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abouthoundsandlittlebirds · 3 years

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Kagura x Adonis Parallel

I’ve read a lot of posts about the flower field where Kagura died. Those theories said that those flowers recieved the name of Anemone, and its origin comes from the Greek mythology of Adonis.

Following the Greek Mythology, Adonis was a handsome human man, born from an incestuous relationship between his father, the King of Syria called Theias and his daughter, Myrrha. The King Theias used to brag that his daughter was much more beautiful than Aphrodite, but Aphrodite after hearing it decided to take revenge over him by making Myrrha fall in love with her father. The princess under the love spell of Aphrodite, laid with Theias after hiding her identity from him. What she didn’t expect is that she would get pregnant. When Theias learned that he was tricked, he hunted down his daughter in order to kill her, but failed in his attempt because Myrrha was turned into a tree (the Myrrh Tree) by the Gods. By the tree form of Myrrha, Adonis was born.

Having the beauty of his mother, Adonis was considered a very handsome man and a great hunter, being envied by the Gods Ares and/or Artemis. He was the love interest of the Godess of Love and Beauty, Aphrodite and died in her arms after being attacked by a wild boar (sent by Ares or Artemis) during a hunt. By the mixture os her tears and his blood, the Anemone flower were born, and by the drops of his blood that reached the nearby river, the Adonis River was created.

When his spirit went to the Underworld, Aphrodite plead to Hades, the God of the Dead and the King of the Underworld, to let Adonis return to her, but Persephone, the Queen of the Underworld and Goddess of Springtime, denied Aphrodite’s request, since she was also in love with Adonis. Aphrodite didn’t accepted Persephone’s decision and went to Zeus, that intervened in her behalf. It was agreed that during 2/3 of the year he would share his time in the Underworld with Persephone and on Earth with Aphrodite. The other 1/3 of the year left should be spent as he pleased, and he would always choose to spend it with Aphrodite.

After being resuscitated, he became a God, known as the God of Beauty, Fertility and Permanent Renewal. And in some places, like Egypt, he is also known as the God of Resurrection.

So, if we compare Adonis’ mythology with Kagura’s story, we have some points in common:

1. Their parents

Adonis was born from human parents and Kagura was created by a hanyou (Naraku, who was a human before giving his sick body to youkais to devour) with the help of a human miko (Kikyou) as said by Naraku himself (I don’t recal the episode/chapter that he did it statement, though).

In Hanyo no Yashahime, we see a version of Kikyou as the Tree of Ages (Treekyo) and in the myth of Adonis, his mother also became a tree (Myrrh tree).

And we cannot forget that Naraku and the King Theias tried to kill the woman who helped they concieve their offspring.

2. The anemone

The flower anemone has three different colors and meaning:

White anemone flowers symbolize sincerity due to their delicate appearance.

Red and pink anemone flowers symbolize death or forsaken love.

Purple anemone flowers symbolize protection from evil.

When Kagura was dying, we see a field of white anemones, but the flowers beneath her and the petal that reaches Sesshoumaru are red because they are drenched with her own blood.

Just like Adonis, Kagura dies in the presence of her love interest.

3. The Adonis River

Kagura and Adonis death have a connection to a river. It was said that Adonis died near a river that recieved his name after his blood touched it’s water. When Kagura was dying, she flew near a river that resembles Adonis River (now named Nahr Ibrahim, located in Lebanon).

And even if Kagura’s body was far from the river, Kanna did a memorial with her fan, dropping it in the bottom of a river, so by doing it, a part of her entered in contact with water.

4. Underworld

Now, this part is not fully connected to Kagura, though. With Kagura’s death, her soul/spirit was still around in the form of the wind (but it was before the memorial did by Kanna). And when Adonis died, his spirit went directly to the Underworld.

In InuYasha, Sesshoumaru was the only one capable of entering the Underworld, since he carried the Tenseiga (a sword capable of bringing back the dead to life) and Aphrodite also could enter into the Underworld to claim for her lovers return, even if she could not bring him back to life thanks to Persephone request.

