|Rendering of Space Colony by Mars One|
The analysis focussed on all sorts of important metrics such as Oxygen creation and depletion, and the demand for spare parts. It highlighted the need for improvements in the realm of 3D printing. It discussed the payloads necessary to ship everything to Mars. It was a purely technical assessment and other human needs were outside the scope of the project. Fair.
Then I looked at the photo of the Mars One Colony. It made my heart ache. I love adventure, danger, and cities and 600 years ago I would have totally signed up for an early expedition with Columbus or Magellan to cross the oceans into the the unknown. But I will not likely attempt to join the Mars One entourage. Why? Have you ever been confined to a physical space for extensive period of times? It is brutal.
Over the last 10 years, I have become deeply familiar with the stress of confined living. In my early 20s in India I became sick with malaria and had very little money. I found a room for 80 cents (USD) per day in Varanasi, which was concrete with no windows, a mattress, and a lightbulb. Aggressively fatigued with illness, I was bedridden in darkness except to venture once a day to a cafe across the street for a bowl of Ramen. I lived this way for a month. It was the first step into a life of continuous confinement.
Twice I've lived in concrete windowless rooms while working in refugee camps in East Africa. For three years it was a stressful act to wander outside of my apartments in Afghanistan. For 11 months of those three years, I was confined to my own house in Afghanistan as the security policy would not allow me to even leave the front gate to purchase bread at the bakery on the corner. In Mogadishu I can typically occupy a public space for 15-20 minutes at a time, and only in ideal conditions, otherwise I'm confined to hotel courtyards and more concrete rooms (though usually with windows). I do not like to stay for more than 2 weeks and the longest haul in Mogadishu, 30 days, is something I will never repeat again.
|The Size of the World in War Zones and Refugee Camps|
Working in confinement is hard on your mind and body. Not from being inside, but because you see the world outside and you cannot access it. When you cannot open your front door and take a leisurely walk down the street, then nothing else seems as beautiful or important. When you can take that walk but require several hours of advance planning and coordination of security mechanisms, the outside world feels more distant, as if you are only scratching the surface of human experience.
When I look at Mars One, I immediately think of all the months and years I have spent living within constriction. In the end, I always broke the rules to enjoy freedom. I would sneak out of the company compound. I would hire a local taxi and freely roam the city. I always go off the grid and make a point to integrate with the local community. It is this need for mobility and social interaction that drives the work I do, and arguably, is the core characteristic that distinguishes my work from others who work in challenging conditions. But on Mars, breaking the rules is not an option. Not to mention - where would you go? So in the meanwhile, trapped in a state of social isolation (with 3 other people you will inevitably grow to hate) what do you do?
Here we might also glean something valuable from the performance artist, Tehching Hsieh. Perhaps my favorite artist in all of history, Hsieh only created 6 works between 1978 and 2000. The first 5 works each lasted a year. In the first he lived in one room for a year. In another he lived outside for a year, then was tied by a rope within 10 feet of another person for a year, and somewhere in there he punched time clock every hour on the hour for an entire year. It is clear that each work requires stamina and commitment.
Watching the One Year Performance 1980-81 in which Hsieh punches the clock, we see the onset of fatigue and discipline impact his body. We see the commitment. But is it the physical endeavor of each piece, or is it the denial of human interaction and communication that shapes his experience? Hsieh's work starts with the smallest unit of human experience as an individual, isolated in one room, and then expanding the circle ever outward, he probes at formation of human life. His last piece lasted 13 years, during which time no one knows what he did, but was summarized by the single statement "I survived." Today he no longer makes art, in any form, but owns a building in New York that he rents out to other artists. If we have anything to learn from Hsieh, it is that the Mars One plan needs to be more about creating conditions for the full range of human experience while within the constraints of creating the units of human survival.
Human living, even surviving, cannot be designed as incremental components, but is the chaotic interplay of exterior and interior variables. Heidegger called it "being in the world." But Mars is a different world. The act of being in the world
will be handicapped and reduced to being
in a subworld,
one shaped by the aims of the profession rather than nature. Life will consist of watching the world outside, be it from the window of the space pod, the vizor of the space suit, or the other side of the empty oxygen tank. If I've learned anything from the mental struggles of isolation in refugee camps and war zones, and if Hsieh's work has any value for this project, we learn that a viable space colony is not an apparatus for survival, but it is a seedbed in which the conditions of satisfaction may autonomously emerge to grow and prosper. To be in the world, the world must come into formation.
Can one design for a human compatible world that will take form as act of emergence? At what point can the world formation happen independently from our directives? We create new realities with frequency (Second Life
anyone?), but these are never isolated from preexisting social norms and traditions. Having spent my fair share of time as an outsider in hostile deserts, I can assert that the landscape of Mars will come to embody the existential vacuum
in a very short period of time. When contained within a landscape that subjectively embodies desolation and bleakness, it is difficult to remain steadfast and not embody the same. Mars hurts.
So I only ask, for those brave and crazy adventurers who will set out to Mars, will they have the opportunity to derive joy from the world they are presently designing? For how long? Will those involved in creating this endeavor facilitate the need for mobility and tactile engagement with the outside? Will another world come into its own for engagement and will that one become accessible so that some kind of value can be co-created that gives satisfaction?
I hope so.
|Mars or Afghanistan, either way, when you go off the grid, you quickly find there is nowhere to go Photo: Afghanistan, Sipus 2014|