dearMoon Project Proposal
This page showcases Tom R. Chambers' photo/arts projects re: the dearMoon mission to circumnavigate the Moon in 2023. If selected as a crew member, he will implement these projects as exhibitions, workshops, and teaching sessions in the classroom.
Chambers' main objective during the dearMoon mission would be to document (photo/video) it from beginning to end, involving his crewmates and the process with the main focus on Earth and the Moon through the observation windows. Hundreds of images would be made during launch, trans-lunar coast, circumnavigation of the Moon, trans-Earth coast, and reentry/landing.
After returning to Earth, this extensive coverage would be edited/enhanced for various exhibitions, workshops, classroom teaching, and publication. He is also a retired Technology Applications (STEM/STEAM) teacher, and he would make it a point that this process reaches the students through teacher training and implementation.
He considers the dearMoon mission one of empowerment, and he would want this to carry through to the students.
As a research analyst at the Lunar Receiving Laboratory (1969-1972), he felt the rush of excitement as the Apollo astronauts rocketed towards the Moon. He states, "It would be great to feel this rush again ... in a real sense ... as part of the crew for the dearMoon mission."
Currently as a visual artist (new media/digital) and photographer, he is putting together photo/arts projects to pursue on the Starship spacecraft ... launch, trans-lunar coast, circumnavigation of the Moon, trans-Earth coast, reentry and landing:
Upon return to Earth, these projects will transform through interpretation and presentation (exhibitions, workshops, etc.).
His days at the Lunar Receiving Laboratory can be perused at:
Project examples:
Chambers' main focus if chosen as a crew member would be to document (photo/video) the dearMoon mission for photo/art/ed projects upon his return, but there are a few projects he would like to implement during flight for youngsters.
"SPACECAM":
This would be possible through engineering and configuration ... to have youngsters make photos with one of my cameras remotely. He would set up the camera making sure that Earth, the Moon, a combination of the two are in view, and then engage the youngsters in "real time" via video/Internet(?) and the camera to make their own exposures.
This exercise is similar to the ongoing program on the International Space Station ... "EARTHKAM" (Earth Knowledge Acquired by Middle school students) is a NASA educational outreach program that enables students, teachers, and the public to learn about Earth from the unique perspective of space.):
He used this program twice with his students at a charter school in Houston, Texas:
"MOON GRAB BAG"
http://tomrchambers.com/moon_grab_bag.pdf
Chambers will implement this package for children as a part of his photo/art/ed project approach re: the dearMoon mission.
http://tomrchambers.com/moon_grab_bag.pdf
Chambers will implement this package for children as a part of his photo/art/ed project approach re: the dearMoon mission.
“MY APOLLO”
Out of the hundreds of photographs that he will make during trans-lunar coast, circumnavigation of the Moon, and trans-Earth coast, he would edit down to 30-40 images. He would then choose 30-40 photographs made by the Apollo astronauts as they made their similar journeys, 1969-1972.
For exhibition, he would pair the astronauts’ and his photographs to pay tribute to Project Apollo and showcase his coverage. The overall size of his framed photographs would be a bit smaller than their Apollo counterparts (framed photographs) to make the point that accomplishments are a result of “standing on the shoulders of giants” … "discovering truth by building on previous discoveries".
The attached image shows a simulated version of what the exhibition might look like with the larger Apollo image to the left and the smaller Chambers image (using an Apollo image for simulation) to the right. Again, there would be 30 - 40 of these groupings that would comprise the installation.
It is one of the stronger projects for exhibition in terms of paying tribute to the Apollo astronauts as their images and his are displayed side-by-side ... and again to reiterate the phrase, "standing on the shoulders of giants". He also likes the square format and the fact that they used Hasselblad equipment. He would be using Hasselblad cameras as well to be in keeping with the process.
