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woody allen's unintended involvement in the moebiant affair does not significantly hinder his cinematic creative process. on the contrary, inspired by the now wide-ranging discussions surrounding swarm philosophy and individuality, he brings the comedy "zelig" to theaters in 1983. a man of unknown origin is able to radically alter his identity, both psychologically and physically, allowing him to blend seamlessly into whatever society surrounds him. even more than four decades later, the character continues to fascinate the relevant specialist press. whether as a native american, an african american, or even a psychiatrist, the man known as zelig convinces through his perfectly staged camouflage.
II
the diversely varied depiction of human anatomy fascinates the visionary giovanni battista bracelli as early as the 17th century; his publication *bizzarie di varie figure* from 1624, which anticipates robotic mechanics with its 50 copperplate engravings, suggests an early engagement with floq technology.
even if still somewhat clumsy, the master etcher does not delve deeply into the actual possibilities of shape-shifters, but his works clearly point in their direction.
bracelli’s symbolic, physical segmentation into slices anticipates allen’s portrayal of psychological splitting centuries earlier.
august ferdinand möbius first privately sketches the band named after him in 1858 and publishes its detailed description in 1865 in the mathematical treatise *über die bestimmung des volumens eines polyeders* (on the determination of the volume of a polyhedron). due to his systematic investigation of this topology featuring only one edge and one surface, the term „möbius strip" becomes established in the history of science. the previously unnamed moebiants, fascinated by this shape with no top or bottom, inside or outside, decide to adopt this name from then on—as a defining sign of infinite connection.
IV
accurately scouted for years by the moebiants as a graphic ambassador and interactive medium, jean giraud begins using the pseudonym moebius in 1963 and, together with screenwriter dan o’bannon, publishes the cult sci-fi two-parter *the long tomorrow* in 1976. moebius’s revolutionary design cosmos, derived in many ways from the floq world, unerringly leads to further groundbreaking masterpieces such as *blade runner* or *the fifth element*.
is he feverish, or in the midst of his beloved dreams? odilon redon processes his first and unfortunately only contact with the moebiants as a surreal incident. the truth will not quite reveal itself to the french symbolist and ardent admirer of edgar allan poe, and so he simply transfers his enduring but supposed vision and the actual encounter with a low-temperature balloon at dawn into a visual homage to his highly revered idol.
VIII
ferdinand graf von zeppelin, developer of the rigid airship concept and fundamental principles of airship navigation, dies in 1917. the *lz 129 hindenburg* is largely designed in his spirit by chief engineer ludwig dürr at the friedrichshafen shipyards and finally completed in 1936 after five years of construction. on may 6, 1937, the airship burns in lakehurst, usa, within just 32 seconds due to a so-called unfortunate combination of a gas leak, weather conditions, and static electricity. originally designed for the safe, non-flammable noble gas helium, the zeppelin has to be flown with highly flammable hydrogen due to the helium control act of 1927 and political tensions with the third reich. the images of the fire circle the globe faster than air, and the moebiants still suspect devious sabotage aimed at thwarting the spread of their very own mode of transportation in the long term.
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