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This research analyses the role of the state sponsored publication Tehnium in connection to the grassroots movement of accessing western satellite television, during the communist regime in Romania. The article starts from the broader perspective of viewing the magazine as an intermediary between the capabilities of the socialist state and the popular aspirations for accessing Direct Broadcast Satellite television transmission technology in the 1980s decade. It will then delve into the grassroots level of examining specific strategies for receiving satellite broadcasts, as they surface in Tehnium. The article provides a qualitative content analysis of the magazine dealing with grassroots approaches to satellite television during socialism, which are grouped in thematic categories, established by the use of inductive category formation. The article proposes a reading of the magazine as a defining platform for the movement and provides important tools for tracing its history, material constitutive parts and main actors. Tehnium’s role is positioned as intermediary between the state and grassroots approach to technology, analyzed through the lens of technostruggles.

The major purpose of this paper is to study the important role of historical painting art on the creation of space-age era eight decades ago in 1950s. According to the Merriam-Webster Dictionary , the first known use of "space age" was in 1946. In the Collins Dictionary , the space age is the present period in the history of the world when travel in space has become possible, and people use "space-age" to describe something that is very modern and makes you think of the technology of the space age. In American English, space age is the period in modern history characterized by space exploration, usually considered as beginning on October 4, 1957, when the Soviet Union launched the first artificial satellite, Sputnik I, into orbit around the Earth. In the ancient time, many artists including Giovanni di Paolo, Albrecht Dürer, Étienne Léopold Trouvelot and Vincent van Gogh created masterpieces of space related paintings. Even in the extreme ancient era, the cave art already evidenced humans' astronomical knowledge. Besides the technological research and development for space explorations, groups of workers and artists in the areas of culture, painting, architects, installation artwork, etc. had done many contributions in the development of space-age cultural and aesthetic art before 1950s. They not only created so many masterpieces with plenty of space-age aesthetics, but witnessed and recorded the development history of the space age. It goes without doubt that historical space painting art played an important role on the creation of space-age era in 1950s. Therefore, it is mandatory to investigate and reveal the fact. • To study the important role of historical painting art on the creation of space-age era eight decades ago in 1950s. • The first known use of "space age" was in 1946, considered as beginning on October 4, 1957 when Sputnik I launched. • Giovanni di Paolo, Albrecht Dürer, Étienne Léopold Trouvelot and Vincent van Gogh created masterpieces of space related paintings. • In the extreme ancient era, the cave art already evidenced humans' astronomical knowledge. • Groups of artists in the areas of culture, painting, architects, etc. contributed space-age cultural and aesthetic art before 1950s. • Historical space painting art played an important role on the creation of space-age era in 1950s. [ABSTRACT FROM AUTHOR]

Copyright of Public & Private International Law Bulletin is the property of Public & Private International Law Bulletin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this paper is to study the development of space-age aesthetics culture and arts in seven decades since 1950s. The first known use of "space-age" was in 1946, and was defined as "of, relating to, or befitting the age of space exploration." A more popular definition for the "space age" is "The space age is the time period in human history related to the space race, space exploration, and space technology. Most people say this started when Sputnik 1 was launched in 1957, and continues to today. This has influenced culture such as in movies, television, music, art, and architecture." Culture, in the anthropology, is the patterns of behaviour and thinking that people living in social groups learn, create, and share. Culture distinguishes one human group from others. It also distinguishes humans from other animals. A people's culture includes their beliefs, rules of behaviour, language, rituals, art, technology, styles of dress, ways of producing and cooking food, religion, and political and economic systems. Therefore, the space-age art is one of the major elements of the space-age culture of human beings. On the other hand, the space exploration has significant inspiration and influence on the aesthetics art. In particular, the following aspects shall be studied in this paper: architecture and exhibition craftworks. • The space-age architecture and exhibition craftworks were investigated. • Five space-age architecture shapes investigated are disc, rocket, tower, spherical and combined. • Three space-age installation craftworks studied are sky waves, embroidery, planet models, etc. • Many space-age architectures are destroyed due to many reasons. • Hopefully the young generations can be inspired to carry forward these precious heritages. [ABSTRACT FROM AUTHOR]