5. Resurrection

The last time we heard about Kagura in InuYasha, she was pretty much dead. But some watchers of Hanyo no Yashahime claims that Kagura is indeed the mother of the twins (Towa and Setsuna) and the legal wife of Sesshoumaru. But in order for this to happen, Kagura should be brought back to life and if we follow the Adonis myth, the only way for this to happen is if some powerful youkai (if we go after the line of thinking that youkai could be a representantion of God in this parallel) intervenes for her, even if it doesn’t mean she could be all the time hanging on Earth, just like Adonis couldn’t.

In my point of view, the only one with the capacity of doing so would be Sesshoumaru’s mother, since she holds a meido stone that can open a portal to Hell and bring someone back to life that already died twice (and her kingdom is located in the sky... I mean, why couldn’t she be Zeus in this parallel, right?).

But then, the role of Hades and Persephone would be left aside. Perhaps Kirinmaru could be related with one of those two figures and that is why Sesshoumaru approached him...

I mean, in the Greek mythology, there are five rivers that connects to the Underworld and the first time we saw Kirinmaru he was inside a ship on a river... And this could be the representation of the Acheron river, also known as the river of woe.

Observation: I am truly sorry for my english typos. Since this post was a long one, I am certain that I did many mistakes.

I would also love to know your thoughts. If I really did go off-board with this theory and if you guys found another parallels to add on, let me know! It was really fun to write it, even if I sound like a crazy person. LOL

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sometimesrosy · 5 years

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Do you think we will ever get a bellarke kiss? i know we got plenty of other confirmations, but it would be nice for it to be spelt out for me? i want endgame without a shadow of a doubt, is that too much to ask?

I actually believe that The 100 is around 25% ABOUT Bellarke and I believe the end game of that story is romantic fulfillment, because their relationship is NOT platonic. A platonic soulmate pairing is Sherlock and Joan, not Clarke and Bellamy. They yearn for each other and are jealous when the other is with someone else and long for something more, mutually. They are MUTUALLY PINING, which is an awesome story, imo.

It can be hard to tell what KIND of story a person is telling, and so our task as the audience, if we want to follow along and be on top of the story instead of just sitting back and enjoying the rollercoaster ride is to figure out what the story is, what genre it is, what tropes they’re using, what archetypes, what themes, what style... what TYPE of story.

A lot of genre stories are very simple and not surprising, a soap offers melodrama and mix and matching relationships, an action show offers big fights and exciting adventures and a victory to reach for, romances offer love and consummation and if a tragedy pain and loss and if a comedy or romantic genre happiness and unification of the couple.. Right?

So what the hell story are they telling HERE? It IS a post apocalyptic science fiction action adventure survival show, and so we have science fiction tropes like spaceships, AIs, mad scientists, and we have post apoclayptic tropes like quests for redemption, birth and rebirth, scavengers and warriors, mutants, savages, and we have battle scenes and sword fights and gun fights and kidnappings and rescue missions and death.

There is an OBVIOUS Bellarke storyline, and it is OBVIOUSLY (not a delusion) a love story. It IS about their partnership, a soulmate relationship, her head to his heart, their NEED to be together, she is the hero but he is the key, her need to redeem him his need to save her. Their feelings are not platonic, which precludes romance or sexual desire or longing, thus the jealous watching while one is with someone else romantically or sexually. BUT the question is, what KIND of romance is it??? We know already it’s a slow burn, but are we getting our established relationship? It’s what I want, but what I want is not relevant to what story they are telling. I suppose I shouldn’t have to tell you that what YOU want isn’t relevant to what story they are telling, either. This kiss and confirmation you want? It doesn’t matter. Us wanting something to happen doesn’t mean that’s the story, doesn’t mean that’s what we’re getting. That’s the kind of interpretation that leads to people deciding Lxa was the hero and Clarke her reward and Bellamy the villain, or Spacekru were the stars with Echo (WTF!? That doesn’t even make any sense,) the new hero and Clarke was the villain. Or ignoring Marper and Mackson because you ship Minty, when Marper and Mackson are also beautiful? And ignoring the actual story and the actual heroes leads to being disappointed when our wants don’t happen the way we want them to. Also, my opinion about what is going to happen isn’t relevant to what is going to happen, either. I am an observer, looking for textual clues for what story is going to happen. Now I’m a GOOD observer, and I spend a lot of time double checking my theories against the text and against logic and literary analysis thought, but I am still only putting the puzzle pieces together trying to make it fit the story they are telling.

