Its metatextual plot simultaneously depicts the events of a Junior Stargazer convention in a retrofuturistic version of 1955, staged as a play, and the creation of the play. It is Anderson’s homage to popular memory and mythology about extraterrestrials and UFOs witnessed in the Southwestern desert in close proximity to atomic test sites during the postwar period of the American 20th century. (wiki)
Following a zombie outbreak in Las Vegas, a group of mercenaries take the ultimate gamble, venturing into the quarantine zone to pull off the greatest heist ever attempted.
Matthias Schweighöfer will direct and star in Army of Thieves, which takes place before the events of Army of the Dead and focuses on Schweighöfer’s character, Ludwig Dieter. The film began development in October 2020. Filming wrapped in December 2020.
The anime-style series will be titled Army of the Dead: Lost Vegas and will center around some of the characters from Army of the Dead during the early phases of the zombie outbreak.
This live performance is the embodiment of our need to perform and create during the lockdown of 2020. Our focus is a visceral live performance where the dialog happens between 2 humans and a real reel to reel tape machine strumming the chords of a guitar used as a resonator, always in feedback. It feels like performing in front of an uncanny aural mirror. We aim to create new textures and music while in dialogue with a machine that is always listening, repeating & varying the pitch of the inputted signal. The resulting symbiosis is focused on the fast-shifting dynamic between humans and technology. The visuals were all created using slow Al Morphs a concept that aesthetically compliments the dialogue between man and machine, always evolving, a constant struggle to build and deconstruct an image with another. This specific shifting dynamic became at the end of our research the artwork itself. The main scene was also filmed and edited in a similar workflow, by transforming pictures of the performers into moving images, it seems like the two performers are two ephemeral creatures, always shifting decomposing, and regenerating their bodies.
spacetime coordinates: 2010’s district of Bundang in Seongnam(satellite city of Seoul)
Flu (Korean: 감기; RR: Gamgi; alternatively titled The Flu) is a 2013 South Korean disaster film written and directed by Kim Sung-su, about an outbreak of a deadly strain of H5N1 that kills its victims within 36 hours, throwing the district of Bundang in Seongnam, which has a population of nearly half a million people, into chaos. It stars Jang Hyuk and Soo Ae. (wiki)
Crystal Palace, Epcot Center, Mars space station all in one
It is not hard to be enthusiastic over Matt Wolfe’s new documentary. It also made me acutely aware that artistic works & investigations of biospherics or extra-terrestrial ecologies in their more outlandish, performative and experimental dimensions by Ralo Mayer might get forgotten or unduly overshadowed by the newer Spaceship Earth, big -budgeted more classical documentary formats.
studying the researchers
This being said, I think both Mayer’s unsettlements pioneering work and Matt Wolf’s more recent accomplishment are very important stations of closing the gap btw the current rise of collapse studies, Extinction Rebellion in the Anthropocene as well as establishing a counterpoint to the current capitalistic Star Settler exiters.
good times, thermos times & big mobile phones
Spaceship Earth is without a doubt one of the most honest and important appraisals of High Weirdness as defined by the Erik Davis in regard to our current situation, starting with the very practical things such as learning to live inside a closed system inside a closed (Earth) system and ending up sailing on a Spaceship of the Imagination while on indefinite quarantine.
oh, those banana sugar-free cakes keep on coming
Nevertheless I’ve got to mention a missing element. This powerful and complex all-American perspective ignores the earlier Soviet biospherian experiments called Bio-3 in Siberia that became an input for the new. Also very importantly, and missing from the 2020 Spaceship Earth documentary are the theoretical and popularizing work done by Soviet cosmist Vladimir Vernadsky, namely his 1926 The Biosphere book, considered by many oone of the founders of biogeochemistry, radiogeology and geochemistry, the first who defined ecology as the science of the biosphere. I completely understand the focus on West Coast/Frisco Haight-Ashbury scene, but still I miss the role played by Soviet experiments or how the closed system research and Bioregenerative Life Support studies plays out within the Soviet Space Program. I think this is to be regarded as a late-Soviet chapter of the biospherian saga, closing the strange loop of the earlier desert adobe architecture commune 70s work with the later – 80s 90s corporate, fully Bucky splendor, all via Siberia of all places.