The phenomenon of outer space has become ingrained in the various levels of human culture. A feature of modern views on the phenomenon of outer space is its human-sizedness. It consists in a person’s subjective cultural experience of their relationship to outer space and allows the modeling of possible future states of outer space on the basis of comprehending the regularities of its development. With the beginning of the Space Age, the peculiar “accessibility” of space gives rise to new forms of cultural development of this phenomenon, where videogames occupy an important place since they allow a person to freely fulfill their most daring cosmic fantasies. The problem of representing outer space in videogames remains insufficiently studied. The authors’ hypothesis is that videogames reflect not only the physical characteristics of space, but also the grand narrative of space exploration and the unity of mankind in the implementation of the global task of space exploration. The authors have concluded that the grand narrative of space exploration is largely legitimized through videogames. The perception of reality, patterns of behavior, and a view on culture and science are formed through videogames. The legitimization of technical and social progress as a way to achieve significant success in space expansion is observed in most videogames where “outer space” is not only the setting, but also a part of the game mechanics. Interactivity as a central feature of the videogame phenomenon allows not only to describe and explain the idea of the physical properties of outer space or the operation of devices and mechanisms in these conditions, but also to participate directly in the development of such devices, as well as to be involved in simulators of real stay in space conditions.

Space Age aesthetic was manifest in the 1960s and embodied in plastic, prefabricated houses. After several decades, the acquisition and restoration of Futuro houses can be a challenging process. The freedoms in the implied promise of the Futuro houses are tested against realities of logistical and building codes for which non-standard solutions are required.

Launch date of the first artificial satellite Sputnik 1 was on October 4, 1957, therefore it was commonly considered to be the starting year of the space age. Being inspired by the rapid developments in space and universe explorations, André Courrèges, Pierre Cardin and many other designers opened the frontier territory of the space-age era in the fashion community. From 1964, André Courrèges extensively used the white and silver metallic colours which soon became the definition of aesthetics at that time and was named Godfather of the space-age designer. On the other hand, Pierre Cardin demonstrated his early space-age work at the Paris Fashion Week in 1968 and was called the pioneer of the space-age fashion designer. For the six decades up to now, at least 15 fashion designers launched the so-called "Fashion communities' interplanetary mission" in different years: André Courrèges (1964), Mary Quant (1965), Reed Crawford (1966, specialized in hat design), Pierre Cardin (1968), Paco Rabanne (1968), Thierry Mugler (1979), Issey Miyake (1995), Alexander McQueen (1995), Nicolas Ghesquière (2007), Hussein Chalayan (2007), Christopher Kane (2011), Raf Simons (2014), Donatella Versace (2016), Karl Lagerfeld (2017), Nicolas Ghesquière (second time in 2019, as the artistic director of Louis Vuitton) and Iris Van Herpen (2019). The purpose of this paper is to systematically and methodically review the inspiration and significant influence of space exploration and universe discovery on the fashion aesthetics, styling and design in six decades from 1960 to the current year. Major creative ideas included new colours such as silver, new materials such as metallic, new styling such as flying saucer, new patterns such as totems, and the use of new technologies such as 3-dimensional (3D) printing, with the most important considerations of noble, elegancy and aesthetics. Also, the feedback influence of the space-age fashion on the new generation SpaceX and Boeing suits is discussed. • The starting year of the space age was on October 4, 1957. • Inspired by the space age, André Courrèges, Pierre Cardin, etc. opened the frontier in fashion community. • For six decades from 1960, fashion designers launched the "Fashion communities' interplanetary mission". • This paper reviews the inspiration and significant influence of space exploration on the fashion aesthetics. • Major creative ideas included new colours, new materials, new styling, new patterns and new technologies. [ABSTRACT FROM AUTHOR]

