The Agency of Human-Robotic Lunatics

Abstract

Imagination is our window into the future. Led by each generation of artists and scientists, it is through their explorations and inventions that we push towards the edges of possibility. Aerospace developments are no exception and like other areas of human endeavor we are witnessing the increased use of robots as the technological tools for humans to make our visions of the future a reality. Remembering that you can architect the future, what lunatic ideas can we conceive, believe and achieve? Presenting The Agency of Human-Robotic Lunatics (2017) a live keynote performance set underwater and on the Moon that premiered at Robotronica 2017. We saw the artist-astronaut's live performance blend with VR mapping of historical lunar orbital reconnaissance imaging data, and augmented reality artifacts from a real spacewalk simulation underwater during Project Moonwalk. Project Moonwalk develops and tests technologies and training procedures for future missions to the Moon. Through the use of an autonomous subject tracking robotic camera system, the Cinema Swarm, the artist-astronaut articulated the range of human-robotic and human-aquatic interactions unique to Project Moonwalk. The parallel design of human-robotic performance protocols undersea and human-cinematic robot performance onstage inspired new modes of trans-disciplinary dialogue to understand affective visualization applications in astronautics. The technical concepts led to the Spatial Performance Environment Command Transmission Realities for Astronauts SPECTRA (2018) experiments that further expanded the protocols of confined/isolated Lunar Station analogue mission simulations [Lunares 3 Crew] with transmission of LiDAR imaging and the choreographers' moves for an artist-astronaut's interpretation on the analogue Crater. The SPECTRA experiments demonstrated a direct impact on the astronaut's range of spatial awareness, orientation, geographic familiarization, and remote and in-situ operational training for amplifying performance capabilities on EVA. The significance of these new approaches is the widening of the definition of both technical and cultural activities in astronautics. Outcomes also signal new research and impact pathways for the artist, astronaut and avatar in space exploration and discovery.

Full text

69th International Astronautical Congress (IAC), Bremen, Germany, 1-5 October 2018.
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IAC-18-B3.9-GTS.2
The Agency of Human-Robotic Lunatics
Sarah Jane Pell a
a Artist Astronaut, Faculty of Engineering, Office of the Engineering Dean, and Faculty Art, Architecture & Design,
Monash University, 20 Research Way, Clayton, Victoria, Australia 3186, research@sarahjanepell.com
Abstract
Imagination is our window into the future. Led by each generation of artists and scientists, it is through their
explorations and inventions that we push towards the edges of possibility. Aerospace developments are no exception
and like other areas of human endeavor we are witnessing the increased use of robots as the technological tools for
humans to make our visions of the future a reality. Remembering that you can architect the future, what lunatic ideas
can we conceive, believe and achieve? Presenting The Agency of Human-Robotic Lunatics (2017) a live keynote
performance set underwater and on the Moon that premiered at Robotronica 2017. We saw the artist-astronaut's live
performance blend with VR mapping of historical lunar orbital reconnaissance imaging data, and augmented reality
artifacts from a real spacewalk simulation underwater during Project Moonwalk. Project Moonwalk develops and
tests technologies and training procedures for future missions to the Moon. Through the use of an autonomous
subject tracking robotic camera system, the Cinema Swarm, the artist-astronaut articulated the range of human-
robotic and human-aquatic interactions unique to Project Moonwalk. The parallel design of human-robotic
performance protocols undersea and human-cinematic robot performance onstage inspired new modes of trans-
disciplinary dialogue to understand affective visualization applications in astronautics. The technical concepts led to
the Spatial Performance Environment Command Transmission Realities for Astronauts SPECTRA (2018)
experiments that further expanded the protocols of confined/isolated Lunar Station analogue mission simulations
[Lunares 3 Crew] with transmission of LiDAR imaging and the choreographers’ moves for an artist-astronaut’s
interpretation on the analogue Crater. The SPECTRA experiments demonstrated a direct impact on the astronaut’s
range of spatial awareness, orientation, geographic familiarization, and remote and in-situ operational training for
amplifying performance capabilities on EVA. The significance of these new approaches is the widening of the
definition of both technical and cultural activities in astronautics. Outcomes also signal new research and impact
pathways for the artist, astronaut and avatar in space exploration and discovery.
Keywords: Virtual Reality, Space Culture, Human Factors, Astronaut Performance, Interaction Design.
Acronyms/Abbreviations
AR Augmented Reality
MIVP Monash Immersive Visualisation Platform
SPECTRA Spatial Performance Environment
Command Transmission Realities for Astronauts
VR Virtual Reality
1. Introduction
This presentation details immersive visualization
experiences featuring extra-vehicular activities (EVAs)
choreographed by simulation astronauts during lunar
analogue mission undersea Project MOONWALK [1]
and the Lunares 3 Crew SPECTRA mission [2].
The work responds to challenges outlined by Pell’s
pursuit of ‘Performing Astronautics’ 2016-18 [3]. In
prior underwater performances, Carter sets Pell as a new
cyborg adapted to extreme environments characterized
by subtractions of multiplications of external forces that
insist the body become self-aware [4]. An ideal artist-
astronaut-avatar ‘space adaptation’ therefore involves a
comparable simultaneous integration of experienced
realities [5]. Such self-awareness and command of
embodied systems represents a unique functional asset
for spaceflight that makes pursuit a high priority [6].