sweet potatoes today sweet potatoes tomorrow
What I deem very important, and the docu makes sure of it is the performative, bricoleur attitude and avant-garde theater dimension, the way it synergetically feeds back (to take one of the keywords of the whole endeavor) with all the communal group practices. Their lofty ideals offer them a hands on experimence with designs and materials science approach. Maybe this also a true salvagepunk school of acting and thinking, in tune with current concerns and the need for recycling and trying out disparate things, new and old, low and high tech, China and Greece with ferrometal (their vessel has sails from Chinese junks and is called Heraclitus). This also brought stronger into focus what Hannah Arendt’s said in a 1970s interview after quoting René Char – “our inheritance is not guaranteed by any testament” to which she added “we are entirely free to help ourselves wherever we can from the experiences and thoughts of the past” (and future I would also add).
research vessel Heraclitus
Spaceship Earth does great service not only to the excommunicated founders (for the first time since Ralo Mayer work), but also to the rich brew of ideas, from the Tangiers scene of Burroughs & the desert beat generation retreat, as well to the whole gamut of such influences as René Daumal‘s Analogue Mountain(first published in 1952!), Manual for Spaceship Earth, Whole Earth Catalog etc
One can also understand the method behind it all as an Avant-Garde ecological collage, the garden of eden as Burrough cut up technique horticulture.
Biosphere 2. The ‘Biospherians’ pose for the camera during the final construction phase of the Biosphere 2 project in 1990. Left to right are: Mark Nelson, Linda Leigh, Taber MacCallum, Abigail Alling, Mark Van Thillo, Sally Silverstone, Roy Walford and Jayne Poynter. The 3.1 acre air- and water-tight building became their home for two years. Biosphere 2 was designed to allow study of human survival in a sealed ecosystem. The costs of this controversial, $150 million project were met from private funds. The Biosphere 2 project building is at Oracle, Arizona.
It is also a proof that heads and fists combine, both psychedelia and activists shared a common ground and a very applied outlook in this common space. All these iterations, incarnations and phases since the Theater of All Possibilities in 1967 up to the 70s The Synergia Ranch towards the current The Institute for Ecotechnics, the October Gallery in London are exemplary in this sense. One can question the Ed Bass family oil money connection – by all means, but this also pinpoints to the greater issue troubling current greening, greenwashing, ethanol/biofuels conundrum, as well as the fragility of this relationship with Big Business.
laid back John Allen back then
They had both very lofty, incredibly utopian, dreamy and long term thinking as well as very down to earth and experimental approach, the two do not exclude each other. Even the guru – John ‘Dolphin’ Allen is a creature from another era, more like a wide eyed Soviet Stakhanovite (стахановское) model worker, a strange engineer metallurgist & human potential coach. The gradual jump from adobe to boat making to geodesic architecture to cosmic ark and spacefaring civilization was one single strive for them. Also without reading his books or being able to asses his ideas (just dwl a paper on ecosphere & technosphere), I am somehow feeling my way trough a possible gnostic influence – especially when dealing with the eschaton, the ecospheric collapse etc Again the media talk about his apocalyptic vision seems to be spreading some sort of misinformation regarding his thoughts on that.
laid back John Allen now
The entrepreneurial aspect is also important, they have been also pioneering this startup dimension, in a sense they were one of the first and most advanced startups with all the trappings: angel investors, CEOs, public relations, financial officers, Wall Street Goldman-Sachs intrusion and final corporate raid. At the same time they, maybe also because of the performative aspect, because of their avant-garde roots or ecological de-growth orientation, have been cut loose out of the recent tech boom or Burning Man celebrations happening nearly at the same time in California. Spaceship Earth catches also the lack of – inin a key sequence when a group black students decries the whiteness of the biospherians andand their low or near absence of multiculturalism, while all the sampling is rather just biomes, the spectacle is very white future, as white as the 60s-70s commune seems to have been. I really enjoyed the short moment of a different speculation that did not play out in the 2 years of isolation & the provocation to think future as afrofuturist theatre inside the dome and what has to be remedied in this sense.