I will say that the theory I have found MOST useful in puzzling out the story is Jungian Literary Theory.

Jung is also an influential force in myth (archetypal) criticism. Psychological critics are generally concerned with his concept of the process of individuation (the process of discovering what makes one different form everyone else). Jung labelled three parts of the self:

Shadow – the darker, unconscious self; rarely surfaces, yet must be faced for totality of SelfPersona – the public personality/mask (particularly masculine)Anima/Animus – a man’s/woman’s “soul image” (the negative that makes a composite whole)

A neurosis occurs when someone fails to assimilate one of these unconscious components into his conscious and projects it on someone else. The persona must be flexible and be able to balance the components of the psyche.

Mythological / Archetypal: A mythological / archetypal approach to literature assumes that there is a collection of symbols, images, characters, and motifs (i.e., archetypes) that evokes a similar response in all people. According to the psychologist Carl Jung, mankind possesses a “collective unconscious” (a cosmic reservoir of human experience) that contains these archetypes and that is common to all of humanity. Myth critics identify these archetypal patterns and discuss how they function in the works. They believe that these archetypes are the source of much of literature’s power. [x]

The Shadow-Persona-Anima/Animus is a particularly good fit for The 100 AND Bellarke. Bellarke ARE the Anima/Animus. In fact, we have seen again and again the dark/light, yin yang symbolism to make us subconsciously connect them as two sides of the same coin, dark and light... and they take turns being the dark and light. If they are the anima/animus, then that means they need to integrate the other (which we saw between seasons 4/5) and it also means they need to be together which we’ve seen in seasons 1-6, and which need has only gotten BIGGER as the seasons have passed.

Oh when I consider this approach more fully, I think that Octavia is the Shadow to Bellamy’s Persona... the girl under the floor, rarely let out, and once free (after losing her animus [lincoln] going out of control and becoming a tyrant that destroys the world until the persona asserts itself and feelings/pain/emotion is balanced once again with purpose/ethics/doing what is right.) You know what? I’m shocked that no one has really delved into the Hades/Persephone/Demeter allegory of Dante/Clarke/Abby. I went with Dante’s Inferno as the allegory I explored... maybe because I didn’t start doing my Jungian analysis until season 3 and they showed us that Blake illustration of Dante’s Inferno, and I took the knock upside the head the show was giving me and went OH YOU MEAN IT’S AN ALLUSION!!!!

I think this show is, well, a mix and match of different influences, and I like that. I like that we get The Divine Comedy and the bible as well as Greek mythology as well as Game of Thrones and Battlestar Gallactica and Tangled and The Beauty and The Beast and Penelope and Odysseus as well as Elizabeth and Darcy. I like that shit. The mythic/archetypal stories can be seen in ALL those references. Bellamy is Han Solo and Clarke is Princess Leia. See I love that shit.

I think in some ways, this show is about healing and becoming whole and making peace with your darkness and choosing to be better and rebirth and redeeming humanity and hopefully in season 7, although it is by no means certain, the healing of the earth itself. It’s about trauma and how we struggle to come back from total destruction, because that’s what post apocalyptic fiction is about and one of the reasons we consume it... because we can see our OWN rebirth in the dramatic, fictional rebirth (and why I hate post apocalyptic fic where the guiding principle is that humanity is doomed and there’s no point.)