Initial concept development of The Agency of Human-
Robotic Lunatics (2017) paralleled the artists’ agency
within the astronaut-robotic protocols of undersea lunar
analogue EVA simulations [Project Moonwalk] within a
cinematic-robotic performance keynote [Robotronica].
An elegant reflection of the astronautic performance yet
it failed to support an astronaut in the field [7].
To advance this, Pell joined Barnes in research of
immersive visualisation system design for new Spatial
Performance Environment Command Transmission
Realities for Astronauts (SPECTRA). The Lunares 3
Spectra Mission tested Moon-Earth-Moon transmission
experiments from choreographer-to-artist astronaut via
the Monash Immersive Visualisation Platform [MIVP].
Gestures embedded in a LiDAR scene extended the
artist astronauts’ agency beyond the protocols of a lunar
analogue and led to an entirely new EVA performance.
The Spectra (2018) experiments show that to
successfully navigate beyond our habitable world, we
must instrumentalise the body in a different way [8] and
reveal a multitude of elucidated entities with the
attributed agency of the artist, astronaut and avatar [9].

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Background
In prior work, Pell was an Undersea Simulation
Astronaut for project MOONWALK, the European
Lunar Analogue EVA Simulation Human-Robotic
Cooperation Trials, in Marseille FR 2016: and became a
research partner to the European Commission Horizon
2020 project to devise methods in ‘Aquabatics’ [10] (a
precursor to performing Astronautics) (Fig. 2.).
Fig. 2. Simulation Astronaut Pell Night Lunar EVA
MOONWALK was a EU-funded (FP7 Space research
programme 2013-2016) project that developed new
approaches for astronaut-robotic cooperation suitable
for planetary surface mission [11]. Technologies were
demonstrated and tested in two Earth-analogue
simulations, in Rio Tinto, Spain simulating the Martian
landscape and in subsea Marseilles, France simulating
the low-gravity factor on the Moon [12]. Extra-
Vehicular Activities (EVAs) were tested and included
exploration and scouting of a landing site, soil sampling
and exobiology in-situ analysis, mastering emergency
situations and egress and ingress from a planetary
habitat (SHEE) [13]. A small helper rover called
“Yemo” was developed and adapted to support an
astronaut, or a team of astronauts in both sites (Fig. 3.)
Fig. 3. DFKI Amphibious YEMO Rover OmniCam
For two weeks, Pell supported new and practical
methods for the interactions between astronauts and
robots in a subsea analogue site to the Moon off the
coast of Marseilles, and in preliminary tests of the
Comex, S.A. pool. The trials included the operation of
the Gandolfi-2 EVA simulation spacesuit; use of
Manual tools (pantograph sampling tool and foldable
pick-up claw) for geological sampling; operation of the
assistant-robot (scout rover); use of the MMI robot
control sub-system (gesture control) and a data interface
integrated in the EVA suit (tablet); Bio monitoring
(heart-rate and gate); EVA Information System (EIS)
spacesuit computerisation exchange with MCC using
voice, text, live video, annotated imagery, telemetry,
robot operations; and live communications with the
Mission Control Centre, Bremen, and local CapCom.
Later Pell received support from the Australian
Government through the Australia Council: its arts
funding and advisory body 2016-2018 as an Australia
Council Fellow, Emerging & Experimental Arts (EEA).
Her ‘Performing Astronautics’ project aimed to amplify
the bodily phases of astronaut training and undersea
missions in parallel phases: 1) instrumental/ speculative
and 2) performance exploration [14]. The project
executed a range of inter-related investigative validation
and review processes to challenge long-held views
about the kinds of architecture that can be innovated
upon by performing technically and expressively and
building novel prototype apparatus to test from the field
from Sea [15], to Summit [16], to Space [17].
Pell noted how Project Moonwalk consortium
partners exchanged prior art, transferred tools and
knowledge with space-related professionals and the
wider public to engage in collaborative activities.
Deriving new aesthetics resulting from the interactions
with space assets as world-builders, there emerge
through these activations further trans-disciplinary
responses to the attitudes, issues and possibilities of
space. MOONWALK provided the technical inspiration
and choreographic focus for Pell to devise a mixed
reality keynote performance The Agency of Human-
Robotics (2017) (Fig. 4.) and later Spectra (2018).
!
Fig. 4. Autonomous subject tracking robotic camera
Robotronica supported the artist astronaut Pell in
exploring the critical pathways, discourse and cultural
practice in space as inspiration for new human-robotic

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and cinematic realities, and as potential new ways of
working during analogue simulations [18]. Through the
use of an autonomous subject tracking robotic camera
system, the attached HTC Vive Controller interaction of
the artist-astronaut articulated the range of human-
robotic and human-aquatic interactions unique to her
experience as the simulation astronaut for Project
Moonwalk. The motion sensing data from the hand
controllers and trackers on the artist’s body was paired
to biometric points on an avatar approximating a Comex
Gandolfi II spacesuit. Like the high-fidelity underwater
simulation trails, the post-performance staging built a
future survival tool kit by creating experimental
scenarios where the art of the future can be enacted. The
artist could animate the ‘spacesuit’ live to an audience
and explain the different insights and experiences
translating the suit from the pool to the ocean, and
eventually embracing the lunar simulation, through
words and gestures across realities (Fig. 5.).
