ettas - esa topical team art & science - 2011 report

MEETING REPORT 2011

ESA TOPICAL TEAM ART & SCIENCE

This report was written1 in order to establish a catalogue of reasons, measures and output formats which could result from a cooperation be-tween ESA and the arts («ESA Art Initiative», EAI).

Furthermore, this report provides arguments towards implementation of such an initiative as well as suggestions for possible formats of coopera-tion. The report is divided into four sections:

Part 1: Introduction 3

Part 2: On cooperations between ESA and the Arts 5

Part 3: Forms of cooperation / interaction between ESA and the Arts 7

Part 4: Proposal for the structure of an ESA Art Initiative 14

Annexes 31

A detailed table of contents is to be found overleaf

2011 Meeting Report ESA Topical Team Arts, EAC Cologne 06/29–07/01/2011

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1 By the Topical Team Arts & Sciences (ETTAS), which met at EAC between 06/ 29 and 07/11/2011.

See p56 for list of participants, p27 for next steps and p25 for recommendations

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TABLE OF CONTENTS

Part 1: Introduction 31.2 Executive summary 4

Part 2: About cooperations between ESA and the arts 52.1 How could ESA benefit from cooperating with artists? 52.2 How do artists benefit from such a setting? 52.3 How could such a cooperation work? 62.4 Preferable kind of cooperation from the view of the artists 62.5 What kind of works could result? 62.6 What kind of public impact could such a cooperation put forth? 6

Part 3: Formats for cooperations 73.1 How does an artist work? 73.2 Well established formats of Immersion and cooperation 93.3 ESA Infrastructure applicable for EAI (Proposal) 103.4 Financing 113.5 Quality Management 123.6 Intellectual Property Rights (IPR) 13

Part 4: Proposal for the Structure of an ESA Art Initiative 144.1 Basic structure of cooperative art/science production 144.2 Detailed Structure Diagram 154.3 Key players / roles 174.4 Proposed initiative (cooperation) formats 194.5 Terms of engagement 214.6 Location and mode of creation 234.7 Strategic relations and dissemination 244.8 Recommendations 264.9 Next Steps 284.10 Timeline first initiative cycle 30

Annexes 31A1 Previous Work in the Field (ESA, NASA, JAXA, independent work) 31A2 References 55A3 ESA Topical Team Art and Science (ETTAS) 56


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PART 1:

INTRODUCTION

Similar to the way the members of the ESA Human Spaceflight Director-ate are ambassadors for spaceflight and science, artists and cultural pro-fessionals are ambassadors for human expression, experimentation, and exploration.

Therefore, an ESA Initiative aimed towards a cooperation with the arts is an opportunity to stimulate the public notion towards ESA’s goals.

In June 2011, the ESA Topical Team Arts & Sciences (ETTAS), held a three-day workshop at EAC. The team was complemented by Oliver An-gerer as well as three scientists from other Topical Teams2 and ESA as-tronaut Frank de Winne. During this workshop the topics and ideas that are condensed into this report were discussed.

As the authors of this report are presented3 with the opportunity to show-case ESA’s scientific–artistic work in the frame of a large, space-related exhibition which is to be held in the third quarter of 2014 at the Bun-deskunsthalle Bonn4, we suggest to aim at this date for the completion of a first ESA Art Initiative cycle.

In the two following sections of this report we present a number of measures and mechanisms in order to initiate and conduct such an initiative. The subsequent sections are dedicated to a more in-depth view regarding organizational measures, procedures and consequences, as well as a proposition on how to proceed.


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2 J. Michelle Kotler, Alexander Chouker and Marco Durante

3 Stephan Andreae via Email July 27, 2011 to Barbara Imhof: «I confirm herewith our suggestion of the Cologne con-ference to offer a platform for 1) a result conference, workshops etc. and 2) possible artistic/scientific contributions to our forthcoming exhibition Weltraum — Outer Space (working title) from September 2014 to January 2015. Nr 2) would be subject of the curators decision.»

4 http://bundeskunsthalle.posterous.com/weltraum-outer-space-ausstellung-2014-in-der

http://bundeskunsthalle.posterous.com/weltraum-outer-space-ausstellung-2014-in-der

http://bundeskunsthalle.posterous.com/weltraum-outer-space-ausstellung-2014-in-der

1.2 EXECUTIVE SUMMARY

The arts offer alternative insights into reality — which is explored by science in general, and broadened by the activities conducted by the European Space Agency (ESA) and other space agencies. Similar to the way the members of ESA are ambassadors for spaceflight and science, artists and cultural professionals are ambassadors for human expression, experimenta-tion, and exploration. In June 2011, the ESA Topical Team Arts & Sciences (ETTAS), held a three-day workshop at the European Astronaut Centre in Cologne, Germany. During this workshop, topics and ideas were discussed to develop a cooperation between the arts, sciences and ESA to foster and expand the human and cultural aspects of space exploration, and at the same time offer a means of communication which would aim to reach audi-ences beyond the scope of traditional space-related channels.

The preliminary findings and consensus of the team was that establishing and sustaining a transdisciplinary professional community consisting of ESA representatives, scientists and artists would fuel knowledge transfer, and mutual inspiration. Potential ways to provide a sustainable cooperation within and between the various groups were discussed and will be pre-sented. A number of measures and mechanisms in order to initiate and con-duct such an initiative and a more in-depth view regarding organizational measures, procedures and consequences, as well as a proposition on how to proceed are included in this report.

Overall, the involvement and cooperation between the Arts, Space Science Research and ESA will enhance in the citizens of the ESA member states the sense of public ownership of ESA results, and participation in ESA's re-search.

The report is structured into five main parts. The first tries to set the scene by asking the most prevalent questions and finding first answers. It also clarifies the benefits and outcome of such an initiative for ESA, the scientists and the artists. The second part suggests possible formats of cooperations taking into account ESA's and the artists' respective operational structures. Further, part three, presents an option for a concrete plan for an ESA Art Ini-tiative proposing a first timeline and recommendations. The fourth and last part is the Annex that displays a selection of art works relevant to this theme from the present to the past. Important to the authors was a list of refer-ences with website addresses to earlier, similar and complementing initia-tives. Finally, a list of authors is included in this report.



PART 2:

ABOUT COOPERATIONS BETWEEN ESA AND THE ARTS

The arts offer alternative insights into reality — which is explored by science in general, and broadened by the activities conducted by ESA and other space agencies. A cooperation between the arts and ESA will foster and expand the human and cultural aspects of space exploration, and at the same time offer a means of communication which will aim to reach audiences beyond the scope of traditional space-related channels.

The involvement of those audiences will enhance in the citizens of the ESA member states the sense of public ownership of ESA results, and participation in ESA's research.

Furthermore, the establishing and sustaining of transdisciplinary profes-sional communities consisting of ESA scientists and artists fuels knowl-edge transfer, «cross-pollination» and mutual inspiration.

2.1 HOW COULD ESA BENEFIT FROM COOPERATING WITH ARTISTS?

— Internally: different perspective on own work might stimulate new views and ideas, and furthermore might help to communicate the scientific findings amongst different scientific or engineering communi-ties within ESA

— Externally: publicity, broad impact, new audiences, positive connotation, different perspective of own-ership amongst of citizens, collective participation

— ESA scientists could profit from the artists’ work visualizing and contextualizing their scientific findings

— As with all explorations, the discovery of new and unexpected results can be expected.

2.2 HOW DO ARTISTS BENEFIT FROM SUCH A SETTING?

— Possibility to learn from ESA representatives about a wide range of topics

— Add to the fairly new field of arts-based research, thus strengthen this field of artistic operation and contribute space topics to the academic community from the cultural perspective


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— Ability to have artworks realized (or, in some cases, realize themselves) in otherwise inaccessible environments: ESA laboratories, simulators, Antarctica, ISS, deep space

2.3 HOW COULD SUCH A COOPERATION WORK?

— Artists are exposed to ESA infrastructure, operations and people

— Scientists are exposed to artist environment and mindset

— ESA provides support in implementing artistic work using their Earth and Space infrastructure

— Artists provide reflections on ESA’s work for the public and new audiences

— see also 2.5, Annex 1 (p26ff)

2.4 PREFERABLE KIND OF COOPERATION FROM THE VIEW OF THE ARTISTS

— Artist enters into close contact with and is inspired by various ESA exponents

— Artist develops project in cooperation with ESA exponents

— Artist receives access to ESA personnel, which is otherwise hard or impossible to reach

— Artist is allowed to visit / get to know / use ESA infrastructure

2.5 WHAT KIND OF WORKS COULD RESULT?

— Projects which are pre-imagined by the artist and implemented with / by ESA exponents. Examples : Idhiguro (A1.10), Noordung (A1.21), Ono (A1.1), Waldvogel (A1.8), Woods (A1.22)

— Artworks which use ESA results as starting point, aesthetic guide or inspiration. Examples : Pelhjan (A1.13), Roth (A1.4), Semiconductor (A1.14)

— Artworks which use ESA infrastructure as generating agent. Examples : Albuquerque (A1.15), Dubois (A1.17), Pelhjan (A1.13), Pitts (A1.12), Waldvogel (A1.8)

— Artworks which contribute to ESA projects.Example: Hirst (A1.19), McShane (A1.23)

2.6 WHAT KIND OF PUBLIC IMPACT COULD SUCH A COOPERATION PUT FORTH?

— ESA will multiply the platforms and audiences when getting mentioned along with the public mention of artists and their works

— ESA will additionally be perceived as a culturally committed organization (example: CERN)

— ESA will receive more proposals from artists of different kind over time and thus there will be an increase of ESA being mentioned indifferent kind of media



PART 3:

FORMATS FOR COOPERATIONS

In order to propose reasonable ways of cooperation between a space agency and individual artists, the authors would like to elaborate in ex-emplary fashion on an artist’s working methods and needs.

3.1 HOW DOES AN ARTIST WORK?

3.1.1 Working MethodsWhile it would take every artist alive to describe all the working methods in use, we shall try to distil the prevalent factors, which are found in most working methods.

— Elaborating a theme: along the path of an artist's career, a single topic (or set of topics) is explored, and elaborated. The artist produces works which deal with ever changing aspects of his/her leitmotif, often expanding both the theme as well as the modes of (re)presentation. Resulting pieces might be executed in a single technique, or various media according to specific needs. The conjunctive aspect within the artist's oeuvre is its theme / leitmotiv.

— Reiteration of an «art principle»: A conceptual principle, a certain combination of materials or an indi-vidual technique is applied to a constant or changing theme. Here, the conjunctive aspect is the (sometimes conceptual) technique applied by the artist.