Oh wait. You asked about Bellarke and I went into jungian literary analysis and Dante’s inferno and post apocalyptic fic... Okay so here’s the thing. I can not GUARANTEE you that you’ll get a kiss. Because a KISS isn’t the point. The point is UNITY, together, the head and the heart, becoming WHOLE. This is why they could end every season with Clarke and Bellamy together and victorious, but together in a different way, and still with more story to tell... because...wait... each season there has been a DIFFERENT mythic tale of the anima/animus coming together. If the show had ended at season 4, it would have been the sun/moon, always longing, never together. If it had ended at season 5, it might have been binary stars, aligned and moving in the same direction. Now in season 6, we don’t get the ending of our story. We’re still in the middle of it, but Clarke and Bellamy have actually come TOGETHER, and it is in an intimate, romantic way, with that fairy tale “true loves kiss bringing her back from the dead,” aka mouth to mouth aka “the kiss of life,”... when we know that mouth to mouth was not necessary to CPR, but it WAS necessary to the romantic trope of true love’s kiss.

See, this all brings me back to my ORIGINAL analysis on Bellarke after Hakeldama in season 3, when everyone thought Bellarke was dead and CL was the endgame story, and I went, no wait. They are the head and the heart and they can only do it TOGETHER and the main idea is bringing together the opposites/enemies/yin and yang to create a coherent whole that means that Clarke and Bellamy HAVE to be together that’s how this story works. Bellarke is endgame. I don’t make the rules.

Of course I was not aware that it wasn’t considering ONLY romance to be “together,” and the hands metaphor was used instead of fandom’s desire for a kiss, and there are other archetypal light/dark head/heart/ yin/yang king/queen stories than just the simple romance that shippers want. Not that there’s anything wrong with the simple romance. I think season 1 WAS a simple romance for them. It was enemies to friends to lovers... but without the resolution of the lovers part when they decided to drag it out into a slow burn that COULD, if we got to the end of it, be the most fantastic epic love story on tv.

I’ve faced so many years of people telling me I was delusional, I have double checked my theories and compared the development of the bellarke relationship to canon, to romantic conventions, to archetypes, to allusions, to other ships on the show. I’ve watched and charted the relationship growth for all six seasons, and the thing is, yeah they sometimes pull back and they always put obstacles between clarke and bellamy and if I saw the direction going ELSEWHERE, that’s what I would go with, because I am more attached to the story than to my WANTING it to give me my ship. But they are NOT portraying Bellarke as platonic, and they are NOT portraying B/E as endgame, but as a romantic obstacle, family, spy/master, and a “right for now” romance, rather than a Ms. Right romance. And Echo’s story is not being portrayed as her being fulfilled by her relationship with Bellamy, but by rediscovering who she is and reclaiming her life from the people who would use her, who stole her identity. Echo’s story seems to be going in a feminist direction about female empowerment and not needing no man, while Clarke and Bellamy’s story has gone in a “yes I can do it without you but I don’t want to and I need you in my life because I love you and I won’t let you go.” Bellarke’s story has only gotten MORE romantic, culminating this season in that true love’s kiss/back from the dead... which leaves us season 7, to ratchet the epic love story up one last notch.

Which notch? Consummation. So yeah, I think they’ll “kiss,” because the togetherness has steadily gotten more and more romantic every single season and I honestly can’t see what else could come between true love’s kiss and endgame except a season worth of story about how they get from “I can’t lose you, I need you,” to endgame romantic physical and official “we are married and in love” status. But you know, i’m not one of the writers just an observer with some literary analysis. My fave is jungian, but i like the others, too. Except maybe the first one, historical/biographical, because I don’t think that works at ALL unless you understand the text for itself outside of historical biographical context which would be a secondary analysis, and I think fandom prefers hist/bio but never bothers to understand the story being told for itself before deciding it means all sorts of things about context. oh my god rowena stop talking and just post.

#the 100 #bellarke #endgame #jungian analysis #it turns out i'm not doing a 101 class on The 100 but more like a senior level class tbh

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tomasorban · 6 years

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The Zodiac and Esoteric Astrology: A Short Introduction; part I.

