Space and Tech
Astronauts can get motion sick while splashing back down to Earth – virtual reality headsets could help them stay sharp
Spaceflight induces motion sickness due to discrepancies between brain expectations and actual gravitational experiences. While astronauts initially cope with space motion sickness, they may face terrestrial readaptation motion sickness upon return. Visual sensory manipulation techniques may offer non-pharmaceutical solutions to this issue.
Last Updated on October 25, 2025 by Daily News Staff
Astronauts can get motion sick while splashing back down to Earth
Taylor Lonner, University of Colorado Boulder and Torin Clark, University of Colorado Boulder
When learning about the effects of spaceflight on human health, you typically will hear about the dangers of radiation, bone density loss and changes in eyesight. While these long-term risks are important, a less frequently discussed concern is motion sickness.
As a child, one of us (Taylor) was highly prone to motion sickness – whether in the backseat of a car, sitting on a train or riding a bus. At the time, she considered it a cruel twist of fate, but as an adult – and a scientist to boot – Taylor can tell you with confidence that it was entirely her fault.
You see, like most children during long car rides, Taylor would get bored. So, to combat this boredom, she would either read a book or play on her Gameboy. She would stare down at whatever form of entertainment was in her lap that day until the familiar creeping sensation of nausea developed.
Sometimes, looking out the side window would help, but more often than not, Taylor’s dad would have to pull over at the next gas station for a short break, or else they’d all suffer the consequences.
Now, she understands what was happening on a more fundamental level. As children, you are taught about the five senses: sight, hearing, smell, taste and touch. However, there is a hidden sixth sense that helps your body understand how you are moving – the vestibular system. The brain takes information from all these senses and compares it to what it might expect when moving, based on past experiences.
Optimally, any disagreement between your vestibular senses and your brain’s expectations would be small. But when there are large, sustained conflicts, you get sick.
While reading in the car, Taylor was staring at nonmoving words on a page while her vestibular system told her brain she was traveling down a road. This discrepancy confused her brain since usually, when Taylor felt movement, she should see the world shifting around her in the same way – hence her motion sickness. Had she been looking out the window and watching the world pass by, she would have been fine. Even better, had she been in the front seat, she would have been able to see the road ahead and predict how she would move in the future.
The sensory conflict between what you experience and what your brain expects doesn’t cause only carsickness. It is also the leading suspect behind cybersickness from using virtual reality headsets, seasickness on ships and spaceflight-driven motion sickness. Our team of aerospace engineers is particularly interested in the latter.
Motion sickness during spaceflight
To date, all astronauts have grown up on Earth. So, their brains expect any motion cues to include the presence of Earth’s gravity. But when they get to orbit in space, that is no longer the case.
When in orbit around Earth in microgravity, the vestibular system does not have any gravitational input. The conflict between the brain’s expectation of Earth’s gravity and the reality of no gravity causes space motion sickness.
Thankfully, the brain’s expectations can change over time, after enough exposure to a new environment. Often referred to as “getting your sea legs” in the nautical community, astronauts also eventually overcome space motion sickness while in space. However, overcoming it introduces another problem when they return.
If an astronaut’s brain expects microgravity, what happens when they come back to Earth? As you might expect, the process starts again, and astronauts are now prone to terrestrial readaptation motion sickness. To make matters worse, since the retirement of the space shuttle, crew vehicles frequently land in the water, which means astronauts may deal with choppy waves until their capsule is recovered. Seasickness can potentially exacerbate terrestrial readaptation motion sickness.
These conditions are not rare. Over half of all astronauts experience some symptoms of space motion sickness when they first get to space, and terrestrial readaptation motion sickness occurs at a similar incidence rate when they come back down.
Dangers to astronauts
If you have ever experienced motion sickness, you know how hard it is to do anything other than close your eyes and take deep breaths to expel the creeping urge to vomit. As a passenger in a car, that may be OK, since you aren’t expected to jump into action at a moment’s notice. But while isolated on the water in a return capsule, astronauts need to remain focused and clearheaded. In case of an emergency, they’ll need to respond rapidly.
If the astronauts need to get out of the capsule prior to pickup up by the recovery team, any motion sickness they have could delay their response time and impede evacuation attempts.
Potential solutions
Presently, most astronauts rely on medication that interrupts the brain’s ability to use hormones to trigger motion sickness. However, as with many commercial products, these drugs can cause side effects such as drowsiness and can lose efficacy over time.