3.1.2 InspirationBoth methods have the fact in common, that a constant stream of inputs, ideas, catalysts—inspiration—is needed in order to advance an oeuvre. The inspiration often comes in the form of:

— Logical development (from within the artist's theme or art principle)

— Knowledge (current events, his/her rhetorical figures, scientific findings, etc.)

— Possibilities (e.g. new kind of printer / new material discovered)

3.1.3 ImmersionThe growing number of artist residencies, travel grants, and cross-disciplinary cooperation programs is easily explained by the above mentioned: an artist's immersion in or confrontation with an environment unknown to him assures his/her inspiration, and thus advances his/her oeuvre regardless of his/her work-ing method.

The «embedded», «confronted» or «integrated» artist might either match his/her topic or technique with his/her new environment, or use it to apply his/her topic or technique to.


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Examples for such a working method include:

— (Mis)Use of the experimental setup of a lab to create a work along the lines of the artist's oeuvre

— Documentation of the procedures of a culture or institution foreign to the artist

— Introduction of objects foreign to the tradition of the institution, using them to either document reac-tions or produce new work within the institution

3.1.4 InteractionThe «embedded», «confronted» or «integrated» artist will be prepared and motivated to interact, in order to work in a two-way cooperation, enable «cross-pollination», and advance his/her own work by letting others be part of it. The intensity of interaction is naturally depending on both the artist’s as well as the institutions' character, and the duration of exchange.

3.1.5 EvaluationThe format of application, competition and candidature is often applied, and artists are used to it. Entries are normally evaluated by a jury, often comprising of representatives of the institution as well as external specialists like curators, art historians and fellow artists. In general, the evaluation process does not greatly differ from the ones as seen in the sciences; with the exception that peer review is uncommon.

Depending on the artist's status, he will be willing to participate in procedures with smaller chances of success, or only with guaranteed funding. However, it is just the superstars that will work upon commis-sion only.



3.2 WELL ESTABLISHED FORMATS OF IMMERSION AND COOPERATION

The immediate success of a cooperation between an organization and an artist is measured by the quality of the resulting artworks, the public im-pact and exposure they generate and— equally important from the artist's point of view—the manner in which the resulting artwork is connected to the artist’s body of work.

3.2.1 Unsolicited projectArtist develops a project out his/her own initiative, and then seeks partners for its implementation (organi-zation, technology, funding, communication, etc.). In the conception/implementation process, the project or output might undergo changes due to objections/suggestions by the other parties involved. Such a pro-ject tends to be tightly bound to an artist’s body of work, since it is developed from within the artist’s sys-tem of conceptual sphere of activity, and the quality of the outcome is likely to be convincing.

3.2.2 Project as a reaction to an open / invited callArtist submits a project as a reaction to a solicitation, and cooperates with the solicitor on the implementa-tion of the work. Similar to the unsolicited project in many ways, but might end with a less concise relation to the artist’s body of work, since a topic / location / technology etc. is injected from the outside.

3.2.3 ResidencyArtist is invited to stay / work within the soliciting organization for a limited amount of time. The artist in-teracts with the organizations’ staff, and creates work (or a concept therefore) while being an «artist in residence». Residencies often include a board, lodging and a stipend and may be accompanied by a subsequent, funded publication and / or exhibition. In exchange for the services received, the artist often gives guest lectures, workshops, panel discussions and generally delivers a report on his/her activities and results at the end of the residency.

Residencies often yield very satisfying results, which are consistent with the artist’s body of work. They are a very successful measure that has sustainable impact on the artist and his/her work and often have a lasting influence, which might develop only after completion of the residency. However, comparatively short residencies (often months, seldom years), coupled with possible difficulties in assimilation and cul-tural differences pose a risk to the quality of the results coming out of residencies.

3.2.4 FellowshipSimilar to a residency, but aimed towards longer engagements in the order of 1 – 3 years. The quality of the output is more manageable.


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3.3 ESA INFRASTRUCTURE APPLICABLE FOR EAI (PROPOSAL)

Artistic immersion, cooperation, and production could take place in virtu-ally ESA's entire infrastructure. While for residencies or fellowships the infrastructure and supporting personnel would be defined and prepared before a call for tender, individual projects acquired directly or through an open call could be supported and implemented on a case-per-case basis.

3.3.1 ESA platforms

— Concordia

— Parabolic flights

— Unmanned stratospheric rockets

— Interplanetary missions

— Deep space robotic missions

— ISS

3.3.2 ESA facilities

— ESTEC Test Centre

— ESA ESOC facilities

— ESA ESRIN facilities

— Specifically e.g.:

·Electrical laboratories

·Mechanical laboratories"

·Software laboratories

·Product Assurance laboratory

·Concurrent Design Facility

· .......



3.4 FINANCING

There are many options for ESA that range from no cost, in kind contribu-tion to specific funding. For example, residencies or fellowships could be accounted for by provisioning of ESA infrastructure and personnel. Addi-tional cost could be cross–financed either under the patronage of specific ESA divisions, a division–independent ESA Art Fund, or in cooperation with third parties (cultural partners, external institutions).

3.4.1 Funding provided by ESA

— No cost option through branding

— In-kind options through existing infrastructures

— Financed options through mechanisms already in place

— Financed options through new activities to be installed

Other options include: ESA finances the facilitation of scholarships that will be offered to selected candi-dates for artistic practices in relation to ESA scientific activities and/or project implementation or ESA en-dorsed scholarships financed by external educational institutions and foundations

3.4.2 Possible in-house funding mechanisms

— ESA Arts Fund : A program– or facility–independent «ESA Art Fund» could be established which would provide financing for EAI and related activities

— Percent for Arts : Another funding model would foresee to divert a percentage (or probably rather a percentage of a permille) of all ESA science project budgets to finance EAI

— ESA-Young Graduate Trainee Programme (YGT)

3.4.3 External funding provided by

— National government grants (for citizens of member states)

— European science foundation (collaboration for people with scientific background)

— European commission (cultural programs, science and society)

— Private art foundations

— Other scholarships / grants


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3.5 QUALITY MANAGEMENT

The most important measure of success of an EAI would be the control of work quality. In order to assure this quality, ETTAS suggests to employ modes of operation, selection standards and reporting mechanisms which are modelled following established programmes, like those maintained by international residency programmes or tendering agencies like CERN and the National Science Foundation.

3.5.1 Board of specialists (jury / ESA art commission)Prerequisite to a successful implementation of any kind of cooperation between ESA and the Arts will be the installment of a body of specialists which will team up with ESA representatives to accompany and assess both solicitations / open calls as well as projects / portfolios / entries. Besides controlling the se-lection process, the board would also be responsible for reporting and assessment of success.

The board of specialists preferably consists of acclaimed artists, curators, art historians and journalists and ESA personnel.

In addition to the creation of a board, it might be advisable to establish the position of an internally posi-tioned facilitator or liaison officer between ESA, the specialists and the participating artists.

3.5.2 Selection and review criteria

— Convincing theme (proposed work will provide new understanding of ESA’s activities)

— Intellectual merit and broader impacts

— Practical feasibility (both for ESA and applicant)

— Financial feasibility

— Focus on artistic merit, prior work, relevance to call

— Interest to ESA

— Visibility (direct impact, mid–term/ and long–term impact)

3.5.3 ReportingAt conclusion of selection process:

— Jury report (describing selected artists / projects, giving reasons for inclusion)

— Note to declined artists / projects (giving reasons)

— Press release

At end of year:

— Internal report (artists, projects, feasibility, finances, etc.)

At conclusion of project:

— Presentation (exhibition, performance, publication …)

— Final report by artist and/or scientist, including high resolution imagery



3.6 INTELLECTUAL PROPERTY RIGHTS (IPR)

The authors suggest IPR regulations common in the art world.

— IPR (Urheberrecht) of artwork stay with artist, he/she agrees to mention ESA's contribution whenever the work is used

— Intellectual property in the form of novel techniques/technologies stay with the ESA, but ESA grants the artist licence to use these techniques free of charge

— If necessary non-disclosure agreements can be signed by both parties (ESA and the artist)

— Physical works belong to the artist. Depending on the monetary value thereof, an agreement for a sales percentage earned by ESA can be made

— Creative Commons:

• Raw images are placed in the public domain

• Derivative works by third parties are allowed (encouraged!)

• ESA owns full publication right (Nutzungsrecht) of both raw data as well as finished work

Remark: Detailed proposal might have to be defined by an intellectual property lawyer.


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PART 4:

PROPOSAL FOR THE STRUCTURE OF AN ESA ART INITIATIVE

Hereinafter, we shall propose a possible structure consisting of bodies to be created in order to establish a cooperation between ESA and the Arts. While this proposal consists of a high–level structure, a simplified con-struction is also imaginable. The sole entity without which we would deem EAI impossible is the body of internal & external experts, which assures quality of the work selected and the relevance to ESA of it.

4.1 BASIC STRUCTURE OF COOPERATIVE ART/SCIENCE PRODUCTION

The following diagram describes a very basic structure of curated art production that profits from a tightly knit interaction between artists and scientists, applying simple mechanisms for quality management and reporting.

Select artist’s projects upon call or unsolicitated porjects

Submit final project for (feasibility)review and report to juryProduce / implement artwork

Distribute within ESA, to art / culture and scientific communities, show in public

Cultural / Scientific Jurycomposed of curators, artists,

scientists including ESA

Cultural / Scientific Jurycomposed of curators, artists,

scientists including ESA

Publication, internal showcase and public exhibition of artwork

Support artists and / or collaborate with artists

Artists Scientific MentorsESA Scientists



4.2 DETAILED STRUCTURE DIAGRAM

4.2.1 Proposed diagram for EAI operationsThe diagram below shows an exemplary possibility how artists' projects contributing to ESA can be se-lected, implemented and reviewed. The entities / persons indicated in the diagram refer to the roles identi-fied below (sections 4.3.1 – 4.3.5).

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Collaboration

Approval, reporting

Reporting

Approval, reporting

Project Proposals

Project GO!

Project GO!

Project Solicitation

Evaluation, selection and recommendation of projects

Projects Approval and Budget Allocation

Project in public display

Selection, Liaison

Request for participation

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Feasibility ReviewESA Decision

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ArtistsUpon invitation or open call ĺ��

supporting a winning entryScientific Mentors

Artistshaving submitted a winning entry


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An ESA Cultural/Scientific Coordinator who invites Scientific Mentors to mentor artists with their projects, and a Board of Cultural/Scientific Advisors to solicit art projects and to open a call launches each EAI. In this way a qualitatively good call is ensured through the Board of Cultural/Scientific Advisors and is is cer-tified that the proposed art projects fit into the scientific research through the Scientific Mentors.