The phenomenon of outer space has become ingrained in the various levels of human culture. A feature of modern views on the phenomenon of outer space is its human-sizedness. It consists in a person's subjective cultural experience of their relationship to outer space and allows the modeling of possible future states of outer space on the basis of comprehending the regularities of its development. With the beginning of the Space Age, the peculiar "accessibility" of space gives rise to new forms of cultural development of this phenomenon, where videogames occupy an important place since they allow a person to freely fulfill their most daring cosmic fantasies. The problem of representing outer space in videogames remains insufficiently studied. The authors' hypothesis is that videogames reflect not only the physical characteristics of space, but also the grand narrative of space exploration and the unity of mankind in the implementation of the global task of space exploration. The authors have concluded that the grand narrative of space exploration is largely legitimized through videogames. The perception of reality, patterns of behavior, and a view on culture and science are formed through videogames. The legitimization of technical and social progress as a way to achieve significant success in space expansion is observed in most videogames where "outer space" is not only the setting, but also a part of the game mechanics. Interactivity as a central feature of the videogame phenomenon allows not only to describe and explain the idea of the physical properties of outer space or the operation of devices and mechanisms in these conditions, but also to participate directly in the development of such devices, as well as to be involved in simulators of real stay in space conditions. [ABSTRACT FROM AUTHOR]

The article aims to inspect the deconstruction of the body by analyzing contemporary collections of fashion designers who design de-functionalised clothes, meaning that their shapes do not refer to the typical syntax of the body: arms, legs, chest, etc. To answer the question of why the body imagined by some designers has become deformed and beyond-human, it is assumed that they think about the future and imagine it in their design. Therefore this article shortly explores the futures conceived by fashion designers up to the present time. Todaywe can recognise two different imagination currents: the alien thread (Iris Van Arpen, ThierryMugler) and the beyond-human one (Graig Green, Rei Kawakubo, Victor & Rolf and the radical fashion designers presented by NOT A TOY, Fashioning Radical Characters edited by Vassilis Zidianakis). These collections move between the imagined time and the present time with a convulsive self-centred motion, projected towards a future that interprets and reads the present. The article postulates that the technological devolution which has begun in modern times, the post-modern era, has led to a body which is no longer perceived as familiar.

From the late 1950s to the early 1970s, scientists and engineers in the U.S. chartered a new field, exobiology: the search for organic life beyond Earth. Joshua Lederberg, a Nobel Prize-winning scientist, led exobiologists in framing a powerful sociotechnical imaginary for the emergent discipline, one that envisioned planets as islands. That vision followed long traditions in natural science, literature, and geography in which islands had been posited along dueling edges: fragile, bounded sites that required preservation, but ones that also been staged as bountiful, inviting exploration, even exploitation. From Lederberg's archive, other historical sources, and astronautical accounts of seeing Earth from above in the Space Age, the conceptual duality of islands – as enclosed and expansive – transferred to how exobiologists considered their solar system. Planets, including Earth, came to be imagined as biospheres to be preserved, but simultaneously as sites that could possibly underwrite humans' future colonization. Such speculation was supported by a rich visual culture of technologically animated perception, from Apollo 8's Earthrise photograph (1968) to Mariner 9's (1970) televisual images. Scaling the gaze of planetary science from Earth to extraterrestrial sites, exobiologists' planets-as-islands imaginary forecasted a cosmic archipelago of interconnected life in the post-World War II era. [ABSTRACT FROM AUTHOR]

