In the coming decade, humans will likely become an interplanetary species by creating permanent settlements on the moon and Mars. This endeavor clearly reproduces a terrible colonial and imperialist legacy that shamelessly speaks of martian “colonies” and a new generation of space “pioneers.” To challenge these environmentally disastrous space missions and the neocolonial, imperialist models they plan to export into the cosmos, we terrestrial beings need to alter the very foundations of our exo-ecologies in the making.

The concept of total cinema gives rise to the endeavor to recreate the world in cinema’s image. Yet even as many previously unattainable technological dreams become reality, none of them are sufficient to substitute for existing reality. In André Bazin’s view, cinema has an asymptotic relationship to reality. The medium might approach perfect realism but can never attain what he calls “the myth of total cinema”—in which the boundaries between the world and its representation dissolve into an authoritarian totality—precisely because reality itself is constantly changing.

An AI image generator was given the prompt “salmon swimming in a river.” It produced several puzzling images of similar composition, each of which shows what is unquestionably salmon in a stream of water. However, none of the results matched the familiar image of a legendary piscine hero swimming full-bodied against the current. Instead, they all depicted a fraction of a salmon, a fillet of salmon, its pink flesh ready to be seared or made into sashimi. In AI’s defense, the algorithm did not interpret the prompt incorrectly. All the right elements are there: this is not a pig in a volcano. Yet it all appears wrong to human eyes.

Art has from the very beginning been deeply intertwined with reflections on our position within the cosmos and what this might teach us of mortality. My goal with “Cosmos Cinema” was to consider how these themes are addressed by artists working both historically and today, and to place these artists into new sets of relations.

Andreeva’s cosmos is a place not to be conquered technologically but to be imagined on its own terms. In the tradition of Russian cosmism, with its utopian and technically unspecific dreams of resurrecting all the dead fathers buried on earth and resettling them on distant twinkling planets, we might say, borrowing from Robert Bird, that she is cosmic-minded, rather than space-race minded.

Critics of SETI have consistently argued that the program is more closely aligned with an unauthorized diplomatic project than it is with the hard sciences. While valid, a more imminent danger is that the transmissions might reveal the location of earth to extraterrestrials harboring violent intentions. Some scientists and philosophers have, therefore, raised the question of whether we should divulge anything—or at least anything truthful—within these transmissions.