This article is devoted to the analysis of the "cross points" of two human activities - space and sports (first of all, the so called big-time sport) in the definite sphere of sports design, namely the design of outfit and uniform for the highest sports achievements.
Thissubject is also considered as a part of the more profound context involving the problem of causation between material culture of space/exploration of space and material culture of people’s everyday life. Several cases from the sports of highest achievements and from the work of companies known for their expert examination of high-tech sports outfit production have become the basis of our studies. Within the framework of the articleit has been considered two main subjects: the exchange of technologies and expertise and the fact which could be defined as the "migration of images" in the field of aesthetic. As far as the author knows such attempts were not made in the Russian academic tradition. The subject of sports design itself in comparison with the other problems has been relatively undeveloped in the works of social research. Turning to this problem may contribute to such areas of studies as material culture of big-time sport, material culture of daily routine as well as world outlook and history-cultural aspects of space exploration.
As a result it is proposed to make a conclusionthat from the positions under consideration “space” in the field of sports design may figure both as the sphere associated with the front border of science and the most progressive development providing the best sports results, and as the resource of the ideas about the past.
The article is devoted to popular images of outer space, created by the media. On the one hand, the research and development of space exploration technologies, which began in the middle of the past century, were presented to the public in a heroic and futuristic manner and were welcomed.On the other hand, images of the "uncanny outer space" were found along with them, demonstrating frightening details of the possible dangers of outer space. The "uncanny outer space" image content, it’s cause and it’s spread consequences are the main research issues of the article. The above-mentioned issues are considered by the authors on examples of American Sci-Fi movies about Alien, namely the series of Ridley Scott movies: Alien (1979), Prometheus (2012), Alien: Covenant (Alien: Covenant, 2017). The authors investigate three episodes when Alien meets a man where the images of the "uncanny outer space" are presented: the Alien’s “birth” at the dinner table; detection of the "enemy" among the team members when it turns out that Ash, the science officer, is not a human, but an android; and the appearance of the Alien in the rescue capsule during Ripley’s preparations for hypersleep. The investigation of the "uncanny outer space" image, depicted in the subject films, focuses on the technical and biological aspects of the issue. The very notion of "uncanny" is reviewed in terms of relationof the “human” to the “non-human”, which allows us to discover that the "uncanny outer space" system is caused not by the fear of "cosmic void" and gathering the unknown. The human body, mind and identity when it comes to cosmic discourse become the reason for "uncanny outer space" image presentation while the outer space itself remains neutral. A sequential investigation of the films in chronological order also allows us to record the transformation of the "uncanny outer space"system related to the fear of biological invasion, typicalfor last third of the 20th century, to the fear of artificial intelligence technology that overcomes the threshold of human nature.