Our research team completed two experiments to investigate how we might be able to manipulate visual information to mitigate motion sickness in astronauts, without relying on pharmaceuticals.
Our participants were exposed to motions meant to simulate transitions between gravity environments and then ocean wavelike motion. During the hour of wavelike motion, we investigated whether a “virtual window” could reduce the incidence of motion sickness.
When in a capsule on the ocean, astronauts are strapped into their seats and likely cannot see out of the small windows built into the capsule. In place of windows, we used virtual reality headsets to create a full-view virtual window.
In our control group, the subjects received no visual cues of motion – akin to Taylor’s poorly advised backseat reading. Meanwhile, one countermeasure group got to see a visual scene that moved naturally with their motion, like looking out the side window of the car at the surrounding world. The other countermeasure group saw a scene that moved appropriately and was provided an overlay showing future motion, like looking out the front window and seeing the road ahead. https://www.youtube.com/embed/X3Aijwo_diU?wmode=transparent&start=0 The device moving in a wavelike motion.
As expected, the group with no cues of motion got the sickest. Two-thirds of the subjects needed to stop prior to finishing an hour of wavelike motion, due to excessive nausea. Only about one-fifth of the group that was given the side window view needed to stop early. Only one-tenth of the front window group that received present and future visual cues dropped out.
These results mean that by tracking the capsule motion and projecting it on a headset for the astronauts inside, our team may be able to reduce debilitating motion sickness by roughly half. If we could figure out how to predict how the capsule would move, we could give them that front window experience and improve the landing even more. In case of emergency, they could always take off the headsets.
This work shows promise for motion sickness interventions that do not rely on pharmaceuticals, which are currently used to combat these effects. Our solutions don’t have the same concerns around shelf life, stability or side effects. In addition to the benefits for astronauts, such approaches could help those prone to motion sickness here on Earth, particularly in scenarios where looking out the front window at the road isn’t feasible, such as on planes, trains, buses or high-speed transportation.
Taylor Lonner, Ph.D. Candidate in Aerospace Engineering, University of Colorado Boulder and Torin Clark, Associate Professor of Aerospace Engineering, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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From Hand Signals to Smart Crosswalks: The Evolution of the Modern Pedestrian Signal
Discover the history of the modern pedestrian signal, from Garrett A. Morgan’s groundbreaking traffic signal to today’s smart, accessible crosswalks.
Last Updated on July 12, 2026 by Daily News Staff
Every day, millions of people rely on pedestrian signals to cross busy street safely. A glowing white walking figure, an orange-red hand, and a countdown timer have become familiar sights around the world. While these signals may seem like simple pieces of infrastructure, they are the result of more than a century of innovation, engineering, and public safety improvements.
The modern pedestrian signal did not appear overnight. Instead, it evolved through the contributions of inventors, engineers, city planners, and transportation officials who continually refined traffic control systems as cities grew and automobiles became more common.
The Early Days of Traffic Control
Before electric traffic signals, intersections were controlled by police officers, railway-style semaphores, or even hand signals. As horse-drawn wagons gave way to automobiles in the early 1900s, traffic congestion and accidents increased dramatically, creating an urgent need for better traffic management.
One of the earliest electric traffic lights was installed in Cleveland, Ohio, in 1914. It used red and green lights and was manually operated. While it improved vehicle movement, pedestrians still had to judge for themselves when it was safe to cross.
Garrett A. Morgan’s Breakthrough
One of the most important milestones came in 1923 when inventor and entrepreneur Garrett Augustus Morgan received U.S. Patent No. 1,475,024 for an improved traffic signal.
Morgan’s design introduced a third position in addition to “Stop” and “Go.” This intermediate phase temporarily stopped traffic in every direction before allowing vehicles to proceed. The brief pause reduced confusion at intersections and provided additional time for pedestrians to cross safely.
Morgan reportedly developed his design after witnessing a serious traffic accident. His invention demonstrated how thoughtful engineering could improve public safety while making increasingly busy streets more efficient.
Although Morgan did not invent the illuminated “WALK” and “DON’T WALK” pedestrian signal used today, his three-position signal became a foundational step in the evolution of modern traffic control.