The 60th anniversary of the Space Age is an important intermediate finishing point on the way of a man and the whole humanity to space. Along with the outstanding achievements, there are a number of challenges and contradictions in space exploration due to the aggravation of the global crisis on Earth, low efficiency and the backlog of space research in the transition to a new technology based reality and clean technologies. Both the international astronautics and the space exploration area nowadays face difficulties in choosing a new paradigm and a development strategy that is becoming even more complicated due to the current unstable and turbulent situation on Earth. The article reveals the optimistic scenario of further space exploration, as well as the methodological and practical aspects of new projects and technologies. The periodization of the Space Age history has been conducted. It has been also proposed a new classification of the “space” phenomenon due to concretizing the concept of “global” in the form of a three-scale structure encompassing the following levels: 1) planetary global; 2) super global; 3) universally global. The notion of “super global space exploration project” has been introduced. The concept of further space exploration is proposed, which includes four interrelated super global projects:1) Earth Protection System from Asteroid and Comet Threat; 2) Moon Exploration; 3) Mars Exploration; 4) Cosmic Humanity. Since the humanity is embarking on the practical implementation of these super global projects, it is urgent to make a transition towards a new technology based order, as well as up-to-date technologies. A couple of ecological projects and space exploration technologies of the 20th and 21st centuries have been exemplified and analyzed. It has been also worked out the list of new environmentally friendly space technologies and projects. The research makes an emphasis upon a great potential of clean and green technologies within space exploration area, but it states the necessity of controlling and managing the transition towards such environmentally friendly options. A new wave of space awareness and exploration is currently arising in the world, whereas the boundaries of space activities are being constantly expanding. Consequently, the humanity is bound to reach a new level of space study by working out and implementing the global strategy aimed at synthesizing new super global programs and efficient eco-technologies and projects in the paradigm of balanced sustainable “green” development on Earth and in the Universe. To achieve these objectives successfully there is a need for anticipatory philosophical reflection and interdisciplinary examination of recent projects and technologies in space exploration in order to study and correct them

Via case analysis and literature retrospect, a kind of active design style at present is initially explored: retro-futurism, and the design method of realizing this style and its artistic value are discussed. By reviewing and analyzing the modeling element and spatial form of futurism in the space age, designers can refine the special formal language of this period, adjust these formal languages according to the need, and then place these formal languages in the context of the new era, thereby obtaining style of retrofuture. Retro-futurism design can create a strong visual style, arouse people's nostalgia and trigger double associations about history and the future. By shaping model and space, people's attention is directed to the perception of time, thereby stimulating people to reflect on technology and modern life. Its intrinsic complexity brings strong visual impact, makes it have wide application prospects in architecture, plane, clothing, products and other different design areas, and brings people richer visual experience. [ABSTRACT FROM AUTHOR]

Copyright of Journal for the Critique of Science, Imagination & New Anthropology / Časopis za Kritko Znanosti, Domišljijo in Novo Antropologijo is the property of Institute for the Critique of Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The dawn of the space age in the early 1960s first provoked unabashed awe. Then, it inspired numerous attempts to explain (away) the evental status of the first examples of manned spaceflight accounts that mainly interpreted Yuri Garagin’s flight (1961) and the Moon landing (1969) as logical consequences of technological progress, a certain constellation of political circumstances, and a pinch of ‘imagination’ to begin with. Curiously enough, conclusions of the vast majority of such accounts cannot but resort to ‘terrestrial’ metaphors in order to explain why these endeavours were worth undertaking in the first place. In the 21st century, reflections on outer space seem to have settled within three conceptually designed research fields within the social sciences and humanities: astrosociology, noocosmology and cultural studies of outer space. The text analyses conceptualisations and accounts of the dawn of the space age exhibited by the core texts and methodologies of these research fields to demonstrate how they actually hinge on variant epistemologies, and interpret the role of metaphor in world-formation in radically differing ways.

The article delineates the artistic scope of Kurt Vonnegut's The Sirens of Titan, and his ability to explore the dilemmas of postmodern culture and the human condition as formulated by Hannah Arendt. It suggests that the versatility in the handling of plots, characters, possible worlds and the narrator allows Vonnegut to capture the distinctive features of post-war U.S. culture, while he strips its philosophical foundations through the virtuous use of parody. [ABSTRACT FROM AUTHOR]