In the «Project Development» phase the artists submit their project proposals after being coached by their Scientific Mentors and a Cultural Jury which is revolving selects the projects to be supported and commissioned by ESA.

Then, in «Project Implementation» phase, the ESA Cultural/Scientific Coordinator initiates a feasibility check for each selected project, gets a feed-back from the relevant ESA personnel and gives an official «GO!» to the scientific mentors and artists to start the project.

The implemented project is reported and presented to the Cultural Jury which sends their approval and evaluation to the Board of Cultural/Scientific Advisors who wrote the brief for the call. At the same time the ESA Cultural /Scientific Coordinator gets feed-back to report within ESA and to include lessons learnt for the next call. This concludes the last phase of «Dissemination & Reporting» before a new cycle staring with the «EAI Launch» phase is initialized.

4.2.2 Possibilities for a simplification of the structure

— Merge the two boards (Board of Scientific / Cultural Advisors, and Revolving Cultural Jury). While this simplifies the process of installing the EAI structure, it diminishes both flexibility towards activi-ties in different kinds of culture (i.e. arts, theater, literature etc.), and concentrates «power» in fewer hands (just like merging executive and judicative power in a democratic system).

This would mean that a two-step quality control and neutrality assurance mechanism would be given up. Consequently, the appointment process for the resulting single board will be crucial to the success of all EAI, and will therefore need a lot of attention.

— Distribute the Cultural / Scientific Coordinator workload, eliminating this post.His/her workload would need to be distributed amongst a number of people (ESA internal for legal work and internal relations, external for project solicitations, jury and board contacts etc.)

This would weaken EAI’s position within ESA, and might lead to much less efficient processes, as artists and scientists will need to find their own way of navigating ESA’s structure, as opposed to this being taken care of by a person on a dedicated post.



4.3 KEY PLAYERS / ROLES

4.3.1 Cultural/Scientific Coordinator across ESA facilities (administrative work)A Cultural/Scientific Coordinator within ESA would ideally provide an interface for the EAI to the diverse ESA programmes and directorates and provide information and resources to participants in the projects. Although the vision and primary function would be to develop these ideas and activities within the Human Space Flight Directorate, an interface with the ESA Communications Office and Education Office could ideally provide access to a broader range of space related activities.

We envisage that the following structure (see overleaf) could facilitate this type of cultural interface within ESA: An appointed Cultural/Scientific Coordinator would facilitate interaction between internal and external ESA facilities, educational / museum / curatorial networks i.e. cultural activities, and the board of cultural and scientific advisers. The Board of Cultural and Scientific Advisors will appoint revolving juries with specific recommendations of themes including residency and mentorship activities and calls.

The Cultural/Scientific Coordinator would prepare the submissions for art projects and activities and will run a feasibility survey for the realization and implementation of pre-selected projects. S/he will in advi-sory capacity recommend the ones that are deemed suited to be implemented within the framework de-fined by the ESA and him/herself to the revolving Cultural Jury for final selection.

4.3.2 Mentors: ESA ScientistsScientists working at ESA or on a contract for ESA may use the opportunity to collaborate with selected artists on their scientific projects by becoming EAI mentors. This role allows the volunteering scientists to broaden communication, dissemination and outreach. ETTAS anticipates that through an active coopera-tion between scientists and artists, the latter can gain more insight into the scientific projects and proc-esses and can further through their own practice knowledge of the scientific part.

The Cultural/Scientific Mentors would be volunteers within the ESA network who are willing to collaborate with artists participating in an EAI. These mentors would be responsible for assisting with projects and be a part of the overall cultural initiative via interaction with the ESA Cultural/Scientific Coordinator. The Men-tor’s incentive is cross-pollination and visibility through the artist and his/her practise with a project the mentor is involved and responsible for. Through this the mentor’s project visibility increases in different communities, including scientific, cultural, broad public.

4.3.3 Board of Scientific / Cultural Advisors (curatorial guidance)The Board of Scientific/Cultural advisors has the function of a steering committee, is drawn from the ET-TAS with a period of five years and encompasses various disciplines. The board of Scientific/Cultural Ad-visors appoints the Cultural Jury guides the Cultural/Scientific Coordinator with suggestions for main themes. The work in the board will be remunerated.

4.3.4 ArtistsArtists/projects would be solicited through open calls and by invitation of the board members. The board should be responsible for the creation of the open calls and the revolving juries would be asked to review the submissions anonymously. A simple template for projects would be available to facilitate and stream-line the submission process.

4.3.5 Revolving cultural jury of experts (curatorial work, quality management)It is recommended that revolving juries are appointed by the Board of Scientific and Cultural Advisors and represent the diversity of cultural initiatives/practices to enhance the vision. The jury comprises of two


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artists, two cultural theorists and curators and one related experts such as art journalists, editors of art magazines etc. The jury will act for four years. The work in the jury will be remunerated.

The Cultural/Scientific coordinator will also be part of the Jury. The Jury will be appointed to work for four years and select all projects to be implemented. The Jury will have access to all submissions for review.



4.4 PROPOSED INITIATIVE (COOPERATION) FORMATS

Ideally, artists would be given the choice to interact with ESA in a number of different initiative formats. This would allow for artists employing a wide range of working strategies to contribute to ESA.

Initiative formats could be carried out on a multitude of sites and experi-ments — EAC, ESTEC, Concordia, robotic missions, and the ISS5 to name just a few — and be built upon one-to-one, one-to-a cluster and team-to-team engagement. A panel of external specialists6 could be as-sembled to support ESA in curatorial matters, decision finding, quality management and project steering.

4.4.1 Individual projects (unsolicited / upon solicitation or open call)

⇥ see also 3.2.1 (p9)

Format: External cooperationTime frame: depending on projectLocation / acess level: where needed

How to apply: Individual agreements between ESA members and artists, application, open callOn-site support: Contact person, mentor, facilitator (Cultural /Scientific Coordinator?)Project budget: With / without budgetContract / Fees: With / without contractInternal impact: New ideas, guest lecture

External impact: Exhibition, talk, workshop, conference, publication, media exposureExamples: http://www.synapse.net.au http://www.artscatalyst.org http://www.antarctica.gov.au/about-antarctica/antarctic-arts-fellowship Risk: Comparatively little interaction ESA – artist, ESA has less opportunities to

co-create contentsGain: High quality output likely

4.4.2 Artist residence (affiliated member, upon solicitation or open call)⇥ see also 3.2.3 (p9)

Format: Artist in residence, guest lecturerTime frame: Short residency, scheduled and/or flexible (1–6 months)Location / access level: Lab (all platforms), onsite office, studio


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5 See A1.1, p32

6 See 4.1.1–4.1.3, p14

http://www.synapse.net.au


http://www.artscatalyst.org


http://www.antarctica.gov.au/about-antarctica/antarctic-arts-fellowship


How to apply: Individual agreements between ESA members and artists, application, open callOn-site support: Contact person, mentor (Cultural /Scientific Coordinator?)Project budget: With / without budgetContract / Fees: With / without contract, daily allowance

Internal impact: New ideas, guest lectureExternal impact: Exhibition, talk, workshop, conference, publication, media exposure, patentExamples: http://artistsinlabs.ch http://www.synapse.net.au http://www.artscatalyst.org

http://www.antarctica.gov.au/about-antarctica/antarctic-arts-fellowship http://arts.web.cern.chRisk: Residence may result in production delays, not so much outputGain: Intense exposure to artist

4.4.3 Committed positions (post-doc, internships)⇥ see also 3.2.4 (p9)

Format: Fellow, internship, employment (co- or principal investigator), post-docTime frame: Long residency (1-2 years, defined by the disciplines)

Location / access level: Lab (all platforms), onsite office, studioHow to apply: Direct employment, application, open callOn-site support: Mentor, (Cultural /Scientific Coordinator?)Project budget: With budgetContract / Fees: With contract

Internal impact: Profound exchange, new ideas, guest lectureExternal impact: Exhibition, talk, workshop, conference, publication, media exposure, patentExample: http://www.esa.int/esaMI/Careers_at_ESA/SEM19DXO4HD_0.htmlRisk: Project may lose spontaneity, since art does not function like a phd thesisGain: Process and output can be precisely planned, timed and managed



http://artistsinlabs.ch

http://artistsinlabs.ch







http://arts.web.cern.ch

http://arts.web.cern.ch

http://www.esa.int/esaMI/Careers_at_ESA/SEM19DXO4HD_0.html

http://www.esa.int/esaMI/Careers_at_ESA/SEM19DXO4HD_0.html

4.5 TERMS OF ENGAGEMENT

Those engaging in an EAI conduct their work either as individual artists or researchers, in their normative environments or inside ESA facilities, in collaboration with scientists, engineers, technologists — or artists of vari-ous fields. The hereby proposed terms of engagement are:

4.5.1 Solo Individual research / work: This type of engagement is either artistically or scientifically driven.

It can result in

— Artists in labs: artists work / research over a pre-defined timeframe within the facilities of ESA. The residency concerns general research and/or the production of specific artistic works or parts of these works. The ESA Arts Initiative (EAI) may also support artists in human spaceflight-related endeavours with cooperating organisations. Examples may include participation in a space analogue expedition or in the development of a payload with a Third Party contract provider to ESA.

— Scientists in artistic spheres: EAI will provide the support for ESA professionals to engage in a range of formal and informal Cultural and Artistic initiatives with Third Parties. These may include host ar-rangements for scientists/technologist to engage with an individual artist at their studio or with their sphere of practice; with a private cultural institution such as an artist collective or gallery or; with a state-based organisation such as an orchestra, theatre, and museum; or with a time-based event such as an arts festival or conference.

— Project-based cooperation: While the artist works within his/her own environment, ESA dedicates manpower and infrastructure to the task of implementing the project.

One of the EAI aims could support the ESA scientists and technologists with new opportunities for accu-mulating and transferring expert skills, insights / treatments, and novel approaches to research and de-velopment; interdisciplinary collaboration, and public engagement.

4.5.2 TandemConcerted development, based on a face-to-face conversation between an artist and an ESA scientist. Dialogue is a crucial part of both the conception as well as the production process. The Tandem-type en-gagement fuses the knowledge of both involved disciplines, in order to spark inspiration for both involved parties.