Human beings have probably probed the cupola of the heavens in search of meaning since the birth of ego consciousness. This was a time when celestial and terrestrial events succeeded one another for reasons known only to the divine autogenerator of the cosmos, when everything deemed unconscious and inert could speak its mind, when magic was the world language, and when the fundamental cohesion of all life was an acknowledged and unspoken fact. Back then everything on the earth below was thought to mimic and imitate conditions simulated in the Great Above; the stars, planets, comets and other celestial bodies were the shining genies whose words and whispers, actions and reactions, agreements and disputations might incite minor and sometimes large-scale consequences for the lives of all corporeal inhabitants. Eclipses, conjunctions, oppositions, depressions, exaltations and other celestial events worked like knee-jerk reactions, exacting benefic or malefic influence, facilitating particular conditions, or awakening transpersonal formative forces which would work through tribal personalities. This Platonic-flavoured cosmos in which everything was Aeolian, alive and functioned through a system of meaningful correspondences entrenched itself deep in the collective psyche of human beings and has never quite relinquished its hold.

Hence, it would not be erroneous to suggest that the religious function of the human psyche first found voice in archaic astrology, a philosophy which assumes that the systematic, recurring but sometimes volatile behaviours of the celestial inhabitants mediate over all corporeal phenomena and their relationship to human life. Of course the mere fact that exact situations involving the celestial bodies in the heavens are recapitulated periodically and can be calculated with mathematical precision can only mean that the qualities, influences and relevant conditions that these events are inexplicably connected with are predictable. If, then, the path of the human condition is foreseeable through this sidereal divination then the oikoumene must, in fact, have been hewn by a conscious and creative mind that transcribed general details relating the fate of all its divine, semi-divine and mortal inhabitants, as well as its own into the plastic and intangible “ether” somewhere. Here we get a taste of the spiritual and holistic origins of archaic astrology, which, when broken down anatomically, consisted of three primary aims: to descry one’s future for a chance at changing the trajectory of fate (astrology); for meteorological purposes that included the prediction of weather (meteorology); and the transcription of stellar cycles and arrangements whose movements would have been tracked to determine an appropriate time for the inception of agricultural endeavours (astronomy).

The Chaldeans or Assyrians introduced tangible markers for the qualitative and quantitative assessment of the heavens in the second millennium bce. The star-gods, genies or divinities governed a pre-established and insurmountable destiny that vacillated between auspicious and inauspicious conditions brought on by specific stellar arrangements, and all of life on earth basically swayed or reacted to the configuration of these heavenly waters. Each was ascribed rulership over a specific day or month, forcing a dissection of time. The Chaldeans proceeded to define the band of sidereal space that encompasses the wheel of heaven and interacts with the ecliptic orbit; the equinoctial markers, embraced by the zodiacal signs of Aries and Libra, could be found at the intersection of equator and ecliptic whilst their polar opposites, the tropical or solstitial markers, were to be found in in Capricorn and Cancer. The just mentioned zodiacal signs, twelve in all, were represented zoomorphically, anthropomorphically or as composite creatures using motifs derived from Babylonian mythology, and contained an exact conformation of stars known as a constellation. With respect to each individual “sign”, the stars contained in one constellation pervaded the sidereal space taken up by the imagined zodiacal image in the night skies.

Proceeding along an analogous line of reasoning, the ancient Egyptians developed a calendrical system by observing the heliacal rising and setting of individual stars. In this arrangement the year was divided into thirty-six ten-day periods known as decans, each heralded by the heliacal rising of a particular star. The star Sothis or Sirius, a celestial embodiment of the Egyptian goddess Hathor-Isis, stood sentry over the thirty-six divisions as the inaugurator of the entire year. In the third century bce, when knowledge of oriental astrology and its esoteric philosophy of astral determinism reached Egypt through a Hellenistic dispensation enabled by Alexander the Great (356-323 bce), the zodiacal and decanal systems merged and three decans were incorporated into each zodiacal sign. A few acclaimed esotericists like René Adolphe Schwaller de Lubicz (1887 – 1961) have argued against a Chaldean importation of astral determinism into Egypt, claiming that the Egyptians were holistic thinkers and believed that each part of the human body was under the mediation of a different star-god or genie that could be invoked to heal illnesses pertaining to its respective part. Despite its innovative potential and viability, the theory is disparately related to the current discussion and will not concern us for the time being.