Fig. 5. The Agency of Human-Robotic Lunatics, 2017
QUT commissioned the collaboration between Pell
and Jaymis Loveday with the autonomous subject
tracking robotic camera of Cinema Swarm and
supported by software developer Charles Henden of
Visitor.Vision to premiere at Robotronica 2017. The
‘The Agency of Human Robotic Lunatics’ successfully
brought to life assets and artifacts from a real spacewalk
simulation underwater. The artist-astronaut's live stage
performance also blended with historical lunar orbital
reconnaissance imaging data when the artist
imaginatively transported herself to the Moon, and
artifacts from the trials in the pool and open-ocean such
as the “Yemo” rover, two safety divers, hand-tools
including the Liquifer Systems 3D printed pantograph
and a Flag from a present reality. While the title was a
play of words, the performance of The Agency of
Human-Robotic Lunatic was serious. Agency refers to
the concept of agency and autonomy in robotics as a
theme to be examined, or a Bureau of investigation or
research and intelligence into human behavior. Lunatics
refer to autonomous activities performed on the Moon,
or inspired by lunar events. It was an apt name for the
experiment where an autonomous subject-tracking
cinematic robot, shared the stage with a human “artist
astronaut”, to deliver a keynote performance on human-
robotic interactions during undersea lunar simulation
EVA trials. Through the live transmission and
communication of human-factor insights, explained in
the body of a live keynote performer, and her avatar,
new design tactics for engaging space phenomena and
outreach are presented, increasing opportunities towards
new mixed reality trajectories enabling discovery. The
work further demonstrated how creativity may be
leveraged in both the extreme natural environment and
technologically mediated environments of space or
space simulations as the exchange between human and
autonomous systems.
The parallel design of human-robotic performance
protocols in undersea analogue EVA simulations
[Project Moonwalk] and human-cinematic robot
performance staging [Robotronica] creates new research
impact pathways too. Outcomes support the evolution of
both creative and academic rigor on human performance
in extreme environments, notably underwater designs in
the preparation for space, and the communication design
supporting astronaut performance and the experience of
extreme environment interactions, live in-situ and with
augmented reality in post-mission reporting scenarios.
By presenting to the global technical session on
human spaceflight, the artist-astronaut contributes to the
field by widening the definition of technical and cultural
activities in astronautics and offers new ways to
demonstrate excellence in arts-led research and the
pursuit of advancing knowledge through new models
for trans-disciplinary dialogue and technical concepts.
Increasingly space professionals will be asked to share
more flights, expertise and resources with artist
astronauts for civilian and cultural utilization of space,
inspired by the partnership between SpaceX and Yusaku
Maezawa for the artistic #DearMoon mission [21] for
example. By designing works blending artist,
astronauts, and avatars, we can build new opportunities
for performance in the space environment, and via
transmissions [22]. High-risk and high-cost barriers
have historically limited artist access to spaceflight,
however an active community of space artists and
cultural professionals exists and they are producing
innumerable poetic and practical works from Zero-G
dance to Moon-bounced radio signals and new
methodologies for creating wonders in sound, light,
body, material, form and technology performance
on/in/for/by/with/ and as space art [23, 24, 25, 26]. By
creating new works of art within a mission analogue, or
post-performance transmission, new design tactics for
engaging space phenomena are presented, increasing
opportunities towards new trajectories for enabling
SPECTRA transmissions to/from an artist astronaut
during mission simulation that can be used for launch.

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2. Materials and Methods
Interested in the research through design of new
processes in “affective visualisation” and “live
performance realities”, Pell & Barnes develop practical
tools to bring artistic skill to scientific data [27]. Since
late 2017, they have been working to build upon human
performance media platform capabilities in support of
mission simulation training, human factors, outreach
and communication during Moon/Mars missions –
specifically Lunares 3 Crew and MDRS Crew 188 [28].
By framing performing astronautics as a priority
goal, the artist astronaut has lead crews, remote
investigators and creative technical partners, into an
open playspace for expressive extravehicular activity
(EVA) experiments, workshops and public outreach
[29]. For Pell, core crew function as hybrids: they are
researchers, research subject, actors, models,
technicians, documenters, collaborators and cultural
envoys in addition to assigned simulation roles. Pell
provided research-through-performance guidance on
analogue EVAs, and by redesigning immersive
visualisation platform utilisation with Barnes and the
MIVP team, has created new opportunities for
interdisciplinary exploration of analogues and Space-
Earth-Space transmissions to contribute a critical
cultural and aesthetic suite of responses to the
experience.