4.5.3 ClusterConcerns mutual work of group activities, which includes more than two disciplines. Due to this extension this kind of collaboration will become more complex than Tandem. Likewise the tandem engagement also within the cluster the common goal is the development of hybrid art forms as well as novel working solu-tions.

4.5.5 Strategic ConsultantArtists and persons from the cultural sectors are embedded into the scientific discourse to specify cultural policies. Here the scientific community profits from their expertise in various representation techniques (e.g. for audification, visualization of scientific data). This dialogue offers also a high potential to reflect together cosmological, anthropological or social-political implications of space related research missions.


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4.5.6 Standard of Collaboration EthicsTo assure that the mentor's generosity or time will not be monopolized, and to prevent unrealistic expec-tations by over-worked and under-resourced professionals, a Standard of Collaboration Ethics will be es-tablished. Among other things, this document will define the time and resources of ESA members to be allocated to collaborating with artists.

4.5.7 Quality / Reporting (see also 3.5.3)

— After the projects have been selected a jury report for ESA, the arts community and the general pub-lic – press release is prepared and distributed.

— Distribution of the outcome of the Jury evaluation after the projects have been finished report to the respective communities.

— Final internal report at the end of each year about the EAI to ESA (including artists projects, finances and other related EAI issues)

Deliverable by the Cultural Jury :

— Evaluation after the termination of the project submitted to the Cultural /Scientific Coordinator and Cultural /Scientific Board of Advisors.

Deliverable by the artist / scientist:

— Written report by artist and scientist

— Presentation (exhibition, performance, publication …)

— Delivery of high resolution material to ESA



4.6 LOCATION AND MODE OF CREATION

Works in the realm of an EAI are created in different ways and at different locations:

4.6.1 By the artist in his/her studioInspired by exchange with ESA, and possible accompanied by a mentor, the artist works in his/her own environment

4.6.2 By the artist (and possibly an ESA representative) in an ESA laboratory or locationInspiration, research and production of artworks in ESA labs, limited time

4.6.3 By ESA representatives at ESA laboratory or location, upon guidance by the artistExample: astronaut conducts «artistic experiment» aboard the ISS

4.6.4 By ESA scientists (and possibly an artist) in an artist's studioThe artist’s might provide facilities such as theatre, site specific installations, lighting technology or sound recording studio


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4.7 STRATEGIC RELATIONS AND DISSEMINATION

To broaden the audience and strengthen the thematic field of space, arts and science within manifold communities, and furthermore, to take profit of different funding options, a list of strategic relations relevant to the theme is suggested hereafter. The list is incomplete, but shall give the reader an overview of possibilities. Additionally, more options of dissemi-nation channels derive from strategic relations.

Partnerships

— Higher education (art academies and universities): Engineering, science and arts & humanities

— Well-known art academies in ESA member states such as • Academy of Media Arts, Cologne (KHM)• Goldsmiths, University of London• Central St. Martins, London• AIA, London• La Sapienza GAUSS, Rome

• University of applied arts Vienna

• Kunstuniversität Linz

• ZHdK Zurich

— Well-known scientific institutions with art collaborations:• CERN

• Ars Electronica

— Cultural institutions : libraries, archives, art galleries

— Well-known museums in ESA member states such as:• Tate Modern, London• Museum of Contemporary Art, Ljubljana• MAK Vienna• ZKM, Karlsruhe

• Centre Pompidou, Paris

• Stejdelijk Museum, Amsterdam

— Organizations :• International Astronautical Federation (IAF)

• space and society

• European Commission

• European Research Council

• JAXA

• NASA

• Roskosmos

• Cultural Centre of European Space Technologies (KSEVT)



• Interpolar Transnational Art Science Constellation (I-TASC)

• Arcitc Perspective Initiative (API)

• The Arts Catalyst

— Media cooperation with art magazines such as• Frieze

• Art Review

• Parkett

• Art Forum

• Neural

• WIRED

— Experts: Well-known individuals (scientists, artists, engineers, theorists, any kind of persons)

Dissemination

— Publications• Collaboration with Science community (e.g. poster sessions, abstract submissions, presentations)• ESA Arts Initiative Publication Series • Co-branding with an art-magazine…

— Scientific publications

— Exhibitions (local and global)

— Website within the ESA website


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4.8 RECOMMENDATIONS

In the following we would like to present a preliminary set of recommen-dations. They can be implemented over time and if appropriate, and might be adjusted as work progresses in the coming years.

4.8.1 Recommendation for FIRST STEPS

— Support artists through support letters on an ESA letter head to pursue projects to find sponsorship for their projects, and make it mandatory to carry the ESA logo on all documentation and exhibitions of the project (except artwork itself), so ESA cooperation becomes visible wherever the project is mentioned or exhibited.

— Make use of conference venues (e.g. Life Sciences conference in Aberdeen 2012) to showcase rele-vant artworks / projects or have artists present their work for interaction with scientists.

— Ensure easy access of conferences for artists – e.g. suspending conference fees or offering «student registration» fees to artists

4.8.2 Recommendation for operative FORMAT for artists’ cooperation⇥ see 3.2 (p9) and 4.3 (p17) for details

— Introduce over a certain timeframe well-established artistic formats at ESA offering ESA infrastructure and platforms: • Unsolicited project• Project as a reaction to an open / invited call• Residency (artist is invited to stay / work at the soliciting organization for a limited amount of time)• Fellowship (see residency, only with longer engagements)

4.8.3 Recommendation for LOCATIONS of creation

⇥ see 4.6 (p23) for details

— Create a variety of options of locations for artists to develop and implement their work

— Support possibilities for scientists to collaborate with artists• ESA scientist with artist at ESA laboratory or location, possibly upon guidance by the artist• ESA scientists in an artist's studio, possibly upon guidance by the scientist

• ESA scientist and Artist each in their respective environments

4.8.4 Recommendation for terms of ENGAGEMENT⇥ see 4.5 (p21) for details

— Support a variety of possibilities for artists and scientists to collaborate• Solo (Individual research / work)

• Tandem (Concerted development, based on a face-to-face conversation between an artist and an ESA scientist)

• Cluster (Concerns mutual work of group activities)• Strategic Consultant artists and persons from the cultural sectors are embedded into the scientific

discourse to specify cultural policies)



4.8.5 Recommendation for a STANDARD OF COLLABORATION ETHICS⇥ see 4.5.6 (p22) for details

— Establish a Standard of Collaboration Ethics contract template, to be signed by the both the artist as well as the co-operating ESA scientist

4.8.6 Recommendation for ESA INFRASTRUCTURE


— Offer ESA infrastructure and platforms to artists to support their work being developed

4.8.7 Recommendations for FUNDING OPTIONS⇥ see 3.4 (p11) for details

— Install a variety of options. Start with No cost option through branding or In-kind options through exist-ing infrastructures.

— Try to slowly introduce mechanisms already in place for possible fundings for artists

— Finally aim for financed options through new activities to be installed

4.8.8 Recommendations for QUALITY MANAGEMENT⇥ see 3.5 (p12) for details

— Install a jury to judge the artistic quality of projects which ESA should support

— Establish selection and review criteria for art projects submitted to ESA during a call or in an unsolic-ited proposal

— Establish reporting process for the artists after having terminated their project

— Eventually, if possible, establish the full set of roles described in the EAI to ensure maximum quality management

4.8.9 Recommendation for LEGAL ASPECTS


— Establish (or adapt) a contract template

— Have both parties sign an IPR agreement, depending on the ESA commitment (IPR of artwork stay with artist, he/she agrees to mention ESA's contribution whenever the work is used)

4.8.10 Recommendation for the ESA ARTS INITIATIVE (EAI)⇥ see 4.2 (p15f) and 4.3 (p17f) for details and diagram

— Final goal: install EAI structure with a Board of Scientific / Cultural Advisors (curatorial guidance), artists, revolving cultural jury of experts (curatorial work, quality management) to establish a full size EAI and to ensure maximum quality management

— Option for first cycle of EAI starting in the third quarter of 2012 to be able to contribute to the Bonn Kunsthalle exhibition in 2014


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4.9 NEXT STEPS

Because of the scant and infrequent realization of large space-related exhibitions in renowned art institutions7, the ETTAS would like to recom-mend an optional timeline, since the participation in an exhibition like the one at the Bundeskunsthalle Bonn — which will be accompanied by a catalogue publication, and most likely will draw a significant amount of (international) media attention — poses an extraordinary possibility to reach a significant and broad audience and to generate public exposure for ESA.

4.9.1 Life Sciences Symposium Aberdeen 2012In June 2012, the ETTAS plans hold a Co–Chair meeting during the Life Science Symposium held by ESA in Aberdeen. This meeting will serve to gain further support and exposure inside ESA, and to com-mence the implementation of next steps, including the planning of a large team meeting scheduled for late 2012 / early 2013. An abstract based on this report has been submitted, and the planning of a video exhibition showcasing relevant works in the conference premises is underway.

4.9.2 Exhibiton Bundeskunsthalle Bonn 2014As mentioned above, a grand space-related exhibition will open at the Bundeskunsthalle Bonn in Sep-tember 2014. The organizers of this exhibition have invited the ETTAS to hold a workshop and a result conference within the frame of this exhibition. Furthermore, works coming out of an ESA Art Initiative (EAI) may be included in the exhibition, given the curator’s approval (see footnote 3, p3). An EAI structure like the one proposed (see Part 4, p14ff) foresees a mechanism for quality control (during all projects phases, starting at selection), which greatly increases the likelihood to meet the curator's quality stan-dards.

Typically, the curatorial timing of such an exhibition demands for the completion of the exhibit list around one year before the opening. In order to possibly contribute to this exhibition, proposed works (or detailed concepts thereof) must be available by the end of 2013, with an implementation taking place no later than the first quarter of 2014, in order to leave time for the production of museum-quality exhibition pieces.