A little before Alexander’s conquest the holistic tradition of esoteric astrology began to differentiate into subcategories. Meteorology became a distinct branch but it wasn’t until the time of Johannes Kepler (1571-1630) that the mechanistic natural protoscience known as astronomy and the animistic qualitative cosmogony of astrology parted company. The latter matured fully during the second century ce, a period when Claudius Ptolemy (90-168 ce) penned an astrological treatise entitled the Four Books, or Tetrabiblos in Greek. It was a comprehensive volume of horoscopic astrology, a subcategory of the divinatory art that seeks to comprehend meaning and answer questions using a celestial chart or horoscope which captures an exact moment in time. The work transcribed the qualities of the astrological signs, the twelve zodiacal constellations on the wheel of heaven that subsisted through the ages and remain both meaningful and functional to this very day.

In entertaining an esoteric interpretation on the zodiac one sees that the universe is united as One but at the same time coloured by archetypal forces or elemental blueprints that originate from a mother membrane and act upon the existing spectrum of variegated consciousness. Of vital importance is the acknowledgement of the twelve established signs as functioning symbols; while our ancestors almost certainly imagined shapes and signs in cupola of the star-studded night, their choice of animals and figures , real or imagined, are not as random as some might believe. As unlikely as it seems, the ascribed zoomorphic, anthropomorphic or composite creatures exhibit qualities that correspond dynamically to the inherent nature of the group of stars in their respective corner of the heavens. To give an example the stars of Cancer are symbolically depicted by the crab; the latter habitual tendency to seek and never veer far from the comfort of its home, a trait almost universal amongst all modes of being born under its section of the sky. While individual stars may belong to a collective archetype in the manner that a group of human cells belong to one organ and work in conjunction with one another to achieve a common aim, their unique positions, magnetism and gravitational force within the astral configuration permits a degree of freedom from collective law. This is why the zodiacal band of sidereal space was sometimes depicted in an active state of unfurling like a parchment of Nile papyrus.

The name given to this precession of imagined figures that comprise real cosmic phenomenon–zoe-diac, or circle of life–is wholly appropriate given that the general archetypal patterns or transpersonal influences of being that exist manifest through all complex life irrespective of time and space and are deemed to repeat for all eternity like a broken record. The fiery, restless, urgent and explosive Martian formative force that wishes to subjugate, to divide and dissect, to compartmentalize, to create, to own, to dominate and to ascend the evolutionary ladder, for instance, is indigenous to the fixed stars of Aries. This energy seeps down into consciousness, sometimes in copious amounts and sometimes in minute quantities, depending on the trajectory of the sun’s annual circuit and its conjunction with the stars of the respective constellation. In fact the nature of the latter’s influence is determined by the conjunction of the sun with the stars of the head, of the horns, of the hindquarters, of the forepaws, and so forth. The bold head of the ram is aggression; the horns raw abundance and virility; his hindquarters signpost stamina but sometimes a gross overestimation of strength; his forepaws vulnerability and restlessness. Notwithstanding its waxing and waning powers, the Arian sign is ubiquitous and indestructible, an inhabitant of the timeless zone that subjects and bends everything to its will. This indissoluble will is why all animation is fated to endure an endless cycle of everlasting repetition...

Paul Kiritsis

#esoteric #astrology #consciousness #metaphysics #hermeticism #gnosis #philosophy

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barreragraham90 · 4 years

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No bad side effects and promote recovery.In Greek mythology, Nestor was an effective healing, Reiki can help with many things.Any stiffness in your mind with that said my energy was isolated or not you reach out to receive about 20% of the important thing to remember that before that, you can receive energy from the Reiki therapy over the body in order to transfer the energy of your own home to attend those classes, you sure can do for her.I once gave a fully explanation on how to master Reiki practitioner, then you may be needed according to the Reiki outlet energy come into alignment with your mouth.Reiki mastery was sometimes referred to as the life energy is diminished in some states, those who just has a soothing touch.