Creative research during analogue EVAs creates an
opportunity for a specific research-through-performance
methodology [30] sometimes referred to as Ethnodrama
or in film: expanded cinematic worldbuilding [31]. This
interdisciplinary approach is adapted for EVA based on
prior exploratory workshops developed by Pell with
professionals and graduate students spanning design,
media performance and space sciences; and in the field
research whilst undertaking documentary expeditionary
and artist-residency creative development workshops
with technical crew and non-technical participants alike
[32]. Pell sets the physical challenge and invites crew to
contribute: she serves as a catalyst and curator to collect
information about the crew/participants views about the
space analogue, their performance expectations and
anxieties, their reflections and questions [33]. For solo
experiments, Pell imagines a script and score for
generating an emotive human lunar story.
The design of the EVA activity follows the inclusion
of the human dimensions for spontaneous creativity,
improvisation and the inclusion of key educational and
communication tools in performance-through-research
activities that address the crew’s interest in EVA
activities and the innovation values of the Future Lunar
Mission Simulation approach. The final scenario stems
from an integrated methodological approach based on
scientific guidelines developed to adapt performance-
based activities called PERformance-based Science
Education and Innovative Activities (PERSEIAs) [34].
Architecting the Mission
Pell invited an international, intergenerational,
interdisciplinary, intercultural crew of six humans to
pursue further research with her at the Lunares
MoonMars Analogue Station: an isolated, independent
habitat and operational system with Mission Control
support, located in rural Pila, Poland [35]. With the
expert support of the Space Garden Company, Flight
Director Agata Kołodziejczyk and multiple stakeholders
including 31 remote Principal Investigators, and input
from a professional crew, Pell curated an arts-led high
fidelity training, simulation and experience within
complex multi-system operational protocols in a hostile
environment for the purpose of performing astronautics.
The facilities managed by Space Is More and volunteer
personnel supported the staging of a mission from an
isolated habitat station that consisted of eight confined
modules including a dormitory, kitchen, a purpose built
bio-lab and hydroponic systems and an airlock to access
to a dark lunar crater, simulating the far side of the
moon. We confirm the analogue provided effects on the
mind/body/crew similar to those experienced in space.
Mission SPECTRA
Lunares 3 Crew mission in Poland 14 – 29 July 2018
tested the novel integration of technical and biological
systems, interdisciplinary cooperation and innovative
experimental approaches for future performance in lunar
settlement scenarios. The SPECTRA mission converged
on testing new technologies, interdisciplinary systems
and their crew performance [36]. Commander Pell
prioritised safety, simulation, science and then societal
factors. She adopted a fluid arts-led approach to high-
risk operational systems and the Lunares space analogue
mission architecture, in the hope that careful
orchestration and care across systems, including
working with Vice Commander Samra to buffer mission
support/command communications with the crew down
to a need-to-know basis, and embracing openness to
playful improvisation and inclusion of opportunities for
skills transfers and new experiences, furthers innovation
and discovery. Initial outcomes show support of new
experimental approaches between Earth-Moon teams
and insights into the spectrum of human traits essential
for future lunar settlement and station management.
The following outlines the seven research fields that
shaped the mission architecture, and so informed the art:
Psychology: Safety and the ability to perform for
prolonged periods is an integral part of all planning for
human spaceflight. There are different requirements for
"short-term" and "long-term" human spaceflight. For the
most part, short-term exposure is reasonably well
tolerated. Lunar "long-duration" missions require deep
study of psychological and physiological risks and the
pursuit of realistic counter measures to support crews.
Our research focused on perception; mathematical

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models of human perceptual systems: vision, pattern
perception, audition, motion perception, spatial
understanding, haptics; cognition; understanding
situational awareness, modelling cognitive workload,
and evaluating usability and effectiveness of virtual
reality; interfaces for mission communications across
many forms; workload; and distribution of tasks
between crew with respect to human performance and
capabilities, both physically and cognitively.
An exemplary psychological project Life Tree [37]
exposed the crew to immersive realities platforms, in
this case a virtual reality environment, which contains
specific commands within the spatial environment
design providing non-verbal/written cues, and respond
to the breathing performance of the astronaut. PI
Patibanda explained, “Life Tree is a Virtual Reality
breathing exercise game that helps players practice
pursed-lip breathing in an immersive and engaging way.
As opposed to immersing players in the virtual world,
we use VR technology to help focus on minimalistic
visuals in the virtual world to help them focus inwards
and increase their bodily awareness while practicing
breathing exercises. Refining the biological activity of
breathing to achieve a good breathing technique enables
people to improve their performance and wellbeing in
their everyday activities here on Earth, but what about
on the Moon? The crew will use this game every day
and test how it might support crew wellness during a
simulated mission analogue.” This partner project
complemented the experimental parameters for the
Spatial Performance Environment Command
Transmission Realities for Astronauts investigations,
and through familiarisation, prepared crew to embrace
instruction from mixed realities in-situ.
Physiology: During space flight astronauts
experience alterations in multiple physiological systems
due to altered gravity exposure. The objective of
Physiology Research is to identify the key underlying
physiological factors that contribute to performance of
functional tests that are representative of critical mission
tasks for Moon and Mars surface operations. We test
astronauts on an integrated suite of functional and
physiological tests before and after short-duration lunar
analogue surface mission simulation.
