaddstothecurrentconcernofpotentiallydangerousorbitingdebris.Thisconsiderationalongwiththeapparentlowsuccessrateofstudent-launchedpico-sats(mostlyaround30%),itmaybeadvantageoustoprepareTheOrbitantspico-sattobelaunchedasa
payloadthatisdeliveredtotheInternationalSpaceStation.OnboardtheISS,therewillbeverylimitetimeavailableforitfromtheISScrew,shouldtheonboardpico-satrequireanyattention.Stillthis scenarioismorepromisingthanadisabledpico-sathurtlingaloneinorbit,andallowsforthepico-satreturntoEarth.
TheOrbitantspico-satorsimilarpayloadwillbelittlemorethanarelayandaswitchwithcontrolleranpowersupply.Asanorbitingswitch,TheOrbitantsartsatellitebasicallystartsandstops,whilewithinrange,participatorysoundandlightshowstakingplaceingroundstations,mobilesculptural installationsconstructedfortheprojectinvariousmuseumsonEarth.EitherinitsownorbitoraboardtheISS,TheOrbitantsbecomesa90-minuteday,triggeringasunriseasitenterstherangeofoneofitsgroundstationinstallationshousedinoneofseveralmuseumsworldwide.Groundstationinstallatioilluminationbecomesbrightest,audiopeaking,whenTheOrbitantssatelliteisleastdistantfromthetargetgroundstation,finallytriggeringasunsetinthegroundstationinstallationasitmovesoutofrange.Thissunrise-sunsetpatterncontinueswhenTheOrbitantspassesinandoutoftherangeoffurthergroundstationsinmuseumsworldwide.Atotaloffourgroundstationinstallationsareforeseeneachuniqueandsculptural,reflectinginarchitectonicformandimagerytheirimmediatelocaleandsituation.Onegroundstationfunctionsasanomadandisnonameinitsappearance,blendinginasitrovesfromvenuetovenue,intendedtobetheproject'sfestivalparticipatinggroundstation.AllgroundstationsareprimarilyconstructedfromrecycledPChousingsthatactasasortofmodularbrick.SomefacesofsomePChousingbricksarepaintedwithportraits.OtherPChousingshavetextslaser-cutoutontheirsides.Stillothersareadornedwithsiliconcaulkdrawings.AndtheoddPCwillbefastenedtoandsupportaworkingflatscreentodisplaymessagesreceivedfromTheOrbitantsasitpassesoverhead.Thisgroundstationisforeseenfortravelingshowsandtemporaryevents.
Anothergroundstationresemblesaconceptualbarbequeparty,withkebabskewersculpturesrepresentingorbitalthemesrevolvingslowlyoveragrillthatisheatedsymbolicallybythesoundoftheEarthturningplayingstreamingfromanamateuronlinespaceradiostationovercharcoalgreyspeakebuiltintothebaseofthebarbequegrill,itselfabricollageconstructionofmini-satellitedishesanddiscardedPChousings.ThisgroundstationsituationisforeseenforGermany.
Athirdgroundstationisnestedunderaflimsynethandmadefromhouseholdsiliconcaulk.IntendedfoChina,theroof-likeinstallationismulti-peakedandporous,allinallasortofvirtualAsianpavilion.Therooftiersarenothingmorethanstretchednetmadeofgreyhouseholdsilicon.Embeddedinthesiliconatsomejunctures,inrandompatches,arequaintandindividualmodeltreespurchasedfromhobbymakersoneBay.Withinsomesiliconlengthscomputerandpowercablesarewiredandhookuptopalm-sizedflatscreensusedformessagereceptionfromTheOrbitantsartsatellitewhenitdepositsnewmessagesitonlyrecentlyitselfwhentheywerebeameduptoitbyguestsinthegroundSpacePlace:stationitlastorbitedover.Afourthgroundstationissunken,partiallybelowground,inspiredbythesubterraneanastronomicalobservatorydesignedandbuiltbyTychoBraheinthelate16thCentury.AllfourofTheOrbitants'sgroundstationshavesomeoftheirPCplatinum-coloredmetalsurfacestransformedintocanvasesadornedwithpaintedandreproducedimagesandiconsassociatedwithStageOne-SpacePlace:ArtintheAgeofOrbitization,inordertoclosetheloopandcompletetheproject.ParticipantsvisitingeachgroundstationaregreetedbyflatscreensscrollingmessagesrelayedbyTheOrbitantsfromparticipantsatthegroundstationitlastpassedover.Inresponsetomessagesreceivedfromapreviousgroundstation,participantsattheactualgroundstationtypemessagesintoa
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repositorythataresubsequentlytransmittedtoTheOrbitantsonceoverhead.Inconcertwiththesunrise-sunsetsoundandlightshowtriggeredbyTheOrbitantsrelativeproximity,theeffectisstunning.AsTheOrbitantsmovesoutofrangeandthesunsetprogramiscomplete,participantsareleinsubduedlighttopondernewmessagesscrollingongroundstationscreens,freshlydepositedbyTheOrbitantsasitorbitstheEarth.
Credits:Prof.PhilipPocock,TheOrbitantsprojectconcept;withProf.PeterWeibel,CEOandDirector,ZKMCenterforArtandMediaTechnologyKarlsruheGermany2006.