imagine waking up to this
In my view, even the spectacular – the media stunt aura actually saved them from joining a viable corporate environment, the one that gave rise to geek culture success. My thesis is thus that the sort of tekkie streamlining of stark minimalism that started to dominate both the
from above
Steve Job dogma + all the later incarnations was at odds with the zany, colorful, pantomime that united the Biospherian extended team and gave them an undeniable flair of late Blowup street comedians or low art Esalen members mixed with dessert greening of permaculture enthusiasts. They also embodied the spirit of Watched Over By Machines of Loving Grace. This aspect also probably contributed to their becoming easy prey to the media, a kind of naive but subversive theater play becoming just one show on the 57 channels and nothing on – post-spectacle reality TV machine, chewing them up and spiting them out. Hard to miss out the complete absence of screens, absence of touch screens, there’s only the glass – aquarium Vivarium dimension of it all. There is a lot to be said about Biospherian handshakes, touching the other trough glass, being in touch on the other side of the Zoo screen and being inaccessible in plain sight. The Pillar Artist project in 2019 Timișoara touches the same ground, of being accessible whilst at the same time isolated, in a public (closed) space exposed but out of reach.
hiding from the cameras in the welcoming thicket?
Somehow the peekaboo Wall Street Steve Banon boogeyman apparition coincides with the media tantrum about them being ‘fake’ or not scientific enough – all the tell tale signs of both tabloid press, climate change denial and post-truth. In fact with a high dose of cynicism one could say that once the public got over their novelty status, it became more important for the ratings to transform them into villains, fakers, cult members or plain old freaks. In a sense this shows also the limits of a Mars mission based on selling the exclusive rights to a future streaming of an on board soap opera as the means to sponsor the mission. To end on a good note, Spaceship Earth shows the all importance of dreaming as well as having a world wide experience, of nomadism as well as living under a desert dome, of actually being in touch with multiple realities around the globe or how this should inform whatever we want to achieve in outer space. Another big novum is switching the places with the researchers – now it’s fashionable in Natural History museum to watch trough a glass a bunch of paleontologists molding & casting dinosaur tracks, but Biosphere 2 was the first to allow such a direct peek into the theatre of scientific fact on a grand scale. The possibility to look at the experimenters while they did the experiments, to actually switch places, study the ones who do the studying.
Finally it also allowed for a credibly futuristic cosplay, of dressing up as your favorite Sci-fi show and getting away with it. Even when considering the incredible hardships in the midst of an eco-technosperic collapse living, it still permitted the incredible morning wake-up in the misty clouds of what comes magnificently close to an artificial atmosphere on another planet.
A richly told story of the collision between nature’s smallest organism and history’s mightiest empire
The Emperor Justinian reunified Rome’s fractured empire by defeating the Goths and Vandals who had separated Italy, Spain, and North Africa from imperial rule. In his capital at Constantinople he built the world’s most beautiful building, married its most powerful empress, and wrote its most enduring legal code, seemingly restoring Rome’s fortunes for the next five hundred years. Then, in the summer of 542, he encountered a flea. The ensuing outbreak of bubonic plague killed five thousand people a day in Constantinople and nearly killed Justinian himself.
In Justinian’s Flea, William Rosen tells the story of history’s first pandemic—a plague seven centuries before the Black Death that killed tens of millions, devastated the empires of Persia and Rome, left a path of victims from Ireland to Iraq, and opened the way for the armies of Islam. Weaving together evolutionary microbiology, economics, military strategy, ecology, and ancient and modern medicine, Rosen offers a sweeping narrative of one of the great hinge moments in history, one that will appeal to readers of John Kelly’s The Great Mortality, John Barry’s The Great Influenza, and Jared Diamond’s Collapse.
Cultures of Plague discloses a new chapter in the history of medicine. Neither the plague nor the ideas it stimulated were static, fixed in a timeless Galenic vacuum over five centuries, as historians and scientists commonly assume. As plague evolved in its pathology, modes of transmission, and the social characteristics of its victims, so did medical thinking about it.
With over 600 plague imprints of the sixteenth century this study highlights the century’s most feared and devastating epidemic that threatened Italy top to toe from 1575 to 1578, unleashing an avalanche of plague writing. From erudite definitions, remote causes, cures and recipes, physicians now directed their plague writings to the prince and discovered their most ‘valiant remedies’ in public health: strict segregation of the healthy and ill, cleaning streets, latrines, and addressing the long‐term causes of plague—poverty. Those outside the medical profession joined the chorus. Relying on health board statistics and dramatized with eyewitness descriptions of bizarre happenings, human misery, and suffering, they created the structure for the plague classics of the eighteenth century and by tracking the contagion’s complex and crooked paths anticipated trends of nineteenth‐century epidemiology.