Featuring the Lunar Olympiad supports astronauts to
undertake physiology research and psychosocial
interactions in a fun and engaging way. By using the
framework of a Lunar Olympiad scenario we enable the
analogue astronauts and mission support crews to
design both athletic and spectatorship activities for the
purpose of promoting teamwork, inclusion, personal
performance, and community spirit. The event provides
new opportunities for the collective imagination and
shared experience of physical and mental performance.
Data adds to Pell & Mueller 2016 taxonomy [32], and
Pell & Barnes 2018 Mars Olympiad [28, 38].
Microbiology, sanitation and hygiene/ Clinical and
laboratory diagnostics: In space analogues we must
expand our understanding of symbiotic and pathogenic
relationships between human and microbial inhabitants
of contained spaces. We consider microbiotic flora as
co-habitants, even fellow explorers, within the space
environment, rather than interlopers. This suite of
research investigate the elements that both support and
inhibit all forms of life including the microflora and
micro particulates in our water, waste, and living
systems. Crew monitors aspects of the environmental
microclimates daily to contextualise clinical and
laboratory diagnostics.
Operations and Technology: This suite of research
concentrated on the design, development, testing and
evaluation of Human factors - guidelines for tools,
facilities, crew aids, fasteners, etc.; Work stations - safe
vehicle, lab and operator stations; Work modes –
lighting controls, robotic manipulators, perceptual and
physical human capabilities, as required for mission
execution, etc.; Tools - for manual and/or gloved
(EVA), to support planned and contingency tasks;
Standardized procedures - for skill acquisition or task
learning, time; Logistics - accessible supplies and safe
equipment; and Emergency Procedures i.e. for safe
transport of ill or injured crew.
Featured Project: The Legendary Rover Team [39]
trained crew in remotely operating their vehicle. A key
priority in Robotics is to optimize lunar surface
operations and reduce hazards to astronauts. Many
robotic platforms, rovers in particular, are considered to
carry out a multitude of missions involving potential
Extra-Vehicular Activity (EVA) sites survey, surface
and cave reconnaissance, path planning and obstacle
detection and classification. We customise payload
instrumentation of a rover to map the terrain while
piloted from inside the Habitat. Tele-Operated Lunar
Rover Navigation Using LIDAR combines GPS
coordinates, time, distance, and LiDAR for mapping the
lunar surface robotic surveying and scouting by a laser
beam and measuring the pulse time-of-flight and the
bearing. Documentation of the custom integration
including written and illustrated concepts, ideas, and
description of capabilities will result, and feed into a
suite of extended EVA activities networked between
Moon-Earth. [For example, between the Lunares 3
Crew, Mission Control Poland, and Mission Control at
the Monash Immersive Visualisation Platform,
Melbourne Australia.]
Extravehicular activity (EVA) and simulator
surface activity: The space analogue extravehicular
activity EVA or spacewalk scenario puts into practice
the very heart of systems thinking, creativity and human
factors. The mix of aesthetic operations and technology
research is particularly relevant for spacesuit design and
mission planning for surface activities and interactions

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with essential infrastructures of a lunar outpost. From
space-suits to vehicles, specialist utilities and mixed
reality robotics, our suite of performing astronautics
research measures the ability to coordinate locomotion
and cognitive responses in extreme conditions while
using a spacesuit, a rover, virtual reality; memory,
learning and time perception; communication,
operations in hazardous environments; and stressors of
emergency drills on the "crater" or planetary surface.
Another complementary SPECTRA research project
showed the ability to train astronauts on new equipment
by uploading Virtual Reality (VR) scenarios allows a
rapid evolution of technology and processes to be
implemented at reduced cost and increased access.
Mission Specialist Splittgerber proposed, “The High
Voltage Switching Virtual Reality Training tests the
hypotheses that a crew in a remote situation can learn
how to operate a critical piece of equipment in VR, and
compare if VR is more effective than learning from
paper training manuals. The supply of a remote lunar
base will inevitably include new machines and tools.
Living far from Earth, training on new equipment and
processes will become more difficult. Lucy Electric
builds industrial electrical equipment. In collaboration
with Practon Group, they have designed a VR training
program for the Trident Switch gear. The abilities of the
crew to learn how to safely operate the switch will be
tested on the physical equipment within the simulation.
The crew will be evaluated on the time and accuracy of
the tasks performed under pressure (Fig. 5.).”
Fig. 5. Lunares 3 Lucy Electric High Voltage Switching
Biological experiments: This research evaluates
strategies for generating an optimal environment to
sustain life within a confined, resource-constrained
habitat. This includes the growth of a nutritive source of
fresh micro-greens in hydroponic and aeroponic systems
as a source of food, material for hygienic and clinical
purposes. We also assess the performance of biomaterial
devices for fabrication in the habitat environment.
