Heavenly Bodies Gender and Sexuality in Extra-Terrestrial Culture Submitted in partial fulfilment of the requirements for the degree of PhD in Critical and Cultural Theory, 2016 Kat Deerfield Thesis Summary This thesis explores how gender and sexuality are conceptualised in human spaceflight. The culture of outer space has received relatively little critical attention, and even less on the subjects of gender and sexuality. In this thesis I aim to expand upon this limited field and to investigate how the cultural dimensions of outer space can be used to productive critical ends. The history of gender in human spaceflight is a troubled one. For decades, women were systematically excluded from most spaceflight endeavours. I argue that in addition to this, more insidious forms of exclusion have continued despite increasing representation of women in the global astronaut corps. Representations of gender in space culture are drawn from a long history of traditional conceptualisation of masculine and feminine bodies, particularly in spatial theory. Additionally, using the particular spatiality of extra-terrestrial spaces, I argue that traditional notions of gendered bodies and spaces can be uniquely destabilised by human spaceflight experience. The gendering of outer space is often entangled with sexual culture in space discourse, as discussions of women in space are often conflated with discussions of sexuality, reproduction, and human futures in space. I analyse these ideological connections alongside feminist and queer theory to argue that while space culture is primarily heteronormative, it also holds great potential for destabilising narratives of heteronormativity. Discussions of the future, in particular, often revolve around heteronormative ideas of family and procreation, however the temporality of space culture is not as straightforward as these narratives would suggest. It is my contention that the critical potential of outer space both necessitates and facilitates a radical shift in understandings of spatiality and temporality. Ultimately, I argue that the extremity associated with extra-terrestrial exploration can inform broader theoretical discussions of gender, sexuality, cultural space, time and the future. DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD Signed ………………………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date ………………………… Acknowledgements Each of those named in this non-exhaustive list has strengthened this thesis, and improved the process of producing it more than they may ever know. I am very grateful to a great many people, and for that I feel very lucky. I wish to particularly thank those below: Chris Weedon, for supervisory guidance which has immeasurably improved my work, and for encouragement and kindness for which I am deeply thankful. I am also very thankful to Radhika Mohanram, who also provided invaluable feedback on this thesis in its entirety. Carl Phelpstead, Neil Badmington, and Josh Robinson also offered crucial guidance over the course of completing this thesis. Nina Deerfield, whose support, encouragement, and enthusiasm for my work have been integral to this process. Steve Van Norman, whose kindness and generosity I deeply appreciate. Bill Parker, for so much hospitality, generosity, and enthusiasm for my work and for aiding my transition into British culture. David Andrew Griffiths, who has gone above and beyond the call of friendship duty in his support and in his direct assistance with this thesis. So many of our conversations have left their fingerprints in this text, and the PhD experience has been greatly improved by knowing him. Andy Eicher, especially for theoretical consultation on queer theory and disability studies before the latter had to be cut for time, and even more especially for being my oldest friend. Rob Callaghan, for more than I can say. Hector Roddan, Emily Cottrell, Kate Boddington, and Amo King for their kindness, support, and interest, for sometimes helping me completely forget about my thesis, for other times helping me work through my arguments, and for filling the empty spaces of the last four years with laughter. Melissa Bascon, Patrick James, and Liliana Sandoval for, along with Andy, so many time zone- spanning conversations and for always providing an anchor when I need one. Rhian Rattray and Julie Alford, for compassion and efficiency without parallel. I once imagined an ENCAP without Rhian and Julie and I do not think I have yet recovered. Teresa De Villiers, for noticing my need for an extra reassuring push here and there. And finally, Frank Pietronigro, whose willingness to share his work forever altered the course of my own. I am thankful for his kindness and I am thankful for his art. Table of Contents Introduction ................................................................................................................................... 1 Part One: Gender in Space Introduction to Part One .............................................................................................................. 27 Chapter One: Women in Space................................................................................................. 31 Chapter Two: Women in Space Art and Interstellar Communication ...................................... 50 Chapter Three: Taking Feminist Geography into Orbit ............................................................... 71 Chapter Four: Gravity, Gender, and Spatial Theory .................................................................. 92 Part Two: Sex in Space Introduction to Part Two ........................................................................................................... 111 Chapter Five: Sexual Culture in Space .................................................................................... 117 Chapter Six: Space for Sex .................................................................................................... 138 Chapter Seven: Retro- and Reproductive Futures ..................................................................... 159 Chapter Eight: Queering Space, Queering the Future ............................................................. 178 Conclusion ................................................................................................................................. 193 Bibliography............................................................................................................................... 202 List of Illustrations Figure 2.1: The Pioneer Plaque ............................................................................................ 54 Figure 2.2: The Poetica Vaginal Vaginal Detector ................................................................ 61 Figure 2.3: Poetica Vaginal data collection .......................................................................... 63 Figure 2.4: Loader from First Woman on the Moon............................................................. 68 Figure 3.1: Galactic Girl ........................................................................................................ 88 Figure 4.1: Rose’s Time-Geography Diagram ..................................................................... 104 Figure 6.1: The 'Three Dolphin Position' ............................................................................ 154 Figure 7.1: Cover art from Lynn Sherr’s biography of Sally Ride ........................................ 173 1 Introduction: Heavenly Bodies Just as the topology of space is at odds with everyday human experience, the ‘time’ of space is utterly foreign. Trevor Paglen, The Last Pictures, 20121 In this thesis, I will argue that discussions of bodies in human spaceflight tend to assume a particular kind of body: a male heterosexual body. Yet the bodies referred to in my title have a decidedly feminine origin. I draw the phrase ‘heavenly bodies’ from an artefact which travelled aboard the Apollo 12 lunar mission in 1969. As a prank, the Apollo 12 crew back on Earth hid several photos of naked women among the checklists and supplies used during the moon mission so that they would surprise the astronauts during the mission.2 One of these photos received particular attention in 2011 when it was sold at an auction which received substantial press coverage.3 The photo, from a 1969 Playboy calendar, features model DeDe Lind posing topless. On the back of the image, the ground crew wrote: ‘MAP OF A HEAVENLY BODY’.4 This image was left on-board the ship for Richard Gordon to find during the lunar landing, while he remained behind in lunar orbit. His crewmates who set foot on the moon’s surface were left with their own set of Playboy photos, these hidden inside the checklists affixed