Reading the Cosmos Playlist

Anchor name: Aesthetics

Aesthetics

A photograph of a rock inside of a triangle surrounded by darkness.

NASA, Apollo 15 Lunar Sample View, Manned Spacecraft Center, Houston, Texas, 1975, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.245

This picture of a Moon rock was captured by James Irwin during the Apollo 15 lunar mission. The visually dull Moon rock is displayed in a pyramid with the vastness of space as its background. The placement of this rock in the middle of the pyramid aesthetically elevates the plain gray object. The pyramid is strategically pointed towards space and evokes the United States’ achievement of breaking the “final frontier.” The image’s impact also comes out of ancient associations. The Pythagoreans of ancient Greece gave a lot of importance to perfect geometrical shapes, including triangles, and understood the structure of the harmonious universe through these shapes.

The pyramid also brings to mind Egyptian history and astronomy. The ancient Egyptians studied the sky in order to analyze the stars and accurately align their pyramids with Earth’s four cardinal points, and the Pyramid of Giza was among the seven wonders of the world. This rock’s aesthetic thus encompasses many cultures, and the addition of the Moon rock to the middle of it is a symbol of America presenting itself as the conqueror and successor of the other great civilizations.

Giovanni Peyo ’24

Photograph of the planet Saturn and its rings that is labeled with the planet name as well as “Hubble Heritage.”

NASA, HST View of Saturn, Johnson Space Center, Houston, Texas, 1998, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.350

Giovanni Peyo ’24

This picture, taken by NASA’s Hubble Telescope, shows Saturn, the sixth planet in our solar system and possibly the most beautiful one. Its colors, which appear to be a mix of yellow and purple, contribute greatly to its beauty. Ancient civilizations thought highly of Saturn. For instance, the Egyptians named this planet after their God of light, Horus, who often appeared in the form of a hawk; the Romans gave it its original name after the Roman god of harvest and time, based on the Greek titan Cronos. Saturn is also the most distant planet visible to the naked eye, which makes it even more special and a must-see while stargazing. Saturn possesses rings that are, still to this day, a mystery for many astronomers. The ring’s aesthetic reminds us that many unimagined beautiful sights in the far reaches of the galaxy have yet to be discovered.

Black and white photograph of the moon partially covered by darkness on the bottom third.

NASA, Gibbous Moon, Manned Spacecraft Center, Houston, Texas, 1960, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.116

Sophia Mehta ’24

The photograph Gibbous Moon was taken using a telescope at the Pic du Midi Observatory in 1960. To the naked eye, the Moon often appears as a glowing orb in the sky, but with a telescope, the viewer can make out much more nuance and detail. This photo showcases the Moon’s beautifully textured and patterned surface with its craters and firework marks. It features darker patches and lighter ones. With its thinner atmosphere, every crater strike and collision on the Moon is still visible, enabling the viewer to see so much of the past at once that it’s almost like looking back in time.

But in the past, this image may not have been perceived as the great beauty we see it as today. To the ancient Greek Pythagoreans who believed in five “perfect” solids, this apparent deformation of a sphere would not just have been seen as a lack of perfection, but also as a lack of beauty. And yet, looking at the image with the modern eye, its imperfections are a large part of what makes it so beautiful. Its asymmetry, variation in tone, and patterned surface are a large part of what captivates the eye. While concepts of beauty vary across times, places, and individual perceptions, for as long as humans have been around, the Moon has reflected its past at us.

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An illustration of a space station surrounded by photographs of men in space suits with their last names written beneath each one.

NASA, Skylab Prime Crew Members, Manned Spacecraft Center, Houston, Texas, 1972, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.199

This image depicts NASA’s first space station, Skylab, ethereally orbiting Earth. The faces of the prime crew members are superimposed in a circular formation around the vessel. The image is brightly lit: both Earth and the space station brilliantly reflect the sun’s rays. This detail makes the image more inviting, more accessible to the average viewer. This detail is aided by the general “travel brochure” style in the image, with its fanciful portrayal of a space mission. It is not photorealistic, but an edited, idealized version. The author of the photo is intentionally trying to make space look like the future and an inviting one at that.

