Distant and dreamily, a female voice declares: “We must all die; nor leave survivor nor heir to the wide inheritance of earth. We must all die! The species of man must perish…”
The words are taken from Mary Shelly’s apocalyptic science fiction fable The Last Man (1826). Through the unclear mist on the screen, an image of a strange and enormous greenhouse in a desert comes into view. Soon the film intercuts between various surveillance cameras from inside the greenhouse, and we see different growths climbing around one another in an interior, contained world. As the voice speaks, the narrative premises fall into place: She is a scientist, perhaps the last one there is. She is trapped in the greenhouse, once constructed as a closed biosphere and currently the only habitable place left, since the climate gone haywire, turning Earth’s atmosphere into a poisonous fog like on the planet Venus. The emerging image is extreme; soon the greenhouse seems like a small compartment on Spaceship Earth, the only habitable cabin on a planet which, like a giant version of the Titanic is drifting dead and depopulated into the cosmic night.
Looking through the eyes of the last human being, the greenhouse images change: the trees become the last trees, the fish the last of the animals, and grass a mere biological souvenir. Simultaneously, we understand that what we are witnessing is a log – perhaps a lost document from the almost sweetly resigned naturalist, who day by day tries to stay alive. When she registers the imbalance between oxygen and carbon dioxide, we understand that the creeping emergency in the greenhouse repeats the global climate catastrophe in a microscopic and insignificant aftermath. Everything is already too late, and the story appears at first glance as a poetic meditation on the transience all things.
«The greenhouse appears as a small compartment on board Spaceship Earth, as the only habitable cabin.»
The real story. Ben River’s art film may be science fiction, but it has a documentary-like atmosphere and is shot on location. The research unit Biosphere 2 is located in Arizona, being the largest closed biological system ever constructed. As the project commenced in the 1980s, the ambition was to build a stable and self-sufficient biological system which also had a stable atmosphere. This way, inhabitants were not only supplied with breathable air, but also with self-grown food over a long period of time. Thus, the experiment could form a basis for future colonies on Mars, a dream which today seems stronger than ever. Not only will Elon Musk and SpaceX facilitate a colonizing of the red planet; Sheik Mohammed bin Rashid Al Maktoum – Vice President of the United Arab Emirates – recently declared his plans for founding a city the size of Chicago on Mars during this century. The possibilities for a human community and a ‘terraforming’ of other planets seem to reduce the environmental movement’s warning that “we only have one Earth” to a somewhat partial truth. To those dreaming of interplanetary exodus, however, the true story about the giant greenhouse Biosphere 2 provides a sobering reality check.
First of all, it was far more difficult than first assumed to control the carefully selected flora and fauna. The populations of ants and cockroaches exploded, whilst many of the trees grew disturbingly thin and tall until they finally broke in half, collapsing under their own weight. Secondly, it proved difficult to get the chemical balance in the atmosphere right, and they kept running out of oxygen – which is also a theme of the film Urth. Thirdly, the social environment, popularly referred to as the ‘anthroposphere’ was a recurring problem. The group of scientists who were to live together in this half-synthetic Eden soon fell into terrible and devastating conflicts, and struggled to stay mentally balanced. Due to their numerous imbalances, experiments on the closed circuits were postponed until further notice.
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