7 A renowned institution will not hold two space-related exhibitions within several decades. Based on the important space-related exhibitions held at renowned institutions since 2001)

2001 : Hypermental. Wahnhafte Wirklichkeit 1950–2000, Kunsthaus Zürich, CH

2001 : All Design Museum für Gestaltung Zürich, CH

2005 : Rückkehr ins All, Hamburger, Kunsthalle, D

2006 : Space soon, Roundhouse, Arts catalyst London, UK

2006 : Orbit, ZKM, Karlsruhe, D

2008 : ZeroG, HbK Galerie, Braunschweig, D

2009 : (in)habitable? Festival @rt outsiders, Paris. F

2010 : L'attraction de l'espace, Musée d'Art contemporain de St. Etienne, F

2011 : Space. About a dream, Kunsthalle Wien, AUT

2014 : Weltraum — Outer Space, Bundeskunsthalle Bonn, D

http://www.mam-st-etienne.fr/index.php?rubrique=31&exposition_id=124

http://www.mam-st-etienne.fr/index.php?rubrique=31&exposition_id=124

4.9.3 Solicitation and implementation of a first set of artistic works: 2012 – 2013Based on the above, the ETTAS proposes to conduct the solicitation, selection, development, feasibility assessment, implementation and digestion of a first ESA Art Initiative cycle starting no later than in the third quarter 2012. As described in Part 3 (p7ff) this not necessarily involves a budget. In-kind contribution also can lead to an implementation of a first set of artistic works supported by ESA.

4.9.4 Alternate (less pressing) procedureIn case the participation in the exhibition at the Bundeskunsthalle Bonn is not desired or impossible due to the tight schedule or other reasons, the EAI mechanism described hereinafter can be implemented at any time given. The remainder of this report, with exception of the timeline example (p30), deals with general terms not related to dates and concrete procedures.


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4.10 TIMELINE FIRST INITIATIVE CYCLE

Based on the foregoing, this timeline aims at using the Bonn Kunsthalle exhibition in 2014 as a first benchmark.

2011

— First meeting of the Topical Team held (continuous platform established)

— Report delivered (Initiative pre-proposal)

— Topical Team Platform pre-launched (Website, Wiki, open website, option for feed-back)

2012

— June: Life Sciences Conference Aberdeen• Presentation of report and selected further presentation (abstracts here: )

• Video exhibition of Topical Team Member works during conference• Meeting of the Topical Team Co–Chairs in preparation of second meeting (late 2012 / early 2013)

— Official start of the EAI and website (4-year-initiative, start 2012 – 2020)

— Selection of the Cultural and Scientific Coordinator, the Cultural/Scientific Board of Advisors, Cultural Jury

— Selection process for pilot projects which were submitted by an open call and which deal with one or more themes relevant to ESA

— Pilot projects implementation

— Ministerial meeting

— Conferences: • ESA Life Sciences Symposium, Aberdeen• Symposium IAC, Naples

— Late 2012 / early 2013: Second meeting of re-assembled Topical Team at ESA ESTEC

2013

— First call for EAI

— Selection process for pilot projects

— Projects implementation

— Conferences:TEDx, other tbd.

2014

— Projects implementation

— September: Exhibition Bundeskunsthalle Bonn: SPACE — OUTER SPACE (working title)

— Conference: Bundeskunsthalle Bonn



ANNEXES

A1 PREVIOUS WORK IN THE FIELD (ESA, NASA, JAXA, INDEPENDENT WORK)

Following is a list of exemplary projects and artworks which have been implemented by space agencies (ESA, NASA, JAXA, NPO Energia / Roscosmos and CPK I Jurija A. Gagarina) or within a techno–scientific framework (National Science Foundation, Swiss Air Force, South African National Antarctic Program, International Polar Year).

These projects and art pieces provide insight both into the kind of results an ESA Art Initiative could provide, as well as the working modes estab-lished between the respective artists and the cooperating agencies.

LIST OF PROJECTS (in reverse chronological order) :

A1.1 2012 Ayako Ono* & So Negishi : Space Musical Instruments 31A1.2 2012 Agnes Meyer Brandis : Moon Goose Analogue 32A1.3 2011 Angelo Vermeulen* & Tine Holvoet : BODYREACTOR 33A1.4 2011 Tim Otto Roth*: From the Distant Past 34A1.5 2010 Kirsten Johannsen*: Nomadic Nature Kit 35A1.6 2010 Sonia Leimer : 2030 36A1.7 2010 Eva Schlegel*: In Between 37A1.8 2010 Christian Waldvogel*: The Earth turns without me 38A1.9 2009 Alicia Framis* : Lost Astronaut 39A1.10 2009 Setuko Idhiguro : Hiten Project 40A1.11 2009 Anna Hill*: Heliosphere 41A1.12 2008 Bradley Pitts*: Singular Oscillations 42A1.13 2007 Marko Pelhjan*: Makrolab 43A1.14 2006 Semiconductor : Ways Of Making Sense 44A1.15 2006 Lita Albuquerque : Stellar Axis 45A1.16 2005 Sarah Jane Pell*: Undercurrent 46A1.17 2005 Kitsou Dubois : Inversion 1 47A1.18 2003 Zbigniew Oksiuta : Mesogloea 48A1.19 2003 Damien Hirst : Spot Painting / Beagle 2 49A1.20 2001 MIR — Microgravity Interdisciplinary Research Flight Campaigns 50A1.21 1999 Kosmokinetical Kabinet Noordung: Biomhanika Norrdung 51A1.22 1993 Arthur Woods: Cosmic Dancer 52A1.23 1985 Joseph McShane: Payload G–38 53

*: ETTAS member


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A1.1 Ayako Ono & So Negishi : Space Musical Instruments

To represent the theme of Cultural and Artistic Utilization of the International Space Station the Japan Aerospace Exploration Agency (JAXA) selected a project by Ayako Ono for implementation.

Space Musical Instruments consists of a pair of musical instruments suitable for weightlessness, which can be played easily (with or without musical accompaignment). The aim of this project is to foster the development of new musical communication tools, and to inspire the public about space and science.The instruments were launched to the ISS on October 31, 2011. NASA astronaut Daniel C. Burbank played the instruments on the ISS on February 10, 2012, extending his time of involvement beyond the the procedure manual.Two pieces of music were played (with specially prepared background music): — “Dream Starts" (composed for the space musical instruments by artist Jaakko Saari), and — a two minute edition of "Kiyoraka na sora", composed by acclaimed pianist Akira Takahashi

Year : 2009 – 2012

Partner : JAXA

Production : Development of Instruments: So Negishi (metal artist) & Ayako Ono (artist, leader)

Websites : http://iss.jaxa.jp/kiboexp/news/120213_smi.html http://ameblo.jp/hiikalu/day-20120209.html

Credit : © 2012 JAXA & Ayako Ono / So Negishi



http://iss.jaxa.jp/kiboexp/news/120213_smi.html

http://iss.jaxa.jp/kiboexp/news/120213_smi.html

http://ameblo.jp/hiikalu/day-20120209.html

http://ameblo.jp/hiikalu/day-20120209.html

A1.2 Agnes Meyer Brandis: Moon Goose Analogue

Agnes Meyer Brandis’ poetic-scientific investigations weave fact, imagination, storytelling and myth, past, present and future. In THE MOON GOOSE ANALOGUE: Lunar Migration Bird Facility (MGA) the artist develops a narrative based on Godwin’s The Man in the Moone, in which the protagonist flies to the Moon in a chariot towed by ‘moon geese’. Meyer-Brandis has actualised this concept by raising eleven moon geese with astronauts’ names and imprinting them on herself as goose-mother. They live in a remote Moon analogue operated from a control room within the gallery.

Year : 2011 – 2012

Partner : Commissioned for the ‘Republic of the Moon’ by The Arts Catalyst, London & FACT, Liverpool in partnership with Pollinaira, Italy

Production : Development of Instruments: So Negishi (metal artist) & Ayako Ono (artist, leader)

Websites : http://www.ffur.de/ http://www.blubblubb.net/mga/mga-intro.html http://www.artscatalyst.org/projects/detail/moon_goose_analogue_agnes_meyer_brandis/

Credit : ©2011–2012 Agnes Meyer Brandis


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http://www.ffur.de/

http://www.ffur.de/

http://www.blubblubb.net/mga/mga-intro.html

http://www.blubblubb.net/mga/mga-intro.html

http://www.artscatalyst.org/projects/detail/moon_goose_analogue_agnes_meyer_brandis/

http://www.artscatalyst.org/projects/detail/moon_goose_analogue_agnes_meyer_brandis/

A1.3 Angelo Vermeulen & Tine Holvoet: BODYREACTOR

BODYREACTOR is a workshop, installation, and social network by Angelo Vermeulen and Tine Holvoet. Vermeulen and Holvoet introduce theatre and performance students to the complexity of human corpore-ality in outer space, and invite them to explore the ideas within their personal creative practices. A col-laboration with the MELiSSA research unit of the European Space Agency (ESA) lies at the basis of the project. MELiSSA is the European model for a regenerative life support system for astronauts, and allows the production of oxygen, water and food, and the recycling of organic wastes and carbon dioxide. A bioreactor with a bacterial culture of Rhodospirillum rubrum used in MELiSSA is on loan from ESA, and forms the heart of the extensive installation. BODYREACTOR was created for (Exhibiting) Baroque Bod-ies at the Beursschouwburg in Brussels, Belgium.

Year : 2011

Partners : WARP, Helix, MELiSSA (ESA), Dik Scheepers, Marco Iannicelli, An Van den Abbeele,

Raf Vancampenhoudt, Lucas Caesens, Salvatore Russo

Production : Beursschouwburg, Rits & deBuren (Belgium)

Websites : http://is.gd/tp6q1U

Credit : ©2011 Angelo Vermeulen & Tine Holvoet, illustrations by Lucas Caessens & Dik Scheepers



http://is.gd/tp6q1U

http://is.gd/tp6q1U

A1.4 Tim Otto Roth: From the Distant Past

In collaboration with the Space Telescope Science Institute, ESA and NASA the German artist Tim Otto Roth presented three laser based light art exhibits at the American Museum of Natural History (AMNH) in the heart of New York City, the Maryland Science Center in the Inner Harbour of Baltimore and at the Isti-tuto Veneto di Scienze, Lettere ed Arti in Venice. Each evening green waves projected by high-power la-sers were pulsing across the facades of the buildings. The wave patterns, which echo a heartbeat or brain wave, tell a story about some of the oldest colours in the universe. The waves represent astronomi-cal spectra that result from the dispersal of light by a prism. These spectra were recorded by the Hubble Space Telescope and represent data about the most distant objects in the universe. "From the Distant Past" is not only an art & science project about the origins of the universe, it is also an artistic reflection on the phenomenon of colour by the means of concept art using laser light as a minimalist tool of graphi-cal notation.