While NASA is trying to portray space in a futuristic light, the ideas of these aesthetics are ancient. The ring of astronaut portraits around the space station evokes the image of a sphere, and by association, Pythagorean “sacred geometry.“ A sphere is one of the five shapes that Greek mathematicians regarded as “sacred.” The Greeks believed that these shapes fit between the six known planets orbiting the sun, and were the product of cosmic intervention, or in other words, the work of God. The sacred shape made up of astronaut’s faces, surrounding the space station implies the might of humanity—now that we are in space, we are like gods. This image employs these tactics in its aesthetic to create a view of space that is enticing, fascinating, and displays human ingenuity.

Zack Barnet ’24

A group photograph of seven men in shiny silver space suits pose for a portrait in front of a blue background.

NASA, Astronaut Group I, Johnson Space Center, Houston Texas, 1962, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.19

Zack Barnet ’24

This image depicts the first look at the crew of the Mercury mission, who were the original seven astronauts that NASA showed to the American public. They are wearing spacesuits, but they look quite different than the white suits used on the first manned mission to space in 1961. Instead, these suits are a metallic silver material, reminiscent of iconic images in science fiction. The flashy attire, with matching silver boots looks as though it is trying to appear futuristic. In reality, these suits were the earliest model and lacked a life support system in the suit—making it useless outside the spacecraft. From a purely aesthetic standpoint, the suits look straight out of a cheesy science fiction movie. The silver fabric, while practically designed to reflect radiant heat, also suggests futuristic technology. This wardrobe choice enforces the idea that NASA wanted to portray their space program as the future, one that is both innovative and promising.

Photograph of an astronaut as they work on a piece of equipment attached to a large mechanical object in space.

NASA, STS-37 Onboard View, Johnson Space Center, Houston, Texas, 1991, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.292

Sophia Mehta ’24

This image depicts the Arthur Holly Compton Gamma Ray Observatory still attached to the Space Shuttle Atlantis. The mission launched on April 5, 1991, but when the observatory was deployed three days later, the antenna didn’t extend properly. Here, an astronaut can be seen manually extending the antenna that enables the observatory to send readings back to Earth.

The gamma rays the observatory detects are a helpful tool for learning about the cosmos. Among other functions they can be used to generate images of space. Gamma rays are a form of light, and when they hit a detector in a telescope, the detector measures how much light has reached it. The sensors in these telescopes measure the presence and absence of light within this part of the wavelength, and then, scientists add color to the images in order to maximize the amount of detail that can be perceived and highlight both the brightest and the faintest colors. The main goal of scientists when capturing these images is to use them to learn more about space, so it is vital to maximize detail and possible sources of information. By using light from different parts of the spectrum, scientists can examine features which otherwise wouldn’t be visible to them. Findings from the Gamma Ray Observatory have been responsible for many important discoveries, including the identification of a new class of galaxies which are powered by supermassive black holes. This observatory enables amazing discoveries to be made about space and leaves behind stunning images as a byproduct.

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Anchor name: Space Nation Empire

Space, Nation, & Empire

Photograph of astronaut on the moon next to an American flag and lunar lander.

NASA, Apollo 16 EVA photo, Manned Spacecraft Center, Houston, Texas, 1972, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.198

Pictured here is astronaut John W. Young saluting the American flag on the moon’s surface. Captured in 1972, this image must be considered while acknowledging the political climate caused by the ongoing Cold War. Although never engaging in physical combat, tensions left over from World War II caused the United States and the Soviet Union to fight to solidify their stance as Earth’s most powerful country in a competition of technological advancement. The most desirable conquest was the Moon, as both powers believed that whomever landed first would be deemed the superior country.

After the success of the Apollo-11 mission, the United States was able to assert its authority over the Soviet Union by winning the space race and successfully landing a man on the moon. As for this particular image, taken during the Apollo-16 mission, its composition emphasizes the American man and flag as the pinnacle of the image with the rover in the background, illustrating the United States’ progression into modernity and thus their technological superiority over the world’s other leading powers. The light casts an angelic glow over the subject, solidifying its representation American success and power as they further exert their superiority over the Soviet Union over the coming decades.

Julia Siegert ’24

A photograph of an astronaut standing atop a piece of equipment in space with the earth and clouds in the background.