The 60th anniversary of the Space Age is an important intermediate finishing point on the way of a man and the whole humanity to space. Along with the outstanding achievements, there are a number of challenges and contradictions in space exploration due to the aggravation of the global crisis on Earth, low efficiency and the backlog of space research in the transition to a new technology based reality and clean technologies. Both the international astronautics and the space exploration area nowadays face difficulties in choosing a new paradigm and a development strategy that is becoming even more complicated due to the current unstable and turbulent situation on Earth. The article reveals the optimistic scenario of further space exploration, as well as the methodological and practical aspects of new projects and technologies. The periodization of the Space Age history has been conducted. It has been also proposed a new classification of the "space" phenomenon due to concretizing the concept of "global" in the form of a three-scale structure encompassing the following levels: 1) planetary global; 2) super global; 3) universally global. The notion of "super global space exploration project" has been introduced. The concept of further space exploration is proposed, which includes four interrelated super global projects:1) Earth Protection System from Asteroid and Comet Threat; 2) Moon Exploration; 3) Mars Exploration; 4) Cosmic Humanity. Since the humanity is embarking on the practical implementation of these super global projects, it is urgent to make a transition towards a new technology based order, as well as up-to-date technologies. A couple of ecological projects and space exploration technologies of the 20th and 21st centuries have been exemplified and analyzed. It has been also worked out the list of new environmentally friendly space technologies and projects. The research makes an emphasis upon a great potential of clean and green technologies within space exploration area, but it states the necessity of controlling and managing the transition towards such environmentally friendly options. A new wave of space awareness and exploration is currently arising in the world, whereas the boundaries of space activities are being constantly expanding. Consequently, the humanity is bound to reach a new level of space study by working out and implementing the global strategy aimed at synthesizing new super global programs and efficient eco-technologies and projects in the paradigm of balanced sustainable "green" development on Earth and in the Universe. To achieve these objectives successfully there is a need for anticipatory philosophical reflection and interdisciplinary examination of recent projects and technologies in space exploration in order to study and correct them. [ABSTRACT FROM AUTHOR]

Ever since a few months before the death of American rocket pioneer Dr. Robert H. Goddard, on 10 August 1945, it has been widely claimed he was the true source of the development of the infamous V-2 rocket of World War II – the world's first large-scale liquid-propellant rocket. It is thus alleged the German developers of the V-2 had “ stolen ” ideas from Goddard to create the V-2 that was also the forerunner of the world's first space launch vehicles. The question of the validity of this claim thus becomes far more significant than first appears and is the subject of this article. But we must first briefly examine other popular conceptions, or rather , misconceptions , about Goddard in our own Space Age. This helps establish a “bigger picture” that identifies some of the problems in overall misinterpretations of Goddard that also applies to his supposed role in the development of the V-2. 1 1 Rocket Man – Robert H. Goddard and the Birth of the Space Age by David A. Clary (Hyperion: New York, 2003) was the first major biography to identify and dispel what Clary labels “myths” and “lore” about Goddard, one example of which is the alleged German V-2/Goddard connection. The question on this connection has also been partly examined by Michael J. Neufeld, in his Von Braun – Dreamer of Space Engineer of War (Alfred A. Knopf: New York, 2007), et. al., but the present paper, and now published as an article, is the first dedicated study on the question. [ABSTRACT FROM AUTHOR]

This essay examines the relationship between the thought and ministry of Carl McIntire and the subject of flying saucers. McIntire was a prominent American fundamentalist in themiddle decades of the twentieth century. His interest in UFOs culminated in 1973 with the formation of the 20th Century UFO Bureau. McIntire and his associate Robert "Bob" Barry provide an opportunity to build upon recent scholarship that explores the ways Christians positively engaged the subject of flying saucers. I argue that his conservatism led to his interest the subject and that he drew from both theological and Theosophical influences to form his interpretation. I argue further that, understood within the context of his broader ministry, his interest arose from what he perceived to be the religious challenges brought about by space exploration. McIntire's interests ultimately demonstrate the malleability of Christian "orthodoxy," even among its most staunch defenders. [ABSTRACT FROM AUTHOR]