Lexicon

Abject
Accretion
Actant
Aeration
Aerobic
Algae-boosted
Animal
Anthropomorphism
Anti-Continuous Construction
Apocalypse
Aquaculture
Aquanaut
Ark
Artificial Intelligence
Autopoiesis
Assemblages
Asymmetry
Atrophy
Attraction
Autarchy
Automata
Automation
Autosymbiosis
Bambassador
Bathyscaphe
Bioconurbation
Biomedia
Bionics
Biosphere
Biotechnique
By-product
Capacity
Actant
Coisolation
Composting
Conservative Surgery
Consumer Envelope
Consumption
Continuous Construction
Conurbation
Correalism
Cultural_Memory
Cybernetics
Cybertecture
Cyborg
Dispositif
Diving Saucer
Dross
Earthship
Ecocatastrophe
Effluvium
Egosphere
End-use
Entanglement
Eutopia
Feedback
Foam
Folk
Gadget
Garbage House
Green Cyborg
Heuristic
Hoard
Holism
Homogenization of Desire
Hostile
Human Affect
Hybridized Folk
Hydroponic
Hyper-Materialism
Information Economy
Inner Space
Interama
Intra-Uterine
Maque
Megalopolis
Min-use
Mobility
Monorail
Multi-Hinge
Non-Design
Oceanaut
Oppositional Consciousness
Organic
Ouroboros
Panarchy
Parasite
Perceived Continuation
Permanence
Place
Prototype
Post-Animal
Reclamation
RI: Data Farms
RI: Garbage and Animals
RI:Shipbreaking
RI: Toxic Sublime
Sampling
Scale
Sensing Structure
Simulacrum
Simulation
Soft Energy
Spaceship Earth
Submersible
Superwindow
Symbiosis
Synthetic Environment
Technocratic
Technological Heredity
Technological Sublime
Telechirics
The Sublime
Thermal Panel
Actant
Thing-Power
Thinking Machines
Tool
Toxic Withdrawal
Turbulence
UV-Transparent Film
Vibrant Matter
Waste
Work

Interama

In 1964, Walt Disney expressed an interest in what he described as a ‘permanent international exposition’ which would be sponsored by the state of Florida’s Inter-American Center Authority. 1 It was originally a plan for a permanent ‘World’s Fair‘ -type of expo in Miami, Florida, however, after a plethora of revisions and setbacks the intended project was cancelled. “Interama was to have been Miami’s futuristic fair of the Americas. Under development for decades, Interama was never built, but captured the imagination of twentieth century planners, architects and public officials during an era when Miami increasingly perceived itself as a hemispheric crossroads.” 2 Subsequently, Disney instead adopted the idea of this permanent exhibition and created something somewhat similar in order to display industrial means and cultural values of certain countries, as well as showcase traditional festivals specific to each, while simultaneously however, intentionally downplay political, economic, and religious issues associated with the countries chosen for the display; which is comprised of Mexico, Norway, China, Germany, Italy, United States, Japan, Morocco, France, United Kingdom, and Canada within the World Showcase at EPCOT. 3 Due to the fact that Disney had complete control over his park, he was able to dictate what was and what was not appropriate within the confines of his utopic creation.

1. Steve Mannheim, “Walt Disney and the Quest for Community.” 3.
2. Historymiami.org. “Interama: Miami and the Pan-American Dream.” January 2009. Accessed April 28, 2015.
3. Cher Krause Knight, Power and Paradise. 2014. 134-137.