NASA, 41-B ONBOARD Onboard Scene of EVA, Johnson Space Center, Houston, Texas, 1984, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.288

Julia Siegert ’24

Astronaut Bruce McCandless II walks serenely above stationary cargo during the Challenger expedition in 1984. McCandless’ figure climbs steadily forward, evoking a sense of triumph as he leaves behind Earth’s familiar oceans in pursuit of extraterrestrial knowledge. The image itself almost replicates the American flag, with an abundance of white, speckled navy and two stripes of crimson on McCandless’s suit, serving as perfect propaganda to raise funding for NASA as well as cultivate an unbridled patriotism in American citizens.

Due to the fact that NASA needs public support to secure adequate government funding, they coined the phrase “at NASA, we make Air and Space available for everyone” to condition a future generation of astronauts as well as maintain their forward-thinking image. But, as noticeable in both the completely white male crew of the Challenger mission and the phallic composition of the image above suggest that space is available to only the select few that fit their image of ‘hero’. Just as Uncle Sam serves as the token white hero of patriotism on the United States’ soil, NASA’s heroic white male counterparts play the same role from space.

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Black and white photograph of a group of men surrounding two men at microphones.

NASA, Post-flight Award, Rose Garden, White House, Washington, DC, 1961, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.72

Johanna Meezan ’24

This photograph shows President Kennedy congratulating an astronaut surrounded by other important figures in space exploration, all of whom are professionally dressed white men. The space program’s public image is not a diverse one. From the astronauts who were sent to the Moon to the presidents who sent them there, the expected face of space travel was a clean-cut white man. This homogeneity promotes a very different image from what American national ideals seem to value. Although NASA suggested that space is in reach of everyone, it’s clear that those involved in the space race were a much more selective group of a specific breed of white men. So, although the space program was supposed to present a united front against its enemies, it presented a front that incorporated only a fraction of the country’s population.

Photograph of seven men standing together wearing white shirts, orange pants, and white fabric on their heads, possibly in a desert.

NASA, Mercury Astronauts Training View, Stead Air Force Base, Nevada, 1960, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.90

Black and white photograph of seven men wearing fedoras and suits, stand in a line on stage.

NASA, Original Seven Astronauts Welcomed to Houston, Sam Houston Coliseum, Houston, Texas, 1962, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.92

These seven men were part of Project Mercury, the United States’ first human spaceflight program. The intention of Project Mercury was to put a man into orbit, ideally before the Soviet Union did. The media introduced these men to the public as the “Mercury Seven.” Life magazine, specifically, worked to present these astronauts as celebrities in an attempt to garner the American public’s support of the space program. Making space flight palatable to the public through an introduction to those that pilot these flights effectively served as a way to bring positive attention to this space endeavor.

The Mercury Seven piloted all of the Project Mercury missions from 1961-1963. As astronauts, they had to go through some rigorous training to prepare for their space flight. At first glance, the only difference between these two photos of the Mercury Seven would be their clothes and setting. The first photograph shows an informal setting: they’re dressed down, very sweaty and dirty. This presentation contrasts with the second photo, as they’ve cleaned up: they are matching, sporting sheriff hats and star badges. These cowboys of the new Wild West, the “final frontier,” laying down the law for all of space, are the very picture of crisp, clean, honest Americans. However, these photographs reveal American nationalist sentiments towards people of color and foreigners in the 1950s-1960s. The clothing in the first photo resembles traditional male Arab dress of the thawb and the kufiya, meant for desert survival on the Arabian Peninsula. This outfit choice would seem unassuming, as the astronauts are undergoing survival training in the desert. However, when coupled with the second photo, these images reveal how the United States views people of color. When dressed in imitation Arab clothing, the astronauts are dirty and unkempt. When dressed in American sheriff fashion, they’re clean and pristine. The images suggest that people of color, especially foreigners, are dirty, and (white) Americans are clean. The release of these photos (especially during the sixties, a time period rife with racial tensions) intensifies this racist dimension.

Valerie Vaz ’24

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A photograph of a woman with oversized blue sunglasses wearing a green jumpsuit and jump equipment in a forested area..

NASA, 1987 Astronaut Candidate Training, Fairchild Air Force, 1987, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.53

Black and white photograph of a woman wearing a space suit decorated with patches poses holding a space helmet.

