SPACEPLACE_Art-in-the-Age-of-Orbitization_ZKM-ZKMax-Imagining Outer Space 2005 - 2008 Germany

8/14/2019 SPACEPLACE_Art-in-the-Age-of-Orbitization_ZKM-ZKMax-Imagining Outer Space 2005 - 2008 Germany

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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.

Documents

SPACEPLACE_Art-in-the-Age-of-Orbitization_ZKM-ZKMax-Imagining Outer Space 2005 - 2008 Germany