Year : 2010/2011

Partners : ESA, ESO, NASA, Space Telescope Science Institute, American Museum of Natural History, Maryland Science Center, Istituto Veneto di Scienze, Lettere ed Arti

Production : Germany, Italy, USA

Website : http://www.imachination.net/distantpast/

Credit : ©2010/2011 Tim Otto Roth


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http://www.imachination.net/distantpast/

http://www.imachination.net/distantpast/

A1.5 Kirsten Johannsen: Nomadic Nature Kit

The Nomadic Nature Kit is an interdisciplinary artwork and combines art and human space flight. The work is designed for the future space traveller going on long-term flights into outer space. While symboliz-ing the ideal home and paradise, the plant based art object stands for the visual replacement of Planet Earth, representing its natural beauty by depicting earth-bound life cycles and plants.

Year : 2010

Production : Kirsten Johannsen

Websites : www.nomadicnaturekit.de www.kirstenjohannsen.de

Credit : ©2010 Kirsten Johannsen, photo by Heinrich Hermes



http://www.nomadicnaturekit.de

http://www.nomadicnaturekit.de

http://www.kirstenjohannsen.de

http://www.kirstenjohannsen.de

A1.6 Sonja Leimer : 2030

Video of an experimental spacesuit on the Austrian glacies «Pasterze» in the Tyrolian Alps. The video was exhibited and produced for the exhibition and topical context of «The world as stage design« – «Die Welt als Kulisse», Galerie im Taxispalais, Innsbruck, Dec 2010 – Feb, 2011.

The work places itself in the context of similar topical art pieces of Sonia Leimer and constitutes a mixture of displaced, manipulated reality and invented phenomena. The discourse of the relations of staging, the culture of imaging and the physical space creates the centre of her works. It is about the current condition within today’s society and it’s narrative placed in the media. Space/time and the image of space step into increased interaction with each other. The artistic interventions are formulated as re-staging, as fictionali-zation of spaces and their social and ideological structuring.

Year : 2010

Production : Sonia Leimer, video, DVD-Loop 4:44 min, color

Websites : http://sonialeimer.net/

Credit : ©2010 Sonia Leimer, 2030 (2010), Videostill, 2010. Courtesy Galerie nächst St. Stephan, Wien


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http://sonialeimer.net/

http://sonialeimer.net/

A1.7 Eva Schlegel: In Between

Schlegel’s work «In Between» consists of three aircraft rotors, each with a diameter of 3.80 m , where films are projected onto, giving the impression of floating images. Schlegel's projections on these rotors are films of people free flying, ascending weather balloons and related physical phenomena.

In a second installation, an amorphous sculpture of giant white floating weather balloons fills the space .

Year : 2010

Partners : MAK — Museum of Applied Arts, Vienna, and Bodyflying, Zurich

Production : Austria, Switzerland

Websites : http//www.evaschlegel.com

Credit : ©2010 Eva Schlegel



http://www.evaschlegel.com


A1.8 Christian Waldvogel: The Earth turns without me

The Earth's rotation was cancelled by travelling westward across the Alps at the speed with which the Earth turns in Switzerland (1158 km/h). In order to reach this speed, a cooperation with the demonstration team of the Swiss Air Force was established.

In order to document (or «prove») the standstill, a military jet was converted into a supersonic pinhole camera, using red filter gel and film which is susceptible only to blue light. During the four minutes of standstill — in which the Earth turned by one degree of longitude — this pinhole camera was used to photograph the Sun in a single exposure. Due to the relative motionlessness between the camera and the Sun the resulting image shows a point (instead of a streak, which would result when using a camera that turns along with the Earth.

Furthermore, a film was made that shows the Earth turning as seen from a point fixed in space, by filming out of the front cockpit. Camera crews on the ground and aboard a chase plane provided footage for a documentary movie.

Year : 2010 / 2011

Partners : Swiss Air Force, Swiss National Television

Production : Switzerland

Websites : www.waldvogel.com/art.php?jahr=2010&id=54&abstand=2 www.vimeo.com/waldvogel/kulturplatz

Credit : ©2010 Christian Waldvogel


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http://www.waldvogel.com/art.php?jahr=2010&id=54&abstand=2

http://www.waldvogel.com/art.php?jahr=2010&id=54&abstand=2

http://www.vimeo.com/waldvogel/kulturplatz

http://www.vimeo.com/waldvogel/kulturplatz

A1.9 Alicia Framis : Lost Astronaut

«Alicia Framis was immersed in a space suit that belonged to Russian space missions on the 70’s. Framis used parody to introduce a woman astronaut moving across different areas such as train stations, streets, avenues, subway, buses, shops, karaoke bars, restaurants, libraries, etc., thus interacting with the audience in these places. Both accident and chance played an important role when trying to create a futuristic performance that sometimes became hilarious. Under this absurd humour we find essential questions: Where did our future go? How can we imagine the future? Are the risk and failure of human curiosity gone?

… Lost Astronaut provides a plausible fiction that responds with humour to futuristic approaches —such as the concern about the evolution of architecture, design and lifestyle in the future— by crossing disci-plines and intellectual and artistic collaborations. Lost Astronaut was the beginning of expanded work, which now includes the moon life foundation, moon academy and moon life concept store.»** Text cited from http://www.estranydelamota.com/pressrelease.pdf

Year : 2009

Production : Alicia Framis, performance and, installation, video documentation, 34’ 21”; New York, November 2009, New York

Websites : http://www.aliciaframis.com/LOST_ASTRONAUT.html http://www.estranydelamota.com/pressrelease.pdf

Credit : ©2009 Alicia Framis, Lost astronaut (2009), videostill



http://www.estranydelamota.com/pressrelease.pdf


http://www.aliciaframis.com/LOST_ASTRONAUT.html

http://www.aliciaframis.com/LOST_ASTRONAUT.html



A1.10 Setuko Idhiguro: Hiten Project

— Hiten project 1. danced in the parabolic flight by two dancers (Huang Kai, Motoko Hirayama).— Hiten project 2. danced on the ISS by an astronaut, Dr. Koichi Wakata, in 2009.

Motions of human beings on the earth are completely governed by gravity. For the people who have watched astronauts floating in space, such scenes are surprisingly refreshing released from the restric-tion of gravity, human motions produce beauty that has not been ever seen before.

Hiten —the flying deities— are regarded as celestial beings who fly through the air to praise Buddha's dignity and guard his world. They rejoice over Buddha's doings by performing music, showering flowers and wafting incense as they fly through the air.

For this project, the artist focused on Dunhuang cave art and depictions of Hiten of the murals from the Horyuji Golden Hall in Japan. The physical characteristics and dance postures of these Hiten figures was analized. From this research, the artist defined movements in zero gravity (i.e. bending backwards, form-ing a triangle («Zazen»).

Hiten, their painted description and the interpretation thereof formed the artistic rules in zero gravity.

Year : 2009

Partner : JAXA

Production : Choreographer: Setsuko Ishiguro, Art Design: Takeshi Ishiguro, Costume: Kana Hashizume Make-Up: Mieko Ueda（Shiseido Co. Ltd)

Credit : ©2009 Hiten Project1 & 2, photos by JAXA


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A1.11 Anna Hill : HeliosphereImmersive exhibit: developed for the International Heliophysical Year and the inaugural opening of the Trinity College Science Gallery in Dublin Ireland in collaboration with Co principle investigator Dr. Peter Gallagher (Astro-physicist) introducing the remote “Aurora Suit” and immersive interactive exhibit and workshops as part of an education outreach program with UN ESA and NASA endorsements.

Year : 2008 – 2009

Partners : ESA, NASA, UN, Science Gallery Dublin, International Heliophysical Year, Illustrious

Production : Lapland, Finland, Ireland and UK

Websites : www.spacesynapse.com, goto background > selected artworks part 1

Credit : ©2009 Anna Hill Artist/Producer, Iarla O’Linoird Real World records (audio on foxes fire)

Thanks : Dr. Peter Gallagher, Martyn Ware, Illustrious (Audio production), Jason Bruges Studios, the Science Gallery Dublin Ireland.



http://www.spacesynapse.com


A1.12 Bradley Pitts: Singular Oscillations

SINGULAR OSCILLATIONS attempts to know the oscillating space of parabolic-flight in its own right rather than use it to understand its effect on other phenomena. The project is an ongoing collaboration between Bradley Pitts, Projekt Atol Flight Operations, and the Gagarin Cosmonaut Training Center in which the entire cabin of the IL76-MDK is cleared except for one subject who is allowed to float and fall freely with their eyes closed, ears blocked, and naked. This immerses the subject in the variable-gravity space and heightens their awareness of it, while minimizing their affect upon it. Thus SINGULAR OSCIL-LATIONS explores the empty volume of the plane in and of itself.

While SINGULAR OSCILLATIONS takes place within the context of a scientific facility, the expressed aim of the project is to produce immeasurable, subjective experience.

Year : 2008

Partners : Projekt Atol Flight Operations, Gagarin Cosmonaut Training Center, Russian Air Force

Production : Star City, RU

Websites : http://www.bradleypitts.net/projects/singularoscillations/

Thanks : Rob Defares, Fokker Technologies, and the Rijksakademie van beeldende kunsten, Erwan van Buuren, Ben Geraerts, Eddo Hartmann

Credit : © 2008 Bradley Pitts


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http://www.bradleypitts.net/projects/singularoscillations/

http://www.bradleypitts.net/projects/singularoscillations/

A1.13 Marko Peljhan: Makrolab

A 10 year project, consisting of the design, manufacturing and operations of an autonomous solar and wind powered mobile laboratory for the common work of artists, tactical media workers, engineers and scientists in remote areas of the world. The project was setup in Germany, the Scottish Highlands, Slove-nia, Australia, United States and Italy. The main three fields of research and enquiry for the Makrolab were the global systems of Telecommunications, Migrations and Weather and Climate. More than 100 artists, scientists, tactical media workers and engineers participated in the project during its lifetime and several technologies from sensor networks to satellite communications interception and data processing systems were developed in its framework. A very large number of artworks were created during the pro-jects lifetime, from films and videos to music, sculpture and literature. The project has evolved into the I-TASC (Interpolar Transnational Art Science Constellation) initative and the API (Arcitc Perspective Initia-tive) series of works.