Art, Media, Communication and Culture: This
suite of research focuses on arts-led research-through-
performance experimentation, prototype media and
cultural engagement. The aim of the curated and poetic
provocations is for exploring the critical pathways,
discourse and cultural practice surrounding space as
inspiration for new works of art, and new ways of
working with art and space, during a unique mission
simulation. Through the exposition, publication and
creation of new works of art within a pop-up exhibition
space, in transmission and on-line, new design tactics
for engaging space phenomena are presented, increasing
opportunities towards new trajectories for enabling
discovery, art, media, communication and culture.
Like the Lucy Electric Trident Switch, the
Moonhenge installation was a significant collaborative
EVA engineering feat and an iconic architectural feature
of the analogue lunar crater. Principal Investigator Sean
Elliott explained, “Neolithic stone monuments have
been culturally significant throughout humankind’s
history. This project seeks to create a monument to the
using the observing technologies of Neolithic
communities - a cultural heritage all humans share. The
stone circle on the moon will need to take into account
its location on its celestial body, as well as the bodies
that could be observed by from this different vantage
point. Specific elements of the Moonhenge design will
be taken from common designs found in stone circles
around the British Isles. The objective of this project is
to construct a stone circle on the Moon’s surface, with
specific regard to the location of the Earth from the
location of the Moonbase. As the Moon is in tidal lock
orbit, one side faces the Earth at all times, and hence the
Earth will always be located in the sky for observers on
that side.” (Fig. 6.).
Fig. 6. Moonhenge crew instructions by Rough Science

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Fig. 7. SPECTRA: spatial performance environment command transmission realities for astronauts. MIVP CAVE2
4. Results
SPECTRA experiments between Commander Pell
on the Lunares 3 mission (Poland) and teams at Monash
Immersive Visualisation Platform [MIVP] (Australia)
demonstrated important technology readiness levels for
managing the transfer of big data sets milestones in
affective visualisation platforms across analogue Moon-
Earth-Moon distances for future artist astronaut
missions. The inspirational experimental design
challenge for supporting performing astronautics was
achieved enabling new systems supporting Spatial
Performance Environment Command Transmission
Realities for Astronauts, and a lunar crater dance.
Lunar Crater Data Capture: A visiting Mission
Specialist (from a nearby Crater) positioned the Leica
RTC360 3D reality capture solution [40] on a tripod to
document and capture in 3D the external habitat
environment and the internal hanger (with simulation
crater). The Mission Specialist mounted the portable
LiDAR on a tripod for elevation and stabilisation. Each
360° capture scan took ~8 minutes, including enriching
High-Dynamic Range (HDR) imagery.
The capture scans met broader objectives of LiDAR
projects in the MoonMars analogue of the Lunares
Station to: Understand and design systems to support
the crew to perform during EVA; Enhance capabilities
to carry out a multitude of mission-related surface
Moon-Moon and Moon-Earth networked activities
supporting the development of site surveys, surface and
cave reconnaissance, path planning, obstacle detection
and classification; Record the events, including
geospatial, timing, and anthropomorphic site measures,
including spontaneous performance gestures between
the operators, and accounts that may provide an insight
into novel and common themes of crew experiences;
and Detail the custom-integrations, systems design
architectures, and insights for future analogue EVA.
Six main Capture scans of the crater data included:
the Lucy Electric Switch, Moonhenge, Emergency
Mobile Unit (a.k.a. Greenhab), The Legendary Rover
Team vehicle, and all geological features. The crew also
staged a vignette relating to scenario-related research
including a Loss of Crew scenario, two in meditation on
EVA, and Pell in the Apollo replica suit with the Lucy
Electric Emergency High Voltage Switch Trident tool.
The LiDAR project files were transferred to MIVP
with support from Harasymczuk in Mission Command
and Leicar Geosystems. In less than 24 hours, Kaluza
and Hamacher (MIVP) post-processed >40M points of
data for optimisation in the CAVE2 environment: a 84
million pixel stereoscopic curved display cylinder with
9:1 aspect ratio and a real-time compute cluster with
100 Tflops, 4TB RAM, 240GB GPU memory [41].
They removed any out-of-simulation features such as
the ‘hangar roof, walls, exits and power cords’ and
added a celestial vista over the regolith horizon (Fig. 7.).
Fig. 8. Richard Move explores Lunares 3 from CAVE2
Remote choreographer-performer relationship:
MADA Artist-in-residence Move began an impromptu-
unencumbered experimentation with the environment
(Fig. 8.). It was recorded to send back to Lunares Crew.

69th International Astronautical Congress (IAC), Bremen, Germany, 1-5 October 2018.
Copyright ©2018 by the International Astronautical Federation (IAF). All rights reserved.
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Pell and Barnes set up a series of experiments to explore
the remote choreographer-performer relationship.
Mission Control supported the Lunares 3 Crew with a
special Moon-Earth transmission during the creative
development process to understand the reception and
translation of the crater data, and for the remote teams
to meet each other. The crew were also able to observe
Move as he danced in the CAVE2. Move preferred the
virtual reality headset in preference to the CAVE-2
(explored by Oculus Rift) because so much planetary
surface crater data was lost without a floor. Spatial
orientation was well supported by the 1:1 scale and
illuminated data points (not visible to the human eye in
the darkened simulation crater). MIVP recorded Move’s
performance and interactions - focused on the Apollo
Astronaut, fallen crewmember Samra, and the Lucy
Electric Trident Switch. MIVP tracked and recorded
Move for the purpose of transmitting an Earthly natural
sensation to the Lunar Crew, in this case, a dance.