Chambers received good news that Hasselblad Camera Company may be interested in sponsorship (cameras, lenses, etc.) discussion if he is chosen as a crew member for the dearMoon mission. His letter to dearMoon:
dearMoon:
Please let Yusaku Maezawa and Elon Musk know that I have received a communique from Hasselblad Camera Co. that if I am selected as a crew member for the dearMoon mission to circumnavigate the Moon, they will have discussions with me about sponsorship (cameras, lenses, etc.) so I can document the journey for my photo/art/ed projects.
Of course, we know that Hasselblad provided cameras for the Apollo astronauts to use on their missions. They (Hasselblad) and I like this connection of Hasselblad cameras being used back then and the possibility of them being used on the dearMoon mission. To have Hasselblad sponsoring one of the photo/art crew members ... me ... would provide for a good brand connection (SpaceX/dearMoon/Hasselblad) for this mission just as it was during the Apollo missions ... NASA/Apollo/Hasselblad.
Upon return to Earth, I would begin to set up production work for my various photo/art projects and their exhibitions based on my photo coverage of the dearMoon mission:
I imagine that Hasselblad would also mount exhibitions of my work at various venues as well as utilize some of the imagery in its advertising, again stressing, for example, "We have returned to the Moon, and so has Hasselblad!"
Thank you.
Tom R. Chambers
Photographer/Visual Artist/Curator/Educator
Chambers has published numerous books about Project Apollo on Amazon (elsewhere) and hopes to do the same about his photo coverage (etc.) re: the dearMoon mission if selected as a crew member on board Starship in 2023.
His books about Project Apollo can be seen at the following links:
"MACRO MOON"
Photographs of the Moon's surface would be made with a series of telephoto lenses as Starship nears the celestial body, circumnavigates it, and then moves away from it towards Earth. Upon return to Earth, image enlargements would be made for detailing (texture, geometry, light/shadow play, contrast, abstraction, etc.) re: exhibition.
Enlargements of Apollo images have been attached as examples.
"IN-BETWEEN"
An Apollo 10 composite of photographs (AS10-27-3970 and AS10-27-3971) is attached. These images were made during the trans-Earth coast, and it is interesting to note that the camera was aimed at ("towards") Earth in the left frame (27-3970) and then aimed at ('back at") the Moon in the right frame (27-3971).
Chambers would like to do the same ... if possible due to the positioning of dearMoon's Starship: trans-lunar coast and trans-Earth coast. It would be great to exhibit the dearMoon composites, and have classroom discussions about what it means to be "in-between".
Perhaps a "poetic" situation - "IN-BETWEEN" - arises as one looks at this composite and from the perspective of the Apollo astronauts in their command module as they made their way back to Earth. The accepted definition for in-between is “two clear or accepted stages or states, and therefore difficult to describe or know exactly." To interpret this is an attempt to be inside the astronauts' heads at the time. They had "engaged" the Moon up close and personal via orbit and descent of Lunar Module "Snoopy" to an incredible 50,000 feet or so from its surface; and as they coasted towards Earth, they were anxious as to being successful with their return - "splashdown". Possibly, these states of awe and anxiety existed simultaneously.
Again, Chambers states that it would be great to relive ... in a real sense ... the Apollo experience that he had over 50 years ago by circumnavigating the Moon on Starship as a dearMoon crew member.
Tom R. Chambers' Apollo Presentation, Shalom Austin, Austin, Texas (2020):
" Fifty Years Ago at the Lunar Receiving Laboratory"
Chambers shares the work he did as a research analyst in the Biological Sciences section at the Lunar Receiving Laboratory (Johnson Spacecraft Center, NASA) during Project Apollo, 1969-1972. There he examined the Lunar soil and various animal species to look for pathogens that might be harmful to the biosphere. After the project, he worked as a research associate in Genetics, Infectious Diseases, and Radiology at the University of Texas Medical Branch at Galveston, and then gradually moved into scientific/medical media as manager of medical photography at Texas Tech University Health Sciences Center in Lubbock.
Chambers would publish a book similar to this one re: his experiences as a dearMoon crew member ...