Year : 1997–2007

Partners : Zavod Projekt Atol, The Arts Catalyst, University of California Santa Barbara, Perth International Festival, La Biennale di Venezia, documenta X

Production : Zavod Projekt Atol

Websites : http://makrolab.ljudmila.org http://www.artscatalyst.org/projects/detail/makrolab_venice/ http://www.artscatalyst.org/projects/detail/makrolab/ http://www.artscatalyst.org/projects/detail/makrolab_scotland/

Credit : 1997-2007, Zavod Projekt Atol, Marko Peljhan



http://makrolab.ljudmila.org

http://makrolab.ljudmila.org

http://www.artscatalyst.org/projects/detail/makrolab_venice/

http://www.artscatalyst.org/projects/detail/makrolab_venice/

http://www.artscatalyst.org/projects/detail/makrolab/

http://www.artscatalyst.org/projects/detail/makrolab/

http://www.artscatalyst.org/projects/detail/makrolab_scotland/

http://www.artscatalyst.org/projects/detail/makrolab_scotland/

A1.14 Semiconductor: Ways Of Making Sense

How do Space Physicists explain their science? Ways of Making Sense was produced when Semicon- ductor stayed as fellows the Space Sciences Laboratories, UC Berkeley. The film they produced reveals the thought processes that go on in and around it. The language used plucks metaphors from the every- day world conjuring bizarre visualisations of the discoveries the scientists describe and the way they build knowledge. They talk of sausages on the sun, simulations that track millions of tiny particles and the im- portance of wiggly lines.

Year : 2006

Partners : Leonardo Network, NASA, UC Berkeley Space Sciences Lab

Production : Arts Council England International Artists Fellowship, Art and Space Science at the UC Berkeley Space Sciences Lab., University of California, U.S.A

Websites : http://www.semiconductorfilms.com/root/WaysofMakingSense/WaysOfMakingSense.htm http://www.semiconductorfilms.blogspot.com/

Thanks : Ilan Roth, Janet Luhmann, Stuart Bale, David Brain (scientists at SSL)

Credit : © 2006 Semiconductor: Ruth Jarman and Joseph Gerhardt


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http://www.semiconductorfilms.com/root/WaysofMakingSense/WaysOfMakingSense.htm

http://www.semiconductorfilms.com/root/WaysofMakingSense/WaysOfMakingSense.htm

http://www.semiconductorfilms.blogspot.com

http://www.semiconductorfilms.blogspot.com

A1.15 Lita Albuquerque: Stellar Axis

In 2006, Artist Lita Albuquerque led an expedition to the farthest reaches of Antarctica near the South Pole to create the first installment of her global work Stellar Axis. The expedition was aided by a grant from the National Science Foundation and was the first and largest ephemeral art work created on the continent. The resulting installation consisited of an array of ninety nine fabricated blue spheres. The placement of each corresponded to the location of one of 99 specific stars in the antarctic sky above, creating an earthly constellation at the earth’s pole. As the planet rotated and followed its orbit the dis-placement between the original positions of the stars and the spheres drew an invisible spiral of the earths spinning motion.

The Stellar Axis Expedition’s journey to the ice ice included a team of experts resaechers and artists with Albuquerque at the healm. Their sole purpose was to pursue and materialize a sculpture and ephemeral event on a scale and in a place that was completely unprecidented.

Year : 2006

Partner : National Science Foundation

Production : Ross Shelf, McMurdo, Antarctica

Websites : http://litaalbuquerque.com/2006/10/stellar-axis-antarcticaantarctica2006/#3 http://www.stellaraxis.com/

Credit : ©2006 Lita Albuquerque, photos by Jean de Pomereu



http://litaalbuquerque.com/2006/10/stellar-axis-antarcticaantarctica2006/#3

http://litaalbuquerque.com/2006/10/stellar-axis-antarcticaantarctica2006/#3

http://www.stellaraxis.com/

http://www.stellaraxis.com/

A1.16 Sarah Jane Pell: Undercurrent

Pell's performances highlight the body's transfer of air and our dependence on air as living, breathing be-ings. They explore the physical and emotional limits of the body… Undercurrent presents a single per-former contained within a sealed transparent dome with a finite amount of breathable air.

[Undercurrent] is extremely physically demanding for the performer and has an overwhelming emotional intensity…* Undercurrent brings awareness to the fragility of our species and planet. As air runs out in her mini biosphere, the artist’s dancerly body begins to display violently sublime contortions and amplified breathing — real live flight/flight/surrender survival instincts — in the face of an impending state of emer-gency. Audiences reflect on the act/action/activism a poetic metaphor for embracing every last breath of life and as a call-to-action for responsible human exploration of space with immediate spin-off benefits for Earth. * Aer — The Vehicle of the Soul by Andrea Polli 2007

Years : 2003–2005

Partners : Perth Institute for Contemporary Arts, Edith Cowan University, Freedman Foundation, DANCE4, Bonnington Gallery.

Production : Nottingham Trent University Live Art Unit.

Websites : http://www.sarahjanepell.com/undercurrent.html http://greenmuseum.org/c/aer/projects/interdepend/index.htm

Credit : ©2004 Sarah Jane Pell / Video Stills: Richard Graham


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http://www.sarahjanepell.com/undercurrent.html

http://www.sarahjanepell.com/undercurrent.html

http://greenmuseum.org/c/aer/projects/interdepend/index.htm

http://greenmuseum.org/c/aer/projects/interdepend/index.htm

A1.17 Kitsou Dubois : Inversion 1

This video deals with the moment when movement appears, when balance is lost, and the moment of loss, discovery, and abandon.

In order to make this moment visible, the work is centered around the body substance (projected on the screens) versus the support substance (the chair, which appears as a shadow). The audience’s glance hesitates between the fuzziness and the clearness, between the precise and the overall.

The audience shall experience what Kitsou Dubois experienced with the performers: a mix between mo-ments of feeling anchored and safe and moments of being lost and disorientated.

Years : 2003–2005

Partners : Kitsou Dubois (concept/montage), Pierre Boscheron (music), Kolktif Alambik (scenographer), 6 Performers during Parabolic Flight November 2004

Production : CNES (National Center for Space Studies), Musée de l’Air et de l’Espace du Bourget

Websites : http://www.kitsoudubois.com/wordpress/?page_id=624#anglais

Credit : ©2005 Kitsou Dubois



http://www.kitsoudubois.com/wordpress/?page_id=624#anglais

http://www.kitsoudubois.com/wordpress/?page_id=624#anglais

A1.18 Zbigniew Oksiuta: Mesogloea

«Forms of the living are not, but always happen; they are the expression of a perpetual flow of matters and energies, running through the organism and forming it at the same time. What morphology defines as form and structure means a chronolo-gical cross-section through a stream of process in space and time.»

Life, as we know takes place in a liquid medium. As only in this labile material state the dynamic self-organizing processes, that are the foundation of evolution, are possible. Existence of the biosphere and existence of life on Earth, both depend on that whether we shall be able to move from the over-exploiting economy of linear systems to the cyclical economy of Nature.

Inflation of hollows in a polymer lump floating under water. The film was partly shot in Neutral Buoyancy Facility, European Space Agency ESA, Cologne.

Year : 2003

Partners : Lane Kluski Technology (Poached Dumpling Technology), ESA

Production : Messe Köln, German Aerospace Agency. Edit, Sound, Animation by Industruiesauger-TV: S. Kaltmeyer, M. Zeibell, A. Hindenburg. Music by Osaka Bondage: Nicolas Marmin, Arnaud Durand, Paris.

Websites : http://www.oksiuta.de

Credit : ©2003 Zbigniew Oksiuta Photos/Video Stills Uwe Lierman and Industruiesauger-TV, Cologne 2003.


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http://www.oksiuta.de

http://www.oksiuta.de

A1.19 Damien Hirst: Spot Painting / Beagle 2

In 2003 a work of art by Damien Hirst consisting of 16 multi-coloured spots on a 5 x 5cm aluminium plate was sent to Mars aboard ESA's Beagle 2 lander. The colors would be used to adjust the camera while a special composed song of the British pop-band Blur would be played to check the sound and accompany the arrival of the Mars Lander. Unfortunately, the sequel of Darwin’s exploration vessel was last seen heading for the red planet after separating from mother ship Mars Express on December 19, 2003, and vanished without trace…

Year : 2003

Partner : ESA

Production : UK / Mars

Websites : www.beagle2.com/resources/target-painting.pdf www.telegraph.co.uk/science/science-news/3310437/Hirsts-art-is-out-of-this-world.html www.guardian.co.uk/science/2002/nov/29/spaceexploration.highereducation

Credit : ©2003 Damien Hirst, photo by Mike Levers



http://www.beagle2.com/resources/target-painting.pdf

http://www.beagle2.com/resources/target-painting.pdf

http://www.telegraph.co.uk/science/science-news/3310437/Hirsts-art-is-out-of-this-world.html






http://www.guardian.co.uk/science/2002/nov/29/spaceexploration.highereducation

http://www.guardian.co.uk/science/2002/nov/29/spaceexploration.highereducation

A1.20 MIR — Microgravity Interdisciplinary Research Flight Campaigns

The Microgravity Interdisciplinary Reseach project was an initiative of The Arts Catalyst, V2 Rotterdam, Zavod Projekt Atol and Leonardo Olats, in the framework of which 2 parabolic flight campaigns (2001 and 2003) devoted to the common work and research between the arts, technology and science were real-ized.

More than 30 artists and researchers from Russia, Slovenia, the United Kingdom, France, Spain, the Netherlands and United States have participated in the campaigns.

The project was curated by the participating organizations, under the guidance of The Arts Catalyst (Ni-cola Triscott, Rob La Frenais).

Year : 2001, 2003

Partner : The Arts Catalyst, Projekt Atol Flight Operations, V2, Leonardo Olats, CPK Jurija. A. Gagarina, Zvyozdny Gorodok

Production : The Arts Catalyst, Zavod Projekt Atol, V2, Leonardo Olats, IL-76MDK flying laboratory

Websites : http://www.artscatalyst.org/projects/detail/mir_flight_001/ http://www.artscatalyst.org/projects/detail/mir_campaign_2003/ http://www.artscatalyst.org/projects/detail/kapelgraf_zerog/ http://www.artscatalyst.org/projects/detail/zero_gravity_book/

Credit : 2001–2003, MIR, Microgravity Interdisciplinary Research


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http://www.artscatalyst.org/projects/detail/mir_flight_001/


http://www.artscatalyst.org/projects/detail/mir_campaign_2003/

http://www.artscatalyst.org/projects/detail/mir_campaign_2003/

http://www.artscatalyst.org/projects/detail/kapelgraf_zerog/

http://www.artscatalyst.org/projects/detail/kapelgraf_zerog/

http://www.artscatalyst.org/projects/detail/zero_gravity_book/

http://www.artscatalyst.org/projects/detail/zero_gravity_book/

A1.21 Kosmokinetical Kabinet Noordung: Biomhanika Norrdung

A theatre performance in a set of two parabolic flights of 10 parabolas, with a total of 16 audience mem-bers and 7 actors participating. The project had a specially designed set, audience seats and a 4 channel soundtrack that was transmitted wirelessly.