The Birth of Dedicated Pedestrian Signals
As cities expanded after World War II, pedestrian safety became an even greater concern. More people were walking in increasingly crowded downtown districts, and separating pedestrian movements from vehicle traffic became a priority.
During the early 1950s, several American cities began experimenting with dedicated pedestrian signals. New York City became one of the first major municipalities to install illuminated “WALK” and “DON’T WALK” signs at busy intersections.
These early systems gave pedestrians their own designated crossing phase, reducing conflicts with turning vehicles and improving safety at some of the nation’s busiest intersections.
Standardization Across America
By the 1960s and 1970s, traffic engineers recognized the importance of creating consistent traffic control devices nationwide.
The Manual on Uniform Traffic Control Devices (MUTCD) established national standards for traffic signs, pavement markings, and pedestrian signals. Standardized designs helped ensure that pedestrians could understand crossing signals regardless of where they traveled in the United States.
Eventually, words gave way to internationally recognized symbols—a walking person to indicate it was safe to cross and an upraised hand to indicate pedestrians should wait. These symbols transcended language barriers and improved accessibility for visitors and non-English speakers.
The Countdown Era
One of the most significant modern improvements arrived with pedestrian countdown timers.
Rather than simply flashing a warning, countdown displays show exactly how many seconds remain before the crossing phase ends. Research has shown that countdown timers help pedestrians make better crossing decisions and improve compliance with traffic signals.
Today, countdown timers have become standard equipment at intersections across much of the United States.
Accessibility Takes Center Stage
Modern pedestrian signals are designed to serve everyone.
Accessible Pedestrian Signals (APS) now provide audible tones, spoken messages, vibrating push buttons, and locator sounds that assist pedestrians who are blind or have low vision. These features allow more people to navigate intersections independently and safely.
The continued development of accessible technology reflects a broader commitment to making transportation systems inclusive for all users.
The Future of Pedestrian Safety
Pedestrian signals continue to evolve.
Many cities now use smart traffic systems that detect pedestrians waiting to cross, automatically adjust signal timing based on traffic conditions, and prioritize people walking during busy periods.
Researchers are exploring artificial intelligence, connected vehicle technology, and sensor-based systems capable of communicating directly with autonomous vehicles. Future pedestrian crossings may adapt in real time to weather conditions, crowd sizes, emergency vehicles, and even the needs of older adults or individuals with disabilities.
A Legacy Built by Many Innovators
The pedestrian signal we know today is the product of more than a century of collaboration and innovation.
Early traffic engineers created the first electric traffic lights. Garrett A. Morgan improved intersection safety with his groundbreaking three-position traffic signal. Transportation agencies standardized traffic control devices, while engineers continued refining pedestrian technology through countdown timers, accessible features, and intelligent traffic systems.
Every safe crossing today reflects the work of countless inventors, planners, researchers, and public officials dedicated to protecting lives.
As cities continue to grow and transportation technology advances, the humble pedestrian signal remains one of the most effective—and often overlooked—public safety innovations ever developed.
At STM Daily News, we celebrate the inventors, engineers, and visionaries whose everyday innovations quietly improve life for millions of people. Sometimes the most important inventions aren’t the ones that grab headlines—they’re the ones we depend on every single day without giving them a second thought.
Related Reading
- Federal Highway Administration – Manual on Uniform Traffic Control Devices (MUTCD)
- National Museum of African American History and Culture – Garrett Augustus Morgan
- United States Patent and Trademark Office
- Federal Highway Administration – Accessible Pedestrian Signals
- National Highway Traffic Safety Administration (NHTSA)
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Last Updated on June 12, 2026 by Rod Washington
Valerie Thomas is a true pioneer in the world of science and technology. A NASA engineer and physicist, she is best known for inventing the illusion transmitter, a groundbreaking device that creates 3D images using concave mirrors. This invention laid the foundation for modern 3D imaging and virtual reality technologies.
Beyond her inventions, Thomas broke barriers as an African American woman in STEM, mentoring countless young scientists and advocating for diversity in science and engineering. Her work at NASA’s Goddard Space Flight Center helped advance satellite technology and data visualization, making her contributions both innovative and enduring.
In our latest short video, we highlight Valerie Thomas’ remarkable journey—from her early passion for science to her groundbreaking work at NASA. Watch and be inspired by a true STEM pioneer whose legacy continues to shape the future of space and technology.