In the heartland of Counter‐Reformation Italy, physicians, along with those outside the profession, questioned the foundations of Galenic and Renaissance medicine, even the role of God. Such developments did not need to await the Protestant‐Paracelsian alliance of seventeenth‐century northern Europe. Instead, creative forces planted by the pandemic of 1575–8 sowed seeds of doubt and unveiled new concerns and ideas within that supposedly most conservative form of medical writing, the plague tract.
Title: Plague and the Athenian Imagination: Drama, History, and the Cult of Asclepius
The great plague of Athens that began in 430 BCE had an enormous effect on the imagination of its literary artists & on the social imagination of the city as a whole. In this 2007 book, Prof. Mitchell-Boyask studies the impact of the plague on Athenian tragedy early in the 420s & argues for a significant relationship between drama & the development of the cult of the healing god Asclepius in the next decade, during a period of war & increasing civic strife. The Athenian decision to locate their temple for Asclepius adjacent to the Theater of Dionysus arose from deeper associations between drama, healing & the polis that were engaged actively by the crisis of the plague. The book also considers the representation of the plague in Thucydides’ History as well as the metaphors generated by that representation which recur later in the same work.
Title: The Great Plague: The Story of London’s Most Deadly Year
In the winter of 1664-65, a bitter cold descended on London in the days before Christmas. Above the city, an unusually bright comet traced an arc in the sky, exciting much comment and portending “horrible windes and tempests.” And in the remote, squalid precinct of St. Giles-in-the-Fields outside the city wall, Goodwoman Phillips was pronounced dead of the plague. Her house was locked up and the phrase “Lord Have Mercy On Us” was painted on the door in red. By the following Christmas, the pathogen that had felled Goodwoman Phillips would go on to kill nearly 100,000 people living in and around London—almost a third of those who did not flee. This epidemic had a devastating effect on the city’s economy and social fabric, as well as on those who lived through it. Yet somehow the city continued to function and the activities of daily life went on.
In The Great Plague, historian A. Lloyd Moote and microbiologist Dorothy C. Moote provide an engrossing and deeply informed account of this cataclysmic plague year. At once sweeping and intimate, their narrative takes readers from the palaces of the city’s wealthiest citizens to the slums that housed the vast majority of London’s inhabitants to the surrounding countryside with those who fled. The Mootes reveal that, even at the height of the plague, the city did not descend into chaos. Doctors, apothecaries, surgeons, and clergy remained in the city to care for the sick; parish and city officials confronted the crisis with all the legal tools at their disposal; and commerce continued even as businesses shut down.
To portray life and death in and around London, the authors focus on the experiences of nine individuals—among them an apothecary serving a poor suburb, the rector of the city’s wealthiest parish, a successful silk merchant who was also a city alderman, a country gentleman, and famous diarist Samuel Pepys. Through letters and diaries, the Mootes offer fresh interpretations of key issues in the history of the Great Plague: how different communities understood and experienced the disease; how medical, religious, and government bodies reacted; how well the social order held together; the economic and moral dilemmas people faced when debating whether to flee the city; and the nature of the material, social, and spiritual resources sustaining those who remained.
Underscoring the human dimensions of the epidemic, Lloyd and Dorothy Moote dramatically recast the history of the Great Plague and offer a masterful portrait of a city and its inhabitants besieged by—and defiantly resisting—unimaginable horror.
Title: Plague and the End of Antiquity : The Pandemic of 541-750
Plague was a key factor in the waning of Antiquity and the beginning of the Middle Ages. Eight centuries before the Black Death, a pandemic of plague engulfed the lands surrounding the Mediterranean Sea and eventually extended as far east as Persia and as far north as the British Isles. Its persisted sporadically from 541 to 750, the same period that witnessed the distinctive shaping of the Byzantine Empire, a new prominence of the Roman papacy and of monasticism, the beginnings of Islam and the meteoric expansion of the Arabic Empire, the ascent of the Carolingian dynasty in Frankish Gaul and, not coincidentally, the beginnings of a positive work ethic in the Latin West.
In this volume, the first on the subject, twelve scholars from a variety of disciplines history, archaeology, epidemiology, and molecular biology have produced a comprehensive account of the pandemics origins, spread, and mortality, as well as its economic, social, political, and religious effects.