NASA, Mae C. Jemison, M.D., Johnson Space Center, Houston, Texas, 1992, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.254

Photograph of a woman wearing a white shirt and blue pants covered in tubes, wire, and mechanical devices floats in place.

NASA, STS-47 Onboard View, Johnson Space Center, Houston Texas, 1992, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.253

The three images pictured here are of Dr. Mae Jemison, the first African American woman sent to space. Jemison first applied to the space program in 1985 and was accepted by NASA in 1987, five years before she would venture into orbit. The first portrait here is of Jemison in training the year she was accepted, and the second and third are from 1992 before and during her time in space. Prior to her career as an astronaut, Jemison had formed an impressive resume. At only sixteen, Jemison attended Stanford University, where she earned both a Bachelor of Science degree in Chemical Engineering and a Bachelor of Arts degree in African and African American studies. Dr. Jemison then received her Doctorate in Medicine from Cornell Medical School and went on to intern at the Los Angeles County Medical Center, eventually running her own private medical practice.

Throughout her life Jemison also made huge contributions to local and global communities, playing an important role in her college’s Black Student Union, leading a study for the AMSA in Cuba, working at a Cambodian refugee camp, and joining the Peace Corps as a medical officer in Africa. Jemison’s extensive list of achievements is independently extraordinary, but it also demonstrates how much harder she had to work to become an astronaut than many of her white male counterparts.

NASA has had a long history of discrimination and conflict regarding BIPOC, despite its claims that “space is for everyone.” During the moon landing many civil rights demonstrators argued that government funding should have been channeled toward assisting American citizens with issues that disproportionately impact racial minorities as a result of systemic injustice. The national response of government agencies to the movement was severely lacking. The space program failed to increase inclusivity by hiring almost exclusively heterosexual white men around this time. When NASA attempted to make efforts to decrease the tension through actions like working on technological advancements that could address societal issues prevalent in low income areas like air pollution, and minorly diversifying their employees, people often saw these actions as performances. Given this history, Jemison was bound to be overly publicized and exploited by NASA. But this truth cannot detract from the impact she was able to make. When Jemison was sent into space, only 28 years ago, her involvement was an important step for NASA and a great achievement for BIPOC. She was, and still is, an inspiration and a symbol of defying the barriers that American society creates.

Thea Wilcox ’24

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A photograph of a man in a blue shirt who is reading a newspaper headlined “Astronauts Safe!”

NASA, Apollo 13 Recovery View, South Pacific Ocean, 1970, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.9

Johanna Meezan ’24

This photograph depicts Apollo 13 Commander James A. Lovell Jr. reading a newspaper article with the headline “Nixon to Greet them Here // Astronauts Safe!” Apollo 13 is remembered as a patriotic mission, as American ingenuity and leadership brought the astronauts home safely after their spaceship exploded on its journey to the Moon. The space program took on the role of promoting American patriotism and national ideals that continued even after the Apollo program ended. For example, President George H.W. Bush explained the importance of going to Mars by stating, “Because it is humanity’s destiny to strive, to seek, to find. And because it’s America’s destiny to lead.” The Trump administration’s Space Force, as a new branch of the U.S. Armed Services, extends this patriotism in a more obviously militant way.

This focused patriotism helped to unite the country around a cause, working to ensure that each president who promoted advancements in space would be remembered as a president who united the country. This was particularly important during the Apollo program, when the Cold War pitted two global superpowers, the United States and the Soviet Union, against one another. American presidents of the time were then able to channel enthusiasm for national ideals into the race to the Moon to present a united front against its enemies. Thus, each president wanted to take space exploration one step farther, not necessarily for the sake of exploration, but to unite the country against communism so that history might remember their name.

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Anchor name: Planet Earth

Planet Earth

Satellite photograph of the Earth from space.

NASA, Apollo 17 Whole Earth View, Manned Spacecraft Center, Houston, Texas, 1972, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.205

“The Blue Marble” was taken in 1972 by the Apollo 17 crew and was the first image of the Earth in its entirety. Since being photographed, the image has become iconic as the best photo of our planet and is one of the most widely distributed photos in existence. “The Blue Marble” did an incredible job capturing the beauty of our planet, and greatly changed the worldwide view of the Earth. The photo was taken about 18,000 miles away from the Earth’s surface and focused on most of Africa and the Mediterranean Sea. The original picture was taken upside down, with Antarctica at the “North” end. However, when the photo was distributed it was commonly flipped to show the Earth facing “right-side-up.” Technically there is no “up” in space, so the photo was flipped to show the Earth oriented in the direction that we are used to imagining it.