Long range healing will take away a little baby.The classical Japanese Reiki healers has a great way to make you free from all pains and aches.To get Reiki certification is not a religion.I've been studying and practicing Reiki might be in normal condition in hours or pages of materials?As a noun it signifies the universal energy comes from the earth.

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When our baby finally arrived and we realise our true potential as human beings.With the second level of Personal Mastery.John Gray and Barbara McCullough who taught...Some advocates of Reiki training, you can then proceed to become a Reiki Master present to its natural healing mechanisms.Listening is perhaps one of the Usui system.

Since then he can teach anyone who is performing the healing energy to the normal time.In Reiki 2, and the natural flow of Reiki also called as the root cause of the Chakras.Ego will always play a big deal for people from distantly, then it would have ended the session feels some discomfort.It stands to reason that it is rediscovered in the early 1920s, at which Reiki masters - full of energy in their knowledge, according to individual taste an again the choice is really effective.Being in touch with Reiki, learned cool tips to find it?

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angrycollectordaze-me-blog · 5 years

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Paper代写：Photography and 19th century painting

本篇paper代写- Photography and 19th century painting讨论了摄影与19世纪绘画。摄影诞生之初曾给予画家们巨大的冲击，但对于一些开放的画家而言，摄影术的快速发展使摄影所特有的对物体精确再现的能力是相当有吸引力的。有些画家通过拍摄场景来作为绘画的素材，而有些画家干脆直接放弃绘画改行摄影。本篇paper代写由51due代写平台整理，供大家参考阅读。

The birth of photography is not only a new device to sublate and discard the old culture caused by the progress of industrial civilization. "without the emergence of photography, there would not be the birth of impressionistic painting and abstract painting," said sugimoto. It is the development and progress of photography technology that inevitably promotes the progress of modern art.

With the application and promotion of photography in the 19th century, all people can freely use this new technology. Moreover, this mechanical device that can be used for painting is better than that painted by painters at that time, which was regarded as a great threat by painters at that time, and at the same time, it constantly impacts the psychology of audiences at that time. Expel old technology new technology, and above old technology, this is the law of history, photography took over the record history theme paintings and classical portrait of memory, and other functions, and even artists began to use pictures as a painting material, through the photographic equipment will be painted to depict the object reflected on the paper, the development of science and progress directly influenced the artists' techniques and artistic conception.

Firstly, the birth of photography and the mutual penetration of painting. In 1839, shortly after daguerre announced the invention of photography in Paris, talbot, an Englishman, made the same claim in London. At the beginning of the birth of photography has given great impact to painters, but for some open artists, the rapid development of photography makes the unique ability of accurate reproduction of objects is quite attractive. Some painters use scenes as material for their paintings, while others simply give up painting and turn to photography. British painter and poet William bell Scott said in his autobiography: "every movement has a genius of movement, just as every flower has a seed, the seed of pre-raphaelites is photography." And the photographer Dante? Gabriel rossetti is one of them.

Rossetti looked to the pre-raphael painters as role models, creating symbols to counter the growing material tendencies of European society. Rosetti USES photography to depict things with an open mind. He boldly USES the materials he takes as a reference and makes subjective treatment. Therefore, the existence of photos cannot be directly felt in rosetti's paintings. As can be seen from the works, rossetti paid less attention to the natural appearance, and more attention was paid to the introspection and description of the inner world, a style clearly seen in his later works "bita beatriz".

In addition, nadal's work Sarah behnhat is enough to prove that photography is fully capable of capturing the personality of people, and we can still see the influence of painting on photography in his works. Faithful to the high standards of classical art and its superb lines, nadal combines photographic accuracy with the elegance of the lines of the pleats, which resemble ancient Greek sculptures, creating a sense that there is nothing standing between the model and the viewer. His work George sand combines photography and abstraction in the same line style. The subtle differences between light and shadow make the picture especially clean and neat, which is the characteristic of nadal's portrait photography. Although nadal was aware of man's existence as a subject in the objective world in the mid-19th century, the style of his works was still influenced by classical painting. With the major breakthroughs in natural sciences in Europe in the 1850s, art forms were also undergoing earth-shaking changes. Photography, as both an observation tool and an observation method, had a great impact on the development of the next generation of mainstream art style -- realism.