The historians examine written sources in a range of languages, including Arabic, Syriac, Greek, Latin, and Old Irish. Archaeologists analyze burial pits, abandoned villages, and aborted building projects. The epidemiologists use the written sources to track the disease s means and speed of transmission, the mix of vulnerability and resistance it encountered, and the patterns of reappearence over time. Finally, molecular biologists, newcomers to this kind of investigation, have become pioneers of paleopathology, seeking ways to identity pathogens in human remains from the remote past.”
Title: Bring Out Your Dead: The Great Plague of Yellow Fever in Philadelphia in 1793
n 1793 a disastrous plague of yellow fever paralyzed Philadelphia, killing thousands of residents and bringing the nation’s capital city to a standstill. In this psychological portrait of a city in terror, J. H. Powell presents a penetrating study of human nature revealing itself. Bring Out Your Dead is an absorbing account, form the original sources, of an infamous tragedy that left its mark on all it touched.
Title: Bubonic Plague in Early Modern Russia: Public Health and Urban Disaster
John T. Alexander’s study dramatically highlights how the Russian people reacted to the Plague, and shows how the tools of modern epidemiology can illuminate the causes of the plague’s tragic course through Russia. Bubonic Plauge in Early Modern Russia makes contributions to many aspects of Russian and European history: social, economic, medical, urban, demographic, and meterological. It is particularly enlightening in its discussion of eighteenth-century Russia’s emergent medical profession and public health institutions and, overall, should interest scholars in its use of abundant new primary source material from Soviet, German, and British archives.
Title: A Time to Dance, a Time to Die: The Extraordinary Story of the Dancing Plague of 1518
n the searing July heat of 1518, Frau Troffea stepped into the streets of Strasbourg and began to dance. Bathed in sweat, she continued to dance. Overcome with exhaustion, she stopped, and then resumed her solitary jig a few hours later. Over the next two months, roughly four hundred people succumbed to the same agonizing compulsion. At its peak, the epidemic claimed the lives of fifteen men, women, and children a day. Possibly 100 people danced to their deaths in one of the most bizarre and terrifying plagues in history.
John Waller compellingly evokes the sights, sounds, and aromas; the diseases and hardships; the fervent supernaturalism and the desperate hedonism of the late medieval world. Based on new evidence, he explains why the plague occurred and how it came to an end. In doing so, he sheds light on the strangest capabilities of the human mind and on our own susceptibility to mass hysteria.
Farewell to the God of Plague reassesses the celebrated Maoist health care model through the lens of Mao’s famous campaign against snail fever. Using newly available archives, Miriam Gross documents how economic, political, and cultural realities led to grassroots resistance.
Nonetheless, the campaign triumphed, but not because of its touted mass-prevention campaign. Instead, success came from its unacknowledged treatment arm, carried out jointly by banished urban doctors and rural educated youth. More broadly, the author reconsiders the relationship between science and political control during the ostensibly antiscientific Maoist era, discovering the important role of “grassroots science” in regime legitimation and Party control in rural areas.
Slave ships brought it to America as far back as 1648-and over the centuries, yellow fever epidemics plagued the United States. Carried along the mighty Mississippi River, it ravaged towns from New Orleans to St. Louis. New York City lost 2,000 lives in one year alone. It even forced the nation’s capital to relocate from Philadelphia to Washington, DC. “The American Plague” reveals the true story of yellow fever, recounting Memphis, Tennessee’s near-destruction and resurrection from the epidemic-and the four men who changed medical history with their battle against an invisible foe that remains a threat to this very day.
Title: Ethnographic Plague: Configuring Disease on the Chinese-Russian Frontier
Challenging the concept that since the discovery of the plague bacillus in 1894 the study of the disease was dominated by bacteriology, Ethnographic Plague argues for the role of ethnography as a vital contributor to the configuration of plague at the turn of the nineteenth century. With a focus on research on the Chinese-Russian frontier, where a series of pneumonic plague epidemics shook the Chinese, Russian and Japanese Empires, this book examines how native Mongols and Buryats came to be understood as holding a traditional knowledge of the disease.
Exploring the forging and consequences of this alluring theory, this book seeks to understand medical fascination with culture, so as to underline the limitations of the employment of the latter as an explanatory category in the context of infectious disease epidemics, such as the recent SARS and Ebola outbreaks.