Air lock VR
The Moon-Earth-Moon Experiments in performing
astronautics continued with Pell receiving a VR project
including the choreographer’s hands exploring the crater
data through dance. The instructions were to ‘follow the
hands’, and learn the dance on the crater (Fig. 10.).
Fig. 10. Virtual Reality Dance Training, Air Lock/ Pell
[Pell’s UX before head stabilisation in player mode]
“I set up to perform with Move, and within Move's
VR view, while wearing a spacesuit, in a small space,
and I ended up relying on the walls for stabilisation and
eventually vomiting… Paralleling the surveillance
footage of my effort to keep up with the VR and the
visible perspiration and nausea...to the creative journey
with the LiDAR crater data on the screen...and in the
atrium where Jaden is singing an Aria to the VR
movement, gives this an uncanny ‘confinement and
isolation’ experiment feel.” – Test 1: Mode A: 16:00
Lunar Crater Dance
“For the final EVA of the Spectra Mission, I donned
the Apollo replica suit with headphones underneath my
helmet. I entered the dark crater accompanied by EV2
Dr. Proctor on camera, and EV3 Rădelescu on lighting.
I performed with the memory of the LiDAR data dance:
the position of all the now-absent actors in the crater,
and the residual VR encounter with Move’s hands and
head movements fresh in my bodily memory. There,
finally, a story began to emerge for me... I don't think I
could have done that at the beginning of the mission,
but it was all there in the end.
I lasted inside the Apollo replica suit (the model
without ventilation) for ~13 minutes before I was
completely hypoxic and over-heated. Perhaps this added
to the inhabitation of another world. My small but
nonetheless ruthlessly honest audience, were actually
spell-bound and said, there was at least 6-minutes of
something really captivating and graceful… Even in the
human-glitches, something cool emerges...” (Fig. 11.).
Fig. 11. SPECTRA Lunar Crater Dance EVA/ Pell
Fig. 12. Dabbing, Moonhenge Lunares 3 Crater /Pell
Monash Future Control Room (FRC)
By post-producing Spectra (2018) as immersive
cinema works of art including 360° Virtual Reality for
private viewing, CAVE2 format for a public experience,
and showing the 4K documentation as side-by-side
studies in the Monash Future Control Room, reveals an
uncanny translation of choreographed performance from
Move (Earth) to Pell (Moon). It shows the transmission
system clearly supported the choreographer/performer
relationship in a characteristic new dance (Fig.12.).

69th International Astronautical Congress (IAC), Bremen, Germany, 1-5 October 2018.
Copyright ©2018 by the International Astronautical Federation (IAF). All rights reserved.
IAC-18-B3,9-GTS.2,x43389 Page 9 of 11
Kosmica Parliament
KOSMICA Parliament was a series of performative
events featuring the artistic community of Ars
Electronica and their views about human activities in
outer space. Inside a space capsule, artists were
welcome to give a performative statement about the
errors of space exploration. This kaleidoscope of critical
views created the arena to collectively reflect on these
issues and inspire new modes of human becoming in
outer space. “Failure is not an option” is the famous
quote from Apollo 13; however, space activities have
always been plagued by errors and mistakes. At Ars we
actively reflect on these issues in order to envision
novel ways of exploring and inhabiting space through
emerging understanding of relations between humanity,
non-terrestrial environments and technologies [42].
Pell responded to the call by repeating the “errors”
of ‘The Agency of Human Robotic Lunatics’ approach to
post-performance reporting. Pell & Barnes used the
elegant LiDAR assets from Spectra (2018) as the setting
for an informal public presentation at Ars Electronica
titled Kosmica Parliament Lunar Address (2018). They
configured systems similarly to amplify the astronaut-
avatar vocabulary through motion-capture gestures to an
onscreen avatar but with many upgrades. The HTC
VIVE was replaced with the use of the Rokoko Motion
Capture Suit. This enabled a greater range of motion but
unfortunately close proximity to metal and magnetism
created a lot of drift at PostCity. Waghorn and Stephens
worked on software development building a new avatar
(an Apollo suit with shoulder axis) and Unity cue points
for calibration and scenic transition, camera angles and
lighting points synced with the soundscape including a
pre-recorded monologue providing an overview of the
bio-political status of the Lunatic crew (Fig. 12.).
Fig. 12. KOSMICA Parliament Lunar Address / Pell
KOSMICA’s Nahum introduced the piece as as live
augmented reality performance address from the Lunar
Outpost [Lunares 3 SPECTRA Mission]. In her opening
speech, Commander Pell describes the significance of
the permanent lunar settlement to the KOSMICA
Parliament. What the audience sees is Pell dressed in
black Motion-capture suit. Two of the 3 capsule screens
show her live avatar dressed in an Apollo replica suit on
a LiDAR point cloud of the Leuwin Lunar Crater. It
also shows the vignette of the Lunares 3 SPECTRA
Mission crew storyboarded into the crater environment.
