With the advent of space exploration the distant event is fundamentally subsumed by technical mediation. While venturing into the celestial sphere, a non-terrestial occurrence can only be relayed via a careful deployment of mechanized optical apparatus and broadcast devices onboard the spacecraft. The earthbound onlooker’s field of vision is hemmed in by the resolution and panning capabilities of the mounted cameras; the total impossibility of his own on-the-scene presence however and the complete reliance on optical machines are factors of unforeseen consequence. The lens or the machinery forms a perceptual event horizon and the image becomes inextricably linked with the real time experience of the act. The compromise between these technical limitations and gratifying a popular demand for the hitherto unfeasible spectacle bespeaks the true character of this process.

The veneer of a grandiose breakthrough into the fabulous world to come was eagerly sought in the early days. The well-known imagery of the Apollo heroics exemplifies the histrionics of ’60s futuristic utopianism. At the time, a future of technological marvels, colonies on the moon and ubiquitous interstellar travel seemed imminent. Decades later, the dream of the space race lies in shambles. The glorious images of astronauts planting flags on the lunar soil, have been replaced by a monotonous image feed of the barren deserts of Mars, transmitted intermittently by slow and faulty rovers. This change is symbolic of a complete cessation of all happening, the visionary impetus of the early days has dissipated. Space travel has been superseded by its total mediation, and the image has in turn revealed its illusory nature. The space age has ended.