“The Blue Marble” quickly became one of the most popular photos used for environmental protection movements. When released, the photo struck a chord with those who saw it. The wonder that came with seeing our planet in its entirety for the first time helped kick off the environmental movement. On a day-to-day basis, when we didn’t know what the planet looked like, it was common to disconnect from the idea that the Earth was after all a beautifully complex planet. Viewing the full Earth was an experience that stuck with people, and it led to a more public appreciation of the environment. After its release, pieces such as the iconic “Love your mother” poster began to circulate, using “The Blue Marble” as the centerpiece of their movement.

—Hayden Merz ’24

Photographic portrait of a man in a space suit smiling with one hand on a globe and an image of a galaxy in the background.

NASA, James A. Lovell, Johnson Space Center, Houston, Texas, 1969, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.337

Celeste Farrell ’24

This photo of American astronaut James A. Lovell was taken in 1969 in the Johnson Space Center in Houston, Texas. While working as a common module pilot on the Apollo 8 mission in 1968, Lovell became the first person to fly to and orbit the Moon. Lovell went on to command the failed Apollo 13 lunar mission in 1970, making him the first person to fly to the Moon twice. The image depicts Lovell with his hand over a globe model of the Moon. The model is labelled with details of the different craters that dot the surface of the Moon. Lovell is dressed in a spacesuit, without the helmet, and with a large image of the American flag embroidered on the left sleeve of his suit.

The stance of having an arm over the Moon is a dominating one, suggesting that humans, specifically Americans represented by the flag that is embroidered onto his sleeve, have control over the Moon. At first glance, the lunar globe can be mistaken for a model of the Earth. This image suggests the United States’ control over the Earth by conquering the Moon during the Cold War that was occurring behind the scenes of the Apollo program.

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Photograph of a rocket on a launch pad in the distance with shrubbery and swampy water in the foreground.

NASA, Apollo 17 Roll Out, Cape Kennedy Florida, 1972, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.212

Emily Hay ’24

Apollo 17 Roll Out was taken at a ground-level view of the space vehicle as it arrived on the pad on August 28, 1972, waiting for launch. The Apollo 17 mission was the last one to land on the moon in NASA’s Apollo program and also included the first scientist-astronaut to land on the moon. The astronauts spent three days exploring the lunar surface collecting samples and photographs. However, this image represents the beginning of the end for lunar exploration and a return to planet Earth. By the end of the mission, public interest had shifted from space to other pressing issues of the time period, like the Vietnam War.

The image was taken in Cape Kennedy, Florida, and displays the beautiful nature and sky surrounding the ship. The contrast between the ship and nature in this image emphasize either the achievements of humanity or the imposition we have on Earth, depending on the viewer’s perspective. The vibrant trees and water contrast with the dead landscape of the Moon. This was the setting for the last time humanity saw Earth before we landed on the Moon and did not go back.

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Photograph of an astronaut floating in space wearing a space suit and large backpack with Earth in the distance in the lower right corner.

NASA, 41-B Onboard Scene of EVA, Johnson Space Center, Houston, Texas, 1984, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.268

Floating into space is the greatest fear of many astronauts. In 1984, Bruce McCandless left the hub of the Challenger in the first-ever nitrogen propelled jet pack, untethered from the spaceship. The STS-41-B mission sent a man “free-flying” into space. Humans until this point, never safely managed to fully disconnect, physically, from Earth and live to share the experience.

His first EVA lasted 5 hours and 55 minutes, and he went out for a second time 2 days later for 6 hours and 17 minutes. McCandless also was the first to use the Manned Maneuvering Unit (MMU), testing its ability on long tetherless spacewalks. McCandless described his experience: “It was a wonderful feeling, a mix of personal elation and professional pride: it had taken many years to get to that point.”