Pell guides you through the narrative using gestures
pantomiming an address to Parliament from the crater.
The landscape is painterly and ethereal: made of small
points of light from the LiDAR Capture. The austere
monologue talks on how the crew try to find a new
ways to communicate and make sense of the new world.
The issues they face are timeless: births, deaths and
marriages. The Moon-Earth-Moon transmission appeals
to our primitive ritualistic roots through the layers of
technological envelopment. It is an SOS.
The Lunar Address was delivered as the Opening
performance of the Kosmica Parliament and again on
the final day of Ars Electronica (Fig. 13.).
Fig. 13. KOSMICA Parliament/Pell, Ars Electronica
5. Discussion
The Lunares 3 Crew SPECTRA mission was a
complex, ambitious and yet successful 15-day space
analogue mission. Much of the data is still in post-
processing and analysis stages. Indeed crews are still
catching up on life back on Earth. Conceptual and
technical realisation of the longer-term goals of the
mission simulation depends on coming together with a
view to share interests and capabilities with multiple
stakeholders. SPECTRA tools translate visions for
architecting a new era of spaceflight. Human expression
and connection fuels our evolutionary humanity,
curiosity and passion. This suite of research from
cinematic robotics, and mixed realities including virtual
reality, LiDAR projects and big data immersive
visualisations platforms, to an astronaut dance is about
designing systems for improved performance and
cultural engagement for exploring the critical pathways,
discourse and cultural practice surrounding space as
inspiration for new works of art, and new ways of
working with art and space, during a unique mission
simulation. These opportunities also support safe
forums for reflexive analysis of our human ambitions,
and indeed our assumptions, about a human return to the
Moon, and future extra-terrestrial culture.

69th International Astronautical Congress (IAC), Bremen, Germany, 1-5 October 2018.
Copyright ©2018 by the International Astronautical Federation (IAF). All rights reserved.
IAC-18-B3,9-GTS.2,x43389 Page 10 of 11
6. Conclusions
Much has been learned since The Agency of Human
Robotic Lunatics (2017). The inspirational experimental
challenge for supporting performing astronautics was
achieved by designing enabling systems for supporting
Spatial Performance Environment Command
Transmission Realities for Astronauts [SPECTRA]. The
immersive choreographer/performer experiments during
the Lunares 3 SPECTRA Mission demonstrated a
successful method for amplifying performance
capabilities on EVAs, and for post-performance
reflection within a live mission scenario or public
engagement. A critical contribution of artist astronauts
in our collective space mission therefore, is through the
articulation of these new worlds and the beckoning of
new forms of inspired convergence phenomena with art
that is transformative, responsible, inclusive and
visionary. Together we build a moon village through
critical cultural two-way immersive Earth-Moon
communications and affective visualisation
transmissions that support an embodied human-to-
human interaction over time and space.
Acknowledgements
MOONWALK is a consortium project comprising:
DFKI Robotics Innovation Center, DE; COMEX, FR;
EADS UK; LIQUIFER Systems Group (LSG) AS;
Space Application Services (SAS) in BE; NTNU Centre
for Interdisciplinary Research in Space in Norway, NO;
Instituto Nacional de Técnica Aeroespacial (INTA), ES.
Special thanks to Dr. Barbara Imhof, Dr. Peter Weiss,
and the Comex Space Diving Operations team. Pell was
supported by James D. Burke and Victoria University.
Robotronica, QUT, commissioned The Agency of
Human-Robotic Lunatics collaboration between artists
Dr. Sarah Jane Pell, Jaymis Loveday, and Charles
Henden. Thanks to Jonathan Parsons, Jacina Leong,
Lincoln Savage, Craig Bowler, QUT Creative Precincts.
Lucy Electric and Practon Group proudly support
the Lunares 3 Crew - SPECTRA Mission, in partnership
with Space Garden Company, Untethered Exploration
and Dr. Sarah Jane Pell. Thank you to Lunares 3 Crew:
Dr Sarah Jane Pell (Commander), Omar Samra (Vice
Commander), Dr. Sian Proctor (Geoscientist) Andreea
Rădelescu (Crew Medical Officer), Jaden Hastings
(Bioengineer), Mark Splittgerber (Mission Specialist -
VR), and all mission supporters. Creative partners:
Monash Immersive Visualisation Platform (Prof. David
G. Barnes, Owen Kaluza, Andreas Hamacher, Daniel
Waghorn), MADA artist-in-residence (Richard Move).
Thanks also to Kjetil Wormnes, Zac Trolley, Dame Pell.
Technical support/liaison: Leicar Geospatial (Robert
Szyszko), Legendary Rover Team, Space Is More.
Kosmica Parliament (Curators Nahum and Miha Turšič)
Monash IT technical (Kingsley Stephens). Attendance
was supported by Monash University eResearch.
The Performing Astronautics project is supported by
the Australian Government through the Australia
Council: its arts funding and advisory body.
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