Interview with author of Spacesuit
May. 2nd, 2011 01:28 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kestrellAlexx sent me this link
http://bldgblog.blogspot.com/2011/04/spacesuit-interview-with-nicholas-de.html
to an interview with Nicholas de Monchaux, the author of _Spacesuit: Fashioning Apollo_, who manages to bring together ideas about cyborgs, fashion, and the built environment.
block quote start
de Monchaux: One of the things I find most fascinating about the idea of the spacesuit is that space is actually a very complex and subtle idea. On the
one hand, there is space as an environment outside of the earthly realm, which is inherently hostile to human occupation—and it was actually John Milton
who first coined the term space in that context.
On the other hand, you have the space of the architect—and the space of outer space is actually the opposite of the space of the architect, because it
is a space that humans cannot actually encounter without dying, and so must enter exclusively through a dependence on technological mediation.
Whether it’s the early French balloonists bringing capsules of breathable air with them or it’s the Mongolfier brothers trying to burn sheep dung to keep
their vital airs alive in the early days of ballooning, up to the present day, space is actually defined as an environment to which we cannot be suited—that
is to say, fit. Just like a business suit suits you to have a business meeting with a banker, a spacesuit suits you to enter this environment that is otherwise
inhospitable to human occupation.
From that—the idea of suiting—you also get to the idea of fashion. Of course, this notion of the suited astronaut is an iconic and heroic figure, but there
is actually some irony in that.
For instance, the word cyborg originated in the Apollo program, in a proposal by a psycho-pharmacologist and a cybernetic mathematician who conceived of
this notion that the body itself could be, in their words, reengineered for space. They regarded the prospect of taking an earthly atmosphere with you
into space, inside a capsule or a spacesuit, as very cumbersome and not befitting what they called the evolutionary progress of our triumphal entry into
the inhospitable realm of outer space. The idea of the cyborg, then, is the apotheosis of certain utopian and dystopian ideas about the body and its transformation
by technology, and it has its origins very much in the Apollo program.
But then the actual spacesuit—this 21-layered messy assemblage made by a bra company, using hand-stitched couture techniques—is kind of an anti-hero. It’s
much more embarrassing, of course—it’s made by people who make women’s underwear—but, then, it’s also much more urbane. It’s a complex, multilayered assemblage
that actually recapitulates the messy logic of our own bodies, rather than present us with the singular ideal of a cyborg or the hard, one-piece, military-industrial
suits against which the Playtex suit was always competing.
block quote end
http://bldgblog.blogspot.com/2011/04/spacesuit-interview-with-nicholas-de.html
to an interview with Nicholas de Monchaux, the author of _Spacesuit: Fashioning Apollo_, who manages to bring together ideas about cyborgs, fashion, and the built environment.
block quote start
de Monchaux: One of the things I find most fascinating about the idea of the spacesuit is that space is actually a very complex and subtle idea. On the
one hand, there is space as an environment outside of the earthly realm, which is inherently hostile to human occupation—and it was actually John Milton
who first coined the term space in that context.
On the other hand, you have the space of the architect—and the space of outer space is actually the opposite of the space of the architect, because it
is a space that humans cannot actually encounter without dying, and so must enter exclusively through a dependence on technological mediation.
Whether it’s the early French balloonists bringing capsules of breathable air with them or it’s the Mongolfier brothers trying to burn sheep dung to keep
their vital airs alive in the early days of ballooning, up to the present day, space is actually defined as an environment to which we cannot be suited—that
is to say, fit. Just like a business suit suits you to have a business meeting with a banker, a spacesuit suits you to enter this environment that is otherwise
inhospitable to human occupation.
From that—the idea of suiting—you also get to the idea of fashion. Of course, this notion of the suited astronaut is an iconic and heroic figure, but there
is actually some irony in that.
For instance, the word cyborg originated in the Apollo program, in a proposal by a psycho-pharmacologist and a cybernetic mathematician who conceived of
this notion that the body itself could be, in their words, reengineered for space. They regarded the prospect of taking an earthly atmosphere with you
into space, inside a capsule or a spacesuit, as very cumbersome and not befitting what they called the evolutionary progress of our triumphal entry into
the inhospitable realm of outer space. The idea of the cyborg, then, is the apotheosis of certain utopian and dystopian ideas about the body and its transformation
by technology, and it has its origins very much in the Apollo program.
But then the actual spacesuit—this 21-layered messy assemblage made by a bra company, using hand-stitched couture techniques—is kind of an anti-hero. It’s
much more embarrassing, of course—it’s made by people who make women’s underwear—but, then, it’s also much more urbane. It’s a complex, multilayered assemblage
that actually recapitulates the messy logic of our own bodies, rather than present us with the singular ideal of a cyborg or the hard, one-piece, military-industrial
suits against which the Playtex suit was always competing.
block quote end