He also remarked that despite being told it would be calming and peaceful, the spacewalk was anything but: “With three radio links saying, ‘How’s your oxygen holding out?’, ‘Stay away from the engines!’ and ‘When’s my turn?’, it wasn’t that peaceful.” The photo shows the first human being to experience being fully untethered from a spacecraft, floating above our planet with nothing but a suit separating him and the emptiness of the cosmos. This spacewalk marked another advancement in our steps towards the stars and away from our home.

Hayden Merz ’24 and Milan Lombardo ’24

Photograph taken from the moon, where the moon surface is in the foreground and the earth is rising in the distance.

NASA, Apollo 8 Earthrise View, Manned Spacecraft Center, Houston, Texas, 1968, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.180

Milan Lombardo ’24

The photograph Earthrise, was taken by William Anders during the Apollo 8 mission on December 24th, 1968. The unique timing of the capturing of this image, being taken on Christmas Eve, caused Earthrise to be received as a gift to humanity, and a sign of a new age for the world. To fully emphasize the message behind Earthrise, the shifting of the tides and the dawning of a new age, the orientation of the picture was flipped from the original orientation of Earth being on the left of the moon, to the Earth being directly above the moon. The switch in orientation was designed to elicit a feeling of Earth rising from the abyss and to highlight the shift of an era of technological advancements and cultural shifts.

Earthrise was featured in Life’s 100 photographs that changed the world, and received recognition from Galen Rowell who called it “the most influential environmental photograph ever taken.” The power of this image of Earth in contrast to the dull and barren landscape of the monochromatic, greyscale moon reveals the splendor and vibrancy of our strikingly blue planet wrapped in white clouds that rise above it. Earthrise quickly became one of the leading media pieces for the launch of the full-scale environmentalist movement, serving as a call to action for all people to see Earth for the beautiful and perfect planet that it is and work to help preserve it. Earthrise led people to question why we would leave the beauty and perfection of our planet to land on a barren and desolate rock (the moon). This sentiment has become a staple of environmentalist opinions on space travel, as environmentalists critique governments for focusing on creating life on other planets rather than working to improve and preserve the life of ours.

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Black and white photograph of the moon’s surface, looks like a desert with a large rock and astronaut standing on one side the rock with a lunar roving vehicle on the other side.

NASA, Apollo 17, EVA Photomosaic, Manned Spacecraft Center, Houston, Texas, 1972, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.208

Celeste Farrell ’24

This photograph was taken during the Apollo 17 lunar mission, the final lunar mission in NASA’s Apollo program. In the bottom right, the image depicts American astronaut Harrison H. Schmitt standing next to a large split boulder on the Moon’s surface. The lunar rover can be seen parked on the left side of the boulder. Beyond the lunar boulder, desolate land and smooth hills show how empty the Moon is. The background of the sky is completely black, not a star to be seen, due to the surface glare of the light from the sun shining on the Moon.

This image shows the stark difference between the visuals of the Moon and the Earth. While the Moon is barren, bleak, and lonely, the Earth has a colorful environment and luscious landscapes teeming with life. Journeying to the Moon only to send back pictures of a lackluster landscape has often brought up questions as to why NASA and other space directed programs should be so invested in leaving our planet Earth when it is the glorious perfect location for humanity to stay on. Why should we be looking at the stars when we are already on an ideal planet for humanity?

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Anchor name: Space Childhood Play

Space, Childhood and Play

Photograph of a man in a suit posing with a model of a rocket next to a NASA flag.

NASA, Roger B. Chaffee, Manned Spacecraft Center, Houston, Texas, 1964, chromogenic print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.115

The man in this photo is Apollo 1 astronaut Roger B. Chaffee with his Apollo 1 rocket model. This picture was taken in 1964, three years prior to the tragic fire that swept through the command module during a preflight test. Although all three astronauts on the rocket died, their deaths inspired innovation and the pursuit of perfection by NASA. This newly found motivation led to the successful landing on the Moon by the Apollo 11 mission team. The image captures some of the childlike wonder and optimism around the space program, despite its dangers and tragedies.

Chaffee is holding the model with both hands, smiling in delight, almost like a child showing off his creation at a science fair or holding onto their favorite toy. The sense of pride Chaffee’s body language displays leaves viewers relating back to a proud and passionate student showing off the product of their hard work, grit, and determination.

