Thank you, Obrigado, Arigato, Danke schön, Dankuwel...
There are many people to whom I am grateful for getting through this masters thesis. Firstly, Robert Hellier for being the first to recognize the value and design potential of such a project. I have to thank my interviewees, those mentioned and not mentioned in this thesis, for inspiring and engaging me in their views on doing art in space. Thank you Sabino Valentino for your computer modelling of the first visions of ISADORA. Thank you Haraldur Mar Unarsson for the second round of computer modelling. And thank you Lee Ross of Spunky Productions for allowing me to experiment with animating ISADORA at your studio.
Thank you Denya Cascio, my writing tutor, for bringing clarity into my writing. And Rudy Meiner for simply being the great space expert that you are and for believing in alternative uses for space. Burkhard Bratke for engaging me, on a corporate level, with BEOS/DaimlerChrysler Aerospace and for taking me for a walk on a mock up of the ISS in Bremen.
Alan Murray and Horst Rickels for more inspiration. Lode Coen for turning me on to Panamarenko. And thank you VERY much to Fernando Rosa-Ribeiro for the first translation of the Japanese Space Poems and to Mami Katsumata for the official translations and for clarifying so much about the space tankas. I have to thank a number of Design Academy undergrads for patiently posing in Zero-G positions for photography for computer modelling. And a special thanks to Anne Gentenaar for becoming the muse with the flaming red hair looking up into space in the Lift Off chapter. A thanks goes out to Space.com writer Greg Clark for the excellent article on the ISADORA Module and Ralf Bulow for allowing me the opportunity to express my vision in the context of the Martin Gropius Bau's Millenium exhibit. And Mike Hambleton for always saving my computer... hence the whole damn thang...
Then there was emotional and financial support which was so crucial. Firstly, Thank you to Mom, my aunt Marisol, David Lakein and my partner Jan van den Berg for the financial contributions and loans that essentially saved my degrees' ass (and mine too). And my Mom (my greatest fan who, at a conference at which I spoke in Albuquerque, which she happened to attend, became the lioness mom she is and was ready to get up and tell off one of my critics. I had to beg her "No mom, not here". She removed herself from the conference room and discretely paced the corridors outside cursing the man.
And finally, finally: Ellison Pearson for believing... my brothers Alex and Philippe and my partner Jan for their unconditional support and pride in me.
Where to end? My dance colleague Andrea Jabor for understanding my need to leave the stage temporarily (at a time we had such a nice performance going in Rio) to express my space visions and finally once again to my partner Jan: thanks for putting up with the papers on your dining room table.