The performance was based on the conflict of the body and bone transformation in microgravity and the Herman Potočnik Noordung 1929 book “The Problem of Space Travel – The Rocket Motor” (Das Problem der Befahrung des Weltraum – der Raketen-Motor).

The performances and the flights lasted two times for 1 hour and 30 minutes.

Year : 1999

Partner : Projekt Atol Flight Operations, CPK Jurija. A. Gagarina, Zvyozdny Gorodok , Cosmopolis XXI

Production : Projekt Atol Flight Operations, IL-76MDK flying laboratory: Dragan Živadinov (performance director), Staša Zupančič and Andraž Torkar (set design), Dunja Zupančič (costume design), Marko Peljhan (flight director), Cols. Viktor Ren and Alex- ander Grekov (CPK flight coordinators), Capt.Vladimir Stepanov (on-board safety).

Websites : http://www.olats.org/space/colloques/artgravitezero/t_Pelhjan_en.html http://www.medienkunstnetz.de/source-text/160/ http://vimeo.com/7458118 http://postgravityart.org/

Credits : ©1999, Kosmokinetical Kabinet Noordung, Zavod Projekt Atol



http://www.olats.org/space/colloques/artgravitezero/t_Pelhjan_en.html

http://www.olats.org/space/colloques/artgravitezero/t_Pelhjan_en.html

http://www.medienkunstnetz.de/source-text/160/

http://www.medienkunstnetz.de/source-text/160/

http://vimeo.com/7458118

http://vimeo.com/7458118

http://postgravityart.org

http://postgravityart.org

A1.22 Arthur Woods: Cosmic Dancer

The Cosmic Dancer is a sculpture by Swiss-American artist Arthur Woods that was launched into space in May 1993 and became a fixture in the Russian Mir space station.

The Cosmic Dancer Sculpture is the first three-dimensional artwork purposely designed for and officially integrated into a human habitat beyond Earth.

After its arrival, cosmonauts Gennadi Manakov and Alexander Polishchuk allowed the Cosmic Dancer to freely float and spin in their living space aboard Mir. They were instructed by Woods to evaluate the im-pact of having art share their weightless environment. They made a photographic and video documenta-tion of their interaction with the Cosmic Dancer and recorded a commentary of their experience.

Year : 1993

Partner : NPO Energia, Kayser-Threde GmbH (Munich)

Production : MIR Space Station

Websites : http://www.cosmicdancer.com/ http://www.arsastronautica.com/cosmic_dancer_sculpture_on_the_mir.php http://www.ours.ch/cosmicdancer.php

Credit : ©1993 Arthur Woods / NPO Energia


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http://www.cosmicdancer.com/

http://www.cosmicdancer.com/

http://www.arsastronautica.com/cosmic_dancer_sculpture_on_the_mir.php

http://www.arsastronautica.com/cosmic_dancer_sculpture_on_the_mir.php

http://www.ours.ch/cosmicdancer.php

http://www.ours.ch/cosmicdancer.php

A1.23 Joseph McShane: Payload G–38

On October 24th, 1985 Payload G–38 was launched into orbit aboard Space Shuttle Challenger. Invented by artist Joseph McShane, is was designed to «capture» and return to Earth a piece of space’s vacuum.

«[...] G-38 contained a clear glass globe about 14 inches in diameter, fitted with a flexible stainless-steel tube and a valve. It left the Earth filled with 22 liters of sea-level air at sea-level pressure. In orbit, the valve was opened for several days by the payload's control system to establish equilibrium between the globe and its environment. The sphere came back to Earth with 22 liters of ultra-thin upper atmosphere. Now permanently sealed, it is attached to a vacuum gauge with digital readout. The gauge is sensitive enough to show moment-to-moment changes in the pressure-difference between the space vacuum in-side and the atmosphere outside pressing against the sphere.

Joseph McShane, the artist responsible for Payload G-38, says, «The sculpture then is not the glass, but the outer space contained within. The sphere serves only to keep the one-g Earth atmosphere from intruding.» Its presence gives the air around it presence by contrast.»*

* quoted from Robert Horvitz (http://www.volny.cz/rhorvitz/Artspace.html)

Year : 1985

Partner : NASA

Production : Space Shuttle Challenger, STS-41-G

Websites : http://www.volny.cz/rhorvitz/Artspace.html

Credit : ©1985 NASA / Joseph McShane



http://www.volny.cz/rhorvitz/Artspace.html




A2 REFERENCES

Organisations for Space Arts / Art Science The Arts Catalyst http://www.artscatalyst.org/projects/themeslist/tag/space

Tate in Space http://www2.tate.org.uk/space/spaceart.htm#3

IAF Technical Activities Committee for the Cultural Utilization of Space http://www.iafastro.net/?id=883

Leonardo / Olats Space and the Arts http://www.olats.org/space/space.php

Leonardo Space Art Working Group http://www.leonardo.info/spaceart/spaceartproject.html

International Association of Astronomical Arts http://iaaa.org/

Association of Autonomous Astronauts AAA http://www.uncarved.org/aaa.html

V2 Institute for the Unstable Media http://www.v2.nl/

Synapse Art Science Collaborations http://www.synapse.net.au/

MIR (Microgravity Interdisciplinary Research) Consortium http://www.artscatalyst.org/projects/detail/mir_flight_001/

ResourcesInternational Academy of Astronautics / Commission VI Space and Society http://iaaweb.org/content/view/15/59/

Space Art Database http://www.spacearts.info/en/info/index.php

Space Art History http://www.michaelmarkowsky.com/Space_Art_History.htm

Artwork in Space http://www.volny.cz/rhorvitz/Artspace.html

Space DanceTokyo Space Dance http://www.ne.jp/asahi/tokyo/sd/5_NBSD-IMC_e.html

Space ArchitectureOverview spacearchitect.org http://www.spacearchitect.org

Extra-Terrestrial Architecture Laboratory (ETALAB) http://www.etalab.com/

CERN http://arts.web.cern.ch/Ars Electronica http://www.aec.at/news/ZKM http://www.zkm.de/

Maison d’Ailleurs http://www.ailleurs.ch/index.php?s=en&m=0


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http://www.artscatalyst.org/projects/themeslist/tag/space

http://www.artscatalyst.org/projects/themeslist/tag/space

http://www2.tate.org.uk/space/spaceart.htm#3

http://www2.tate.org.uk/space/spaceart.htm#3

http://www.iafastro.net/?id=883

http://www.iafastro.net/?id=883

http://www.olats.org/space/space.php

http://www.olats.org/space/space.php

http://www.leonardo.info/spaceart/spaceartproject.html

http://www.leonardo.info/spaceart/spaceartproject.html

http://iaaa.org/

http://iaaa.org/

http://www.uncarved.org/aaa.html

http://www.uncarved.org/aaa.html

http://www.v2.nl/

http://www.v2.nl/

http://www.synapse.net.au/

http://www.synapse.net.au/



http://www.spacearts.info/en/info/index.php

http://www.spacearts.info/en/info/index.php

http://www.michaelmarkowsky.com/Space_Art_History.htm

http://www.michaelmarkowsky.com/Space_Art_History.htm



http://www.ne.jp/asahi/tokyo/sd/5_NBSD-IMC_e.html

http://www.ne.jp/asahi/tokyo/sd/5_NBSD-IMC_e.html

http://www.spacearchitect.org

http://www.spacearchitect.org

http://www.etalab.com/

http://www.etalab.com/

http://arts.web.cern.ch/

http://arts.web.cern.ch/

http://www.aec.at/news/

http://www.aec.at/news/

http://www.ailleurs.ch/index.php?s=en&m=0

http://www.ailleurs.ch/index.php?s=en&m=0

A3 ESA TOPICAL TEAM ART AND SCIENCE (ETTAS)

Members

Barbara ImhofCo–Chair space architect [email protected] www.liquifer.com

Christian WaldvogelCo–Chair artist [email protected] www.waldvogel.com

Michelle KotlerCo–Chair scientist (Astrobiology) [email protected]

Alicia Framis artist [email protected] www.aliciaframis.nl

Anna Hill artist [email protected] www.spacesynapse.com

Kirsten Johannsen artist [email protected] www.nomadicnaturekit.de

Ayako Ono artist, scientist [email protected] www.whitelabelspace.com/ayako

Marko Peljhan artist [email protected] www.arcticperspective.org

Sarah Jane Pell artist, diver [email protected] www.sarahjanepell.com

Bradley Pitts artist, engineer [email protected] www.bradleypitts.net

Tim Otto Roth artist [email protected] www.imachination.net

Eva Schlegel artist [email protected] www.evaschlegel.com

Angelo Vermeulen artist, biologist [email protected] www.angelovermeulen.net

Stephan Andreae curator [email protected]

Claudia Dichter curator [email protected]

Alexander Martos philosopher [email protected]

Tristan Weddigen art historian, curator [email protected] www.khis/hert.uzh.ch/neuzeit

Alexander Chouker scientist (Life Sciences) [email protected]

Marco Durante scientist (Radiation) [email protected]

Roger Malina scientist, art promoter [email protected] malina.diatrope.com

Jean-Pierre de Vera scientist (Life Sciences) [email protected]

Contact AddressETTAS c/o Barbara Imhof

LIQUIFER Systems Group, AUSTRIAObere Donaustraße 97/1/621020 Vienna, Austria

+43 699 1027 [email protected]



mailto:[email protected]


http://www.liquifer.com

http://www.liquifer.com



http://www.waldvogel.com

http://www.waldvogel.com





http://www.aliciaframis.nl

http://www.aliciaframis.nl







http://www.nomadicnaturekit.de/

http://www.nomadicnaturekit.de/



http://www.whitelabelspace.com/2009/11/ayako-ono.html

http://www.whitelabelspace.com/2009/11/ayako-ono.html



http://www.arcticperspective.org

http://www.arcticperspective.org



http://www.sarahjanepell.com

http://www.sarahjanepell.com



http://www.bradleypitts.net

http://www.bradleypitts.net



http://www.imachination.net

http://www.imachination.net







http://www.angelovermeulen.net

http://www.angelovermeulen.net









http://www.khist.uzh.ch/neuzeit












http://malina.diatrope.com

http://malina.diatrope.com





ettas - esa topical team art & science - 2011 report

Technology

esa initiative

members of esa

arts esa art initiative

esa benefit

field esa

tween esa

esa topical team art

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