1521 – Spaceship Earth (2020)

It is not hard to be enthusiastic over Matt Wolfe’s new documentary. It also made me acutely aware that artistic works such as those investigations of biospherics as 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 and a more classical documentary format.

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 the current capitalistic Star Settler exiters.

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.

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 the missing role of Soviet experiments or what place held the closed system research and Bioregenerative Life Support studies inside the Soviet Space Program. I think this is to be regarded as a late-Soviet chapter of the biospherian saga, linking somehow the earlier desert adobe architecture commune 70s work to the later – 80s 90s corporate, fully Bucky splendor 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 practicea. 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).

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

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 space. All these 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.

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 again be some sort of misinformation regarding his thoughts on that.

John Allen now

The entrepreneurial aspect is also important, in a sense, 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 tech boom or Burning Man celebrations that happening nearly at the same time in California.

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

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 1000 channels post-spectacle reality TV machine, chewing them up and spiting them out.

Somehow this Wall Street Steve Banon apparition coincides with the media tantrum about them being ‘fake’ or not scientific enough – all the tell tale signs of both tabloid press 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. 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 multiple contact and of actually being in touch with multiple realities around the globe or how this should inform whatever we want to achieve in outer space. It also allowed for a credibly futuristic cosplay, of dressing as your favorite Sci-fi show and getting away with it. It also permitted the incredible morning wake-up in the misty clouds of what comes close to an artificial atmosphere on another planet.


852 – Another World (1991 video game)

Another World, also known as Out of This World in North America and Outer World  in Japan, is a 1991 cinematic platformer action-adventure game designed by Éric Chahi and published by Delphine Software. The game tells a story of Lester, a young scientist who, as a result of an experiment gone wrong, finds himself on a dangerous alien world where he is forced to fight for his survival.1166567070-00Another World was developed by Chahi alone over a period of about two years, with only help with the soundtrack from Jean-François Freitas. Chahi developed his own game engine, completing all the game’s art and animations in vector form to reduce memory use, with some use of rotoscoping to help plan out character movements. Both narratively and gameplay-wise, he wanted the game to be told with little to no language or user-interface elements. The game was originally developed for the Amiga and Atari ST but has since been widely ported to other contemporary systems, including home and portable consoles and mobile devices. Chahi has since overseen release of various anniversary releases of the game.

Another World was innovative in its use of cinematic effects in both real-time and cutscenes, which earned the game praise among critics and commercial success. It also influenced a number of other video games and designers, inspiring such titles as IcoMetal Gear SolidSilent Hill, and even Delphine’s later Flashback. (wiki)