The treaty explicitly forbids any government from claiming a celestial resource such as the Moon or a planet, claiming that they are the Common heritage of mankind.
[Article II] of the Treaty states that ‘outer space, including the Moon and other celestial bodies, is not subject to national appropriation by claim of sovereignty, by means of use or occupation, or by any other means.’
The Outer Space Treaty, of which the United States is a signatory.
With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. ‘You have seen nothing in Hiroshima’ [Hiroshima mon amour]. Does this entail that one should not record? No. One should record this ‘nothing,’ which only after the resurrection can be available….The documentation is for the future not only in the sense that it preserves the present referent for future generations; but also in that it can function as a preservation of the referent only in the future, only when the work of resurrection has countered the withdrawal.
Jalal Toufic, Forthcoming
reposting my first tumblr post.
Perfumed Nightmare | Kidlat Tahimik | 1977
"The Trissotetras: or, a most exquisite table for resolving all manner of triangles,: whether plaine or sphericall, rectangular or obliquangular, with greater facility, then ever hitherto hath been practised: most necessary for all such as would attaine to the exact knowledge of fortification, dyaling, navigation, surveying, architecture, the art of shadowing, taking of heights, and distances, the use of both the globes, perspective, the skill of making the maps, the theory of the planets, the calculating of their motions, and of all other astronomicall computations whatsoever. Now lately invented, and perfected, explained, commented on, and with all possible brevity, and perspicuity, in the hiddest, and most re-searched mysteries, from the very first grounds of the science it selfe, proved, and convincingly demonstrated. "
~Sir Thomas Urquhart of Cromartie Knight.
Nixon’s Undelivered Speech: “In Event of Moon Disaster”
June 14th: Solar System Walk, Vol. 1
To launch this exciting exhibition at The Queens Museum, AASV will be hosting three walking salons…
The first is taking place Saturday, June 14 4:30-6:00 pm
Solar System Walk, Vol. 1
A Guided 1.5 hour tour of Chris Burden’s Scale Model of the Solar System. Tip: take the 7 to the 103rd Corona Plaza/our Oort Cloud, and walk 5 minutes along 104th (past the Post Office corner) towards 46th Ave. [Note: No N train this weekend between Manhattan and the Oort Cloud]
We will begin at 4:30, at Leo’s Latticini. Jane Carver will be emitting via her accordion, the sounds of Pluto, The Renewer: Colin Matthews’ addendum homage to Gustav Holst’s The Planets.
Tour will be led by artist Nate Carey, with more Holtsian interplanetary travel sounds by Jane Carver. We’ll walk towards the center, following the gravitational pull of our star. The sun will be in the museum, which will be hosting various other worlds.
After party information to be revealed at the site of Uranus. At 9 PM Ivory Coast vs. Japan kicking the moon across a grassy field.
This is the first of three tours organized by Amateur Astronomers Society of Voorhees which will take place throughout the run of the exhibition. The second and third tour will be led by educator, PJ Gubatina Policarpio, Astrophysicist Dr. Emily L. Rice, and friends of Astronomy on Tap, dates TBA.
For more information and to RSVP (free, but spots are limited) please email: firstname.lastname@example.org.
AASV/The Amateur Astronomers Society of Voorhees began in 2012 as a series of salons in the eponymous building in Hell’s Kitchen. Founded and directed by artist Emmy Catedral, the Society has hosted events featuring guest artists, historians, scientists, collectors, storytellers to reflect on the order and ordering of the universe.
Nate Carey is a Brooklyn/Earth based artist working primarily in sculpture and performance. Inspired by the ways that physical laws function at extreme scales, Carey would like to realize projects in the subatomic and supermassive realms. Until then, he employs the use of thought experiments and objects at hand.
Jane Carver is the artist-in-residence at The Association for Cultural Equity: The Alan Lomax Archive and co-founder of the performance series Low Stakes at Hunter College. She sings with the Bulgarian women’s choir, Yasna Voices and lives in Brooklyn.
Bringing the World into the World is about the experience of the act of seeing, and is inspired by the largest object in the Museum’s collection, the Panorama of the City of New York, a 9,355 sq.ft. scale model of the New York City’s five boroughs. Recapturing the lure and the wide-eyed amazement triggered by this historical artifact, Bringing the World revisits the panoramas—the 18th Century crowd-pleasing spectacle of 360-degree circular paintings—and their concepts and roles in the development of visual culture. The exhibition features a diverse body of works exploring the formal, conceptual, and psychological principles of panoramas as devices of wonder and the many ways in which we see, imagine, and comprehend worlds both familiar and unfamiliar.
Participating artists: Alighiero Boetti, Chris Burden, Ray and Charles Eames, Harun Farocki, Dominique Gonzalez-Foerster, Hikaru Hayakawa, Yumi Kori, L十 (PAK Sheung Chuen, WO Man Yee, LEE Soen Long), Reanimation Library, Jessica Rylan, Tavares Strachan, Clarissa Tossin, Lawrence Weiner, Liu Wei, and Wong Kit Yi.