Title: Legacies of Plague in Literature, Theory and Film
This book is an account of the history and continuation of plague as a potent metaphor since the disease ceased to be an epidemic threat in Western Europe, engaging with twentieth-century critiques of fascism, anti-Semitic rhetoric, the Oedipal legacy of psychoanalysis and its reception, and film spectatorship and the zombie genre.
Title: Framing Animals as Epidemic Villains: Histories of Non-Human Disease Vectors
This book takes a historical and anthropological approach to understanding how non-human hosts and vectors of diseases are understood, at a time when emerging infectious diseases are one of the central concerns of global health. The volume critically examines the ways in which animals have come to be framed as ‘epidemic villains’ since the turn of the nineteenth century.
Providing epistemological and social histories of non-human epidemic blame, as well as ethnographic perspectives on its recent manifestations, the essays explore this cornerstone of modern epidemiology and public health alongside its continuing importance in today’s world. Covering diverse regions, the book argues that framing animals as spreaders and reservoirs of infectious diseases – from plague to rabies to Ebola – is an integral aspect not only to scientific breakthroughs but also to the ideological and biopolitical apparatus of modern medicine. As the first book to consider the impact of the image of non-human disease hosts and vectors on medicine and public health, it offers a major contribution to our understanding of human-animal interaction under the shadow of global epidemic threat.
This book develops an examination and critique of human extinction as a result of the ‘next pandemic’ and turns attention towards the role of pandemic catastrophe in the renegotiation of what it means to be human. Nested in debates in anthropology, philosophy, social theory and global health, the book argues that fear of and fascination with the ‘next pandemic’ stem not so much from an anticipation of a biological extinction of the human species, as from an expectation of the loss of mastery over human/non-human relations.
Christos Lynteris employs the notion of the ‘pandemic imaginary’ in order to understand the way in which pandemic-borne human extinction refashions our understanding of humanity and its place in the world. The book challenges us to think how cosmological, aesthetic, ontological and political aspects of pandemic catastrophe are intertwined. The chapters examine the vital entanglement of epidemiological studies, popular culture, modes of scientific visualisation, and pandemic preparedness campaigns. This volume will be relevant for scholars and advanced students of anthropology as well as global health, and for many others interested in catastrophe, the ‘end of the world’ and the (post)apocalyptic.
Title: The Spirit of Selflessness in Maoist China: Socialist Medicine and the New Man
Assuming power in 1949, the Chinese Communist Party was faced with a crucial problem: how to construct the socialist ‘New Man’? On the one hand, led by Liu Shaoqi, the proponents of the technocracy advocated self-cultivation. Led by Mao Zedong, their opponents advocated the exact opposite technique: the abolition of the self and the institution of a mass subjectivity.
Examining this conflict through the analytical lens of Foucault’s ‘technologies of the self’ and in relation to biopolitics, the book explores how the battle for the self in Maoist China revolved around the interpretation of the ‘spirit of selflessness’ as embodied by the heroic Canadian doctor, Norman Bethune, who lost his life as a volunteer doctor of the Red Army. The book narrates how, called to embody this selfless spirit, medical doctors were trapped in a spiral between cultivation and abolition, leading to the explosion of ideology during the Cultural Revolution.
A sweeping examination of Ottoman plague treatise writers from the Black Death until 1923
Did you know that many of the greatest and most colourful Ottoman statesmen and literary figures from the 15th to the early 20th century considered plague as a grave threat to their empire? And did you know that many Ottomans applauded the establishment of a quarantine against the disease in 1838 as a tool to resist British and French political and commercial penetration? Or that later Ottoman sanitation effort to prevent urban outbreaks would help engender the Arab revolt against the empire in 1916?
Birsen Bulmus explores these facts in an engaging study of Ottoman plague treatise writers throughout their almost 600-year struggle with this epidemic disease. Along the way, she addresses the political, economic and social consequences of the methods they used to combat it.
Key Features
Studies the premodern ways in which plague was viewed by Ottoman Islamic thinkers
Traces the eventual Ottoman acceptance of quarantines and other modern medical reforms
Analyses international debates over plagues and quarantines as a struggle about colonialism
Outbreak is a 1995 American 
TimeSpace Warps 