Eddie Dunhill ’24

Black and white photograph of seven men surrounding and looking at a model of a rocket on a table.

NASA, title unknown (Mercury Astronauts), n.d., black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.83

Maddie Gunnell ’24

In this photo, a group of Mercury astronauts examines a model of the Atlas Booster and Mercury Capsule. The Mercury Capsule was meant to be launched into space and orbit the Earth. Many of these men look amused and happy, while some gaze in intense concentration. While this photo depicts scientists examining a model rocket that they made, it simply looks like a group of grown men playing with a toy rocket. This lack of focus on the complicated science associated with building a rocket makes the amusement of the men all the more noticeable. The childlike wonder that fills some of these men’s faces exemplifies the pure joy and excited curiosity that they are experiencing while working on this project.

A photograph of a man at a microophone standing and laughing in front of a windowed chamber containing three men who smile back from inside.

NASA, Apollo 11 Recovery, Recovery Area, Pacific Ocean, 1969, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.314

This large tin box, named the “Hornet +3,” is for quarantining returning astronauts who have just returned from a trip to space – astronauts Neil Armstrong, Michael Collins, and Edwin Aldrin Jr., pictured inside the box, were aboard the first successful moon landing Apollo 11. The photograph shows the three men with large childlike grins as they talk with President Nixon who is welcoming them back from their long adventure.

The seal on the front says, “Of the President of the United States Seal.” The photograph radiates a joyful, celebratory mood in line with the Apollo mission’s goal to stir public enthusiasm and funding for the space program. The quarantine box also resembles a box theatre. These smiling astronaut “puppets” seem like they would put on an entertaining performance for all ages, awing children with the wonders of space.

Hanna Nally ’24

Black and white photograph of an astronaut on the moon saluting the American flag surrounded by foot prints with a lunar lander in the background.

NASA, Apollo 16 EVA, Manned Spacecraft Center, Houston, Texas, 1972, black and white print on paper, Tang Teaching Museum, promised gift of Jack Shear, EL2019.1.213

Eddie Dunhill ’24

This photo shows Charles Duke, an Apollo 16 astronaut moonwalking and saluting the American flag. The impression of the moonwalk is very playful. The weight-losing effect of low gravity makes something as mundane as walking look like skipping. The picture is reminiscent of a child playing make-believe, imagining he too is exploring the cosmos.

The moonwalk attracted the admiration of not only people in the United States, but all across the planet. Then in 1983, Michael Jackson debuted a gravity-defying moonwalk of his own. Jackson’s legendary move left an everlasting footprint on pop culture, and left America’s youth with the same sense of wonder and amazement that the original moonwalk had eleven years before.

A photograph of a child's toy of Snoopy the dog dressed as an astronaut propped to the right of the box it came in.

Snoopy Astronaut toy, 1969, from Nate D. Sanders Auctions, last accessed November 11, 2020 (click for link to image source)

Maddie Gunnell ’24

This Snoopy astronaut doll was the most popular Christmas gift in 1969. With the 1969 Apollo 11 moon landing, popular culture, especially children’s popular culture, was obsessed with astronauts. Snoopy is an iconic character of the popular children’s cartoon Charlie Brown. Snoopy is sporting a spacesuit and his red scarf, and he carries an oxygen tank. NASA, in collaboration with Determined Products, used this Snoopy toy to promote their internal safety campaign. The colors of the toy—red, white, and blue—are inherently American. The inclusion of these colors in the toy highlights the idea of America at the forefront of the space race through the all-American Snoopy character. Through this toy and many like it, exploring space is marketed as an important part of childhood. It also establishes an astronaut as a dream career for children, instituting interest in space science in younger generations who will grow up to inherit space.

Orange fleece onesie pajamas with a hood, with decorative NASA patches.

Girls’ Astronaut Micro Fleece Union Suit, Cat & Jack™, Target online, last accessed November 11, 2020 (click for link to image source)

Hanna Nally ’24

This garment represents today’s standards of an astronaut’s style from a child’s perspective. The space-themed onesie has NASA patches randomly placed across the front with a hood designed to represent an astronaut’s helmet included with the reflection of a shooting star. As one example of space merchandise marketed for young children, this mass-produced onesie (sold at Target) suggests that little astronauts should dream of the stars and grow up to reach them.

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