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Artemis II crew brought a human eye and storytelling vision to the photos they took on their mission
Artemis II crew: Artemis II’s astronaut photos show how human perspective and storytelling make space imagery feel authentic—especially in an era of AI-generated visuals.
Christye Sisson, Rochester Institute of Technology
In early April 2026, the Artemis II mission captivated me and millions of people watching from across the world. The crew’s courage, skill and infectious wonder served as tangible proof of human persistence and technological achievement, all against the mysterious backdrop of space.
People back on Earth got to witness the mission through remarkable photos of space captured by astronauts. Images created and shared by astronauts underscore how photography builds a powerful, authentic connection that goes beyond what technology alone can capture.
As a photographer and the director of the Rochester Institute of Technology’s School of Photographic Arts and Sciences, I am especially drawn to how these photographs have been at the center of the public’s collective experience of this mission.
In an era when image authenticity is often questioned and with the capabilities of autonomous, AI-driven imaging, NASA’s choice to train astronauts in photography has placed meaning over convenience and prioritized their human perspectives and creativity.
Capturing space from the crew’s perspective
Photography was not originally placed as a high priority in NASA’s Apollo era. The astronauts only took photographs if they had the chance and all their other tasks were complete.
Thanks largely in part to public response to those images from Apollo, including “Earthrise” and the “Blue Marble” being widely credited for helping catalyze the modern environmental movement, NASA shifted its approach to utilize photography to help capture the public’s imagination by training their astronauts in photographic practices.
The Artemis II mission’s photographs have helped cut through the increasing volume of artificially generated images circulating on social media. NASA’s social media releases of the crew’s photographs have garnered thousands of shares and comments.
This excitement could be explained by the novelty of photos from space, but these images also distinguish themselves as products of astronauts experiencing these sights and interpreting them through their photographs. These differences require an important distinction around where technology ends and humanity begins.
Human perspective versus AI tools
Photography has long integrated AI-powered software and data-driven tools in a variety of ways: to process raw images, fill in missing color information, drive precise focus and guide image editing, among others. These modern technological assists help human photographers realize their vision.
Artificial intelligence is also increasingly capable of operating machinery competently and autonomously, from cars to drones and cameras.
And AI can generate convincing, realistic images and videos from nothing more than a text prompt, using readily available tools.
Researchers train AI to mimic patterns informed by millions of sample images, and the algorithm can then either take or create a photograph based on what it predicts would be the most likely version of a successful, believable image.
Human-created photos are rooted in direct observation, intent and lived experience, while AI images – or choices made by AI-driven tools – are not. While both can produce compelling and believable visuals, the human photographs carry emotional power because the photographer is drawing from their experiences and perspective in that moment to tell an authentic story.
Artemis II photographs resonate, not only because they are historic, but because they reflect the deliberate choices and intent of a human being in that specific moment and context. The exposure, camera setting, lens choice and composition are all dictated by the astronaut’s vision, skill, perspective and experience. Each image is unique in comparison with the others. These choices give the images narrative power, anchoring them in human perspective.
Images to tell a story
Photographers choose what to include in the final version of their image to tell a story. In the Artemis II images, this human perspective comes out. In the “Earthset” photo, you see a striking juxtaposition of the Moon’s monochromatic, textured surface in the foreground against a slivered, bright Earth.
The choice to include both in the frame contrasts these objects literally and figuratively, inviting comparison. It creates a narrative where Earth is contrasted against the Moon – life is contrasted against the absence of it.
Another photo shows the nightside of the whole Earth, featuring the Sun’s halo, auroras and city lights. The choice to include the subtle framing of the window of the capsule in the lower left corner reminds the viewer where and how this image was captured: by a human, inside a capsule, hurtling through space. That detail grounds the photograph in the human perspective.
Both photos are reminiscent of Earthrise and the Blue Marble. These past images hold a place in the global collective consciousness, shaped by a shared historical moment.
The Artemis II photographs are anchored in this collective moment of lived human experience, yet also shaped by each astronaut’s viewpoint. The crew’s unique perspectives exemplify photography’s transformative power by inviting viewers to engage emotionally and intellectually with their journey. These photographs share the astronauts’ awe and wonder and affirm the value of human creativity and its ability to connect us in a captured moment.
Christye Sisson, Professor of Photographic Sciences, Rochester Institute of Technology
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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