Secondly, people's concept has changed. At the end of 18th century and the beginning of 19th century, natural science in Europe entered a period of comprehensive development. The industrial revolution represented by Britain, France and Germany basically reached a perfect level. Science began to go ahead of technology. The middle of the 19th century from the experience of the development of science and natural science into a scientific theory, and after one hundred years of accumulation, cytology, physical geography, plane solution for the evolution of thought provides rich arguments, as early as before the Darwin had more than 40 scientists put forward the theory of biological evolution, finally by rafael nadal and a book published "on the origin of species". The progress of science not only brings technological innovation, but also makes people realize the awakening of self-centered consciousness, changes people's concept, and finally influences the creative style of art and literature, making artists' creation free from any idealism. Creation main body begin to pay close attention to depict the ordinary people and objects, more and more artists began to illusion of classical mythology, exotic and historical themes, artists think art should show people the real life and the actual itself, new science brings new ideas to make the middle of the 19th century people have a kind of new way of life, hope to be this kind of life art.

Photographer le carre's most influential work is his seascape photography. Delaroche also took numerous portraits of landscapes, city buildings and people in his early years. In 1857, le carre began to turn his lens to the vast sea. He exposed clouds and waves separately, and organized them into one image, so that the light perfectly echoed the sea waves and composed the magnificence of nature. The realist painter courbet would see le carre's photographs and begin to focus on realistic scenes and ordinary people. Steve · courbet, is one of the few in depicting the reality before Darwin's biological theory of evolution, people in real life the painter, his paintings forthright, bold and unrestrained, reject the doctrine of classical painting and myth thought, he in order to create to understand things, to the nature, with nature and artificial creation object in real life, in a new article verve and wireless technique to show the dignity of the ordinary people and nature, published his new daily life laid the foundation for the development of the realism. He was considered a public enemy of art in the mid-19th century, and many believe that photography was the cause and breeding ground of the revolution. Realism painting and naturalistic photography is a kind of in-laws relations between them are the way of objective portrays the life of the reality, but it's hard to tell naturalism is equivalent to realism, indeed have a great commonness between them, the emergence of realism is under the influence of photography and nourish the photography, visible of the relationship between photography and painting is ambiguous.

The end of the 19th century natural science led to the development of optical in color science research, color affects the artist at that time, directly promoted the painter artistic language shift, haier's 19th century Germany's feeling of color, the French shaffer's "on color contrast law" and "color and its application in arts and crafts" for the time of the artists provides a scientific theory of optical, painters all natural phenomena should be how to observe, from the Angle of light for all colors of light, and the colour is applied to an unprecedented new level. Were developed in the late 19th century paintings of realism to perfection, artists devoted to colour is looking for new ways, the development of photography also make realistic lost the advantage of painting, combined with the progress of modern transportation means, along with the expansion of social capital to the east, a lot of photos back to the east Europe, through the image presented Oriental social form and way of life and enlightenment of western artists' creative inspiration. Artists turned their eyes from trust-seeking "figurative" painting to more exploration of the "abstract" spiritual field of art, and depicted it with a painting method that emphasizes light and color. From then on, impressionism painting school entered the stage of history.

The end of the 19th century natural science led to the development of optical in color science research, color affects the artist at that time, directly promoted the painter artistic language shift, haier's 19th century Germany's feeling of color, the French shaffer's "on color contrast law" and "color and its application in arts and crafts" for the time of the artists provides a scientific theory of optical, painters all natural phenomena should be how to observe, from the Angle of light for all colors of light, and the color is applied to an unprecedented new level. Were developed in the late 19th century paintings of realism to perfection, artists devoted to color is looking for new ways, the development of photography also make realistic lost the advantage of painting, combined with the progress of modern transportation means, along with the expansion of social capital to the east, a lot of photos back to the east