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• W2894087240 abstract "Intertexts,Vol.3,No.2,1999 Art, Technology, and the American Space Program, 1962-1972 A n n e F. C o l l i n s U n i v e r s i t y o f Te x a s , A u s t i n Goingtothemoonwasnotjustatechnologicalendeavor,butanartistic one,likeMichelangelo’sfrescoesontheSistinechapelceiling.Thesame wndofimaginationthatallowedMichelangelotoproducethecrowning achievement of his era helped NASA’s engineers build their moon ships. Michelangelo needed faith in his own abilities to sustain him duringthelongyearsofeffort,sofaithwasattheheartofwhatittookto putmen,andtheirshoesandsocks,andpicturesoftheirchildren,onthe surfaceofthemoon.(Hanksvii) Just as Tom Hanks’s recent characterization of the first decade of the Amerispaceprogramasacreativeandspiritualendeavor ,ratherthansimplya ayofmechanicalmight,deservesourattention.AsLeoMarxandom demonstrated,AmericanshavelongrespondedtothemaeWne specialpraisereservedforourmostrespectedcreators—including emvine. Hanks’s quotation epitomizes the characteristics with which the ● AeronauticsandSpaceAdministration(NASA)cametoassociate eltduringitsquestforthemoon,preciselythroughthemodeofartisnc presentation. In the early 1960s, NASAestablished an art program to convey its accompUshments to an American—and an international—au^nce .TheartprogramfilledbothpracticalandsymboUcfuncuonsforthe paceagency,providingillustrationsforpublicationswhilesimultaneously mmunicatingNASA’spoliticalphilosophy.However,asadetailedeximagesandtheassumptionsunderlyingtheprogramre fah ’®^8™ficanceoftheNASAArtists’CooperationProgramextends cram utiUtarianpurpose.Astudyofthefirstdecadeoftheartpro- ‘^Plementedintheearlyyearsofthespacerace,providesinsightnot i^yhowNASAwishedtoportrayitself,butalso,perhapsevenmore import^tly,intoAmericanattitudestowardtechnologyandspaceexplo¬ rationduringthisperiod. NASA and the Space Race Theadoptionofanartprogrambyanagencybuiltlargelyinresponse to perceptions—theAmerican public’s impression of Soviet dominance space is intriguing. The symbolic status of images made art aparticularly appropriate tool for NASAto put to use in shaping its own identity. NASA i n 1 2 4 Collins—Art, Technology, and the American Space Program 1 2 5 owed its creation to the American response to Sputnik, the Soviet satellite that inaugurated the space age on October 4,1957. In the wake of this ma¬ jor psychological victory for the Soviet Union, which capitalized on Ameri¬ can fears of global Soviet domination, Senator Lyndon Johnson called for the creation of anew government agency to oversee American efforts in space. In Johnson’s view, “The reason the United States fell behind Russia in satellite development in the first place is because we neglected the rela¬ tion between scientific achievement and international relations” (quoted in Launius 29). As Vice President, Johnson would make his point even more explicit: “One can predict with confidence that failure to master space meansbeingsecond-bestinthecrucialarenaofourColdWarworld.Inthe eyes of the world, first in space means first, period; second in space ond in everything”(quoted in McDougall 320). On October 1, 1958, nearly one year after the launch of Sputnik, the NationalAeronautics ^d SpaceAct of 1958 established NASAas acivilian agency charged with, among other things, “the preservation of the role of the United States as a leader in aeronautical and space activities for peaceful and scientific pur¬ poses.”Significandy,theactalsorequiredtheagencyto“provideforthe widest practicable and appropriate dissemination of information concern¬ ing its activities and the results thereof”(quoted in Laumus 154-58). ^ thepoliticallychargedatmosphereoftheColdWar,oneofNASA’sofficid dutieswastospreadwordofitsowntriumphs,justastheSovietUnionhad broadcastwordoftheirvictoriousforayintotheheavenswithSputnik. PresidentKeimedywaswellawarethatinthesymbolicarena°f ideologicalbattlebetweentheUnitedStatesandtheSovietUmon,public opinion would be influenced most effectively not through military action, which carried the threat of nuclear conflict, but rather, by creating the per¬ ceptionofbothculturalandmilitarysuperiority.Withaheritagelinked practicaltermstoconventionalarsenals(rocketshadinitiallybeendevel¬ opedtofiremissiles)andinfigurativetermstohumancontrolofthecos¬ mos, space travel offered the ideal means to create spectacular political tri¬ umphs on earth. Keimedy’s commitment to manned space exploration was dramaticallyrekindledduringhisfirstmonthsinoffice.OnApril12,1961, Yuri Gargarin, aSoviet cosmonaut, became the first man in space, orbiting the earth. Less than aweek later, the United States was subject to the hu¬ miliation of the failed Bay of Pigs invasion. Determined to beat the Soviets inspace,KennedyconsultedwithhisVicePresidentaboutoptions.^On25 May1961,inaspeechhereferredtoashis“secondStateoftheUnionAd¬ dress,”KennedychallengedtheUnitedStatestoputanastronautonthe moon within the decade. Kennedy’s challenge would make NASAand the space race afocal point of American culture. In an era in which technological success would become ameasure of American political potency,Americans would also have to assess their own relationship to new machines. NASAwould be at the center of this political and social transformation. Sophisticated tools would be required to I S s e c m I N T E R T E X T S 1 2 6 negotiate the transition of the United States into the space age. James j Webb, NASA’s second Administrator, realized that NASA’s technological goals could only be achieved in concert with an investment in cultural re¬ sources. Webb confided to his predecessor at NASA, T. Keith Glennan, that rivalry with the Soviet Union required the United States to “utilize ev- | ery resource we have in education, communication, and transportation to biiild amore..." @default.
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• W2894087240 title "Art, Technology, and the American Space Program, 1962–1972" @default.
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