PROJECT APOLLO: Photographs and Interpretations - in book form at Amazon:
PDF version:
Tom R. Chambers, former research analyst at the Lunar Receiving Laboratory during Project Apollo (1969-1972) edits/enhances many of the photographs made by the Apollo astronauts. All of the images and some of the text are courtesy of NASA, and Chambers offers interpretations on certain photographs and their combinations/composites/croppings/enlargements.
"WEIGHTLESSNESS: A PHOTO PERSPECTIVE"
Notice in the video that one of the Apollo 10 astronauts grabs what looks like a camera and/or is similar to, and then he rotates and moves it towards the movie camera.
The project idea is to do the same with a camera on the dearMoon spacecraft, and then remotely make exposures as it moves, spins/rotates to create a series of aesthetic images that are based on "weightlessness". This would be repeated several times to have enough groupings for exhibition.
"TO THE MOON AND BACK"
Overall photo/video/audio coverage (Earth, Moon, crew, spacecraft, activities) of the dearMoon mission for exhibition involving black-and-white and color photo prints and video/audio installations.
"BY THE [reflected] LIGHT OF THE SILVERY MOON"
Photo/video coverage of the Moon during the dearMoon mission for exhibition involving black-and-white and color photo prints and video/installations. The music/song, "By The Light of the Silvery Moon" would be used as audio stimulus.
The music/song, "By The Light of the Silvery Moon" was written by Gus Edwards, and the lyrics by Edward Madden. The song was published in 1909 and first performed on stage by Lillian Lorraine in the Ziegfeld Follies of 1909. It was one of a series of moon-related Tin Pan Alley songs of the era. The song was also used in the Broadway show, "Miss Innocence" (September 27-October 9, 1909) when it was sung by Frances Farr. A film of the same title was released in 1953, starring Doris Day. It served as a sequel to "On Moonlight Bay", which also starred Doris Day. The song has been used in a great many television shows and motion pictures. (Wp)
As children, Tom R. Chambers remembers singing this song with his cousin, "Rusty" as they stared up at the Moon in the evenings at their grandparents countryside home near Nocona, Texas. His cousin was killed several years later in the Vietnam War.
"HOME SWEET HOME"
Photo/video coverage of Earth during the dearMoon mission for exhibition involving black-and-white and color photo prints and video/installations. The music/song, "Home, Sweet Home" would be used as audio stimulus.
"Home, Sweet Home" is a song adapted from American actor and dramatist John Howard Payne's 1823 opera Clari, or the Maid of Milan, the song's melody was composed by Englishman Sir Henry Bishop with lyrics by Payne. When the song was published separately, it quickly sold 100,000 copies. It became popular in the United States throughout the American Civil War and after.
The song's American premiere took place at the Winter Tivoli Theatre in Philadelphia on October 29, 1823, and was sung by Mrs. Williams. The song is known in Japan as "Hanyū no Yado" ("埴生の宿") ("My Humble Cottage"). It has been used in such movies as "The Burmese Harp" and "Grave of the Fireflies". It is also used at "Senri-Chūō Station on the Kita-Osaka Kyūkō Railway". Payne's tune is most commonly recognized in the score from MGM's "The Wizard of Oz". The melody is played in a counterpart to "Over the Rainbow" in the final scene as Dorothy (played by Judy Garland) tells her family, "there's no place like home". (Wp)
"MALEVICH IN THE MOON"
Chambers has been working with Kazimir Malevich's Suprematism since 2007 ... four major exhibitions:
a) My Dear Malevich, Art Gallery, Fine Arts Department, Zhaoqing University, Zhaoqing, Guangdong Province, China, April 2-15, 2007:
b) My Dear Malevich, Novosibirsk State Art Museum (as a part of the aniGma-4, Fourth Novosibirsk International Festival of Digital Imaging), Novosibirsk, Russia, May 10 - June 10, 2007:
c) My Dear Malevich, Black Square Interpretations and Other Suprematist Explorations (two-person show with Max Semakov), CaviArt Gallery, Russian Cultural Center, Houston, Texas, March 6 - April 7, 2015:
d) My Dear Malevich, Suprematism Infinity: Reflections, Interpretations, Explorations (Group Show), Atrium Gallery, Harriman Institute, Columbia University, New York City, New York, U.S.A., December 1, 2015 - January 22, 2016:
He has also concentrated on Malevich's "Black Square" with a body of work titled, "Black Square Interpretations":
For the dearMoon project, he would bring with him several dozen copies of Malevich's "Black Square" (20"x20" print, each) so they would circumnavigate the Moon, and then upon return to Earth, he would incorporate these "flown"/"Cosmic" copies with photographs of the Moon that he made during circumnavigation for an exhibition titled, "Malevich in the Moon".
Information about Kazimir Malevich and the Cosmos:
In Malevich’s everyday life, his proclamation of the inevitable break from Earth and speculative mastery of space turned into a passionate immersion in Astronomy. During his Vitebsk years (1919-22), he was never parted from his pocket telescope, constantly observing and studying the sky.
In his book, "Suprematism: 34 Drawings", in the introduction about humanity’s cosmic future, he gave the ordinary word ‘sputnik’ - Russian for companion or fellow traveler. In his text, Malevich stated ideas of amazing heuristic power, while touching on a sphere seemingly removed from art - technology:
"The Suprematist machine, if it can be put that way, will be single-purposed and have no attachments. A bar alloyed with all the elements, like the earthly sphere, will bear the life of perfections, so that each constructed Suprematist body will be included in nature’s natural organisation and will form a new sputnik; it is merely a matter of finding the relationship between the two bodies racing in space. A new sputnik can be built between Earth and Moon, a
Suprematist sputnik equipped with all the elements that moves in an orbit, forming its own new path."
Malevich goes on to propose a scheme for overcoming gravitation between celestial bodies and ensuring progressive advancement into the cosmos. (Aleksandra Shatskikh, "Black Square: Malevich and the Origin of Suprematism", 2012; and "Vitebsk: The Life of Art", 2007)
"AN ESSAY FOR THE COSMOS"
Chambers would involve the grade/middle/high school students in his hometown (Nocona, Texas; population around 3000). If chosen as one of the crew members, he would then have this announced through the local newspaper. As part of the announcement, he would ask those teachers/students who want to participate to write an essay about their feelings re: the dearMoon mission and Space exploration.
The essays would be stored at the respective schools, and he would pick them up at a later date. Come launch day, he would take them with him so they (essays) would also circumnavigate the Moon with him. When he returns to Earth, he would give the essays back to the students and hold classroom discussions about: their essays; the fact that they (essays) traveled around the Moon and back; his experiences on the dearMoon mission; the future of Space exploration; etc.
He considers this process one of empowerment for the students through their essays actually circumnavigating the Moon, and motivation to possibly get involved with STEM activities in higher education and eventual employment in the aerospace industry.
"WISH YOU WERE HERE!"
Chambers is looking at projects that can be done as close to "real time" as possible on board the Starship, and particularly for elementary/middle school students. One approach that has an infinite number of possibilities is the "Wish You Were Here!" postcard that has been used through the generations. Examples are attached, and he has used Apollo photographs to simulate what his photographs might look like ... made from onboard the Starship.
Again, this would be done as close to "real time" as possible and assuming he would be able to communicate with Earth via video and the sending of files. Ahead of time, plans would have been made with his schools in his hometown of Nocona, Texas to assemble the students. He would then meet/greet them ... LIVE ... say several words, and then begin to send several postcards ... "Wish You Were Here!" with his photographs ... so the teachers would have the files (jpg/png) to print out later for the various classes.
This connection is important to him since he taught Technology Applications for a middle school in Houston, Texas, 2007-2013.
"LUNAR LITERACY"
This is based on "Literacy Through Photography", a tried and true program that uses teaching methodology to encourage children to explore their worlds as they use images as catalysts for verbal and written expression around universal themes such as self-portrait, community, family, and dreams.
In this case, they would be using Chambers' photographs made on board the Starship during trans-lunar coast, circumnavigation of the Moon, and trans-Earth coast.
What is also interesting about this approach is the fact that the children (anyone) wouldn't be working with just any photograph of the Moon (environs) from a textbook, magazine. the Internet. They would be working with the actual photographs (files) brought back from the Moon and made by the "literacy" instructor (Chambers) who traveled there to make the exposures.
This will have a profound effect on their psyche. An excitation factor will exist that transcends the classroom, and creates a "Cosmic" environment to nurture their cognitive and creative skills.
To give you an idea as to how the "literacy" program works, a few writing examples from youngsters re: the iconic photograph (below) of "Earthrise" follow. Chambers taught this "literacy" component as a part of an Apollo Space Camp at the Wings Over the Rockies Air and Space Museum (Denver, Colorado) during the Apollo 11 50th Anniversary, July 2019.
Youngsters' writings:
“I feel that the picture is beautiful. We went to the Moon to explore it, but we discovered the Earth. I think that means that you see Earth in a good way.” NS
“Space is a place where wonderful things can happen, and I feel that Space has a lot of things in store for humanity. It shows how much we have to explore. The universal ‘Earthrise’ is pretty." AM
“I feel very interested and amazed because they were the first people to orbit the Moon, and I think it is crazy that they were up there, and we were down here.” RAW
“This picture makes me feel happy, intrigued, full of life, and interested. It feels different to look at the Earth instead of the Moon. I feel excited to know that we can go so far, to know that I have a chance of doing this one day - to go out and explore the wonderful vacuum of Space.” EJW
"By seeing the Earth from Space, we were able to see things that you normally can’t see. You can learn so much. This gives you the feeling that there can be so much more out there, other planets, other places to live. It gives you a feeling of happiness and so much more." KAH
"I feel this picture is really, really cool. I feel this way because it is like the reverse of what we would do on Earth because the astronaut is taking the picture of Earth from the Moon. It also makes me feel proud because the first person around the Moon actually made it. So yeah, I feel proud for my species. Also, I think the Earth looks awesome, so thank you, NASA.” VKM
"I feel the Earth. I feel the Moon. I feel the Sun. I feel everything.” BMS
"’Earthrise’ is a beautiful picture from Apollo 8. It looks a lot like freedom. I see that we live a little free. We are in the right place. From Earth, we see the Moon, but on the Moon, we see the Earth. Isn’t that amazing? The Moon is just like the Earth in some ways and different in others.” CB
"I feel that the picture is one of a kind. The picture is awesome like a rocket blasting off to Mars or another galaxy. The point of life is to live a good life and do what you want. If you want to go to the Moon, go to the Moon!” TC
"LUNAR GLITCH"
There is a particular art movement that Chambers likes ... for some reason, maybe for its resulting juxtapositions, sectioning, repetition, and color fields (panels) ... and he is thinking about applying the "treatment" to various photographs brought back from the dearMoon mission for an exhibition. He has used this "treatment" ... "glitching" ... on a few Apollo images to reach a desired result ... below.
He also likes the fact that the term, "glitch" was used during the “Space Race” during the 1950s and 1960s. It was used to describe minor faults in the rocket hardware that were difficult to pinpoint.
Astronaut John Glenn (first U.S. man to orbit Earth) explained the term in his section of the book Into Orbit:
“Another term we adopted to describe some of our problems was ‘glitch.’ Literally, a glitch is a spike or change in voltage in an electrical circuit which takes place when the circuit suddenly has a new load put on it. You have probably noticed a dimming of lights in your home when you turn a switch or start the dryer or the television set. Normally, these changes in voltage are protected by fuses. A glitch, however, is such a minute change in voltage that no fuse could protect against it."
What is called “glitch art” means visual glitches. It is made by either capturing an image of a glitch as it randomly happens, or more often by artists/designers manipulating their digital files, software or hardware to produce these aesthetic “errors”. (Wp)
"Autographed Moon Photographs"
Chambers states:
"I am sure that some of you have signed a photograph or an artwork for someone. Can you imagine walking into a class of youngsters as a returned "dearMooner", handing out photographs that you made on board the Starship, and then signing each one in front of the child, for example for a student named, Bobby ... "To Bobby, a future dearMooner!" and your signature ... what a moment for both of you.
This is another example of empowerment for youth, and a moment that transforms that child into a "Cosmic being". He/she will rush home with the signed ... to him/her ... photograph to show to his/her parents, other family members, friends, and neighbors.
I don't know about you, but for me, this scenario is worth the trip ... the risk ... to be able to impact others, particularly youth with my dearMoon experiences ... to share my perspective ... to talk about seeing Earth above the Moon's horizon.
It is not about the projects ... it is about the experience of moving upward and outward into the Cosmos ... expanding the range of humanity in a sustainable way ... and enhancing the possibility of interstellar communication.
I have attached an example using an Apollo 11 photograph to indicate how a signed image for a youngster (Bobby) might look."
"dearMOON POSTERS"
A workshop idea for students that would not only involve working with "dearMooner" photographs (Chambers'), but also photo/graphics software to make posters for their bedrooms at home:
The main gist of the process would not only be the "Cosmic experience", but also OWNERSHIP for the student as he/she makes the poster with software. He/she could also add text that would be similar to the "Literacy Through Photography" process that Chambers has indicated earlier.
OWNERSHIP is an important aspect of this exercise. This sense of creating instills pride and confidence. It empowers the student. Rather than having a store-bought poster, he/she would have a self-made one that not only inspires, but also indicates, "I did/made this!"
A few posters from his series of "Apollo Posters" are seen below:
"dearMOON TRIPTYCHS"
The triptych is an image in three parts. It is a popular format in the Arts and designed to be displayed as a single piece. The triptych form arises from early Christian art, and was a popular standard format for altar paintings from the Middle Ages onwards. During the Byzantine period, triptychs were often used for private devotional use, along with other relics such as icons.
Chambers considers the Apollo images iconic and befitting for triptych treatment, and several examples are seen below. They are in sequence per triptych, and provide variations of the particular scene. These variations create shift (“movement”), juxtapositions, and geometry for the overall piece.
He would treat his photographs made during the dearMoon mission ... trans-lunar coast, circumnavigation of the Moon, and trans-Earth coast ... in the same manner for exhibition. Each triptych would be square-format (since he would be documenting the Space environs with Hasselblads to be in keeping with the cameras used by the Apollo astronauts), and large-scale for gallery/museum installations.
Chambers states:
"The best way to advocate WORLD PEACE and promote SPACE TOURISM as a returned 'dearMooner' is to walk into the classroom and talk with the teacher and students. To guarantee that attitudes change for the better on Earth and manned Space exploration with a tourism component flourishes, our youth need to be up close and personal with the first-hand experiences of the 'dearMooner' re: trans-lunar coast, circumnavigation of the Moon, and trans-Earth coast.
His/her vocalization of the experiences needs dynamic visualization (photographs/video) of the process showing the 'dearMooner', other 'dearMooners', the Starship (interior/exterior), Earth, and the Moon ... in context. And most importantly, an 'artifact' ... something that the 'dearMooner' has taken with him/her on the journey ... needs to be shown, and handed to each student (teacher, too) so he/she can 'feel the power' of holding an item that has been to/around the Moon and back.
The best 'modifier' of the psyche is to see/touch/hold an item that has been a part of something profound. For example, to kneel down to a first grader, and then place the 'artifact' (let's say, a ring, necklace, or bracelet) in his/her hand and at the same time saying that it has been around the Moon, is to transform that youngster into a 'Cosmic being'.
This youngster who has undoubtedly looked up at the Moon on occasion, seen photographs of it in storybooks/textbooks/magazines, possibly seen it in a movie/on TV/on the Internet is now holding an item that transcends all of his/her Earthly experiences with this celestial body (Moon) ... a 'game changer' ... a transformative moment ... for him/her, and one that might move this child towards a better understanding of humanity and a greater appreciation of the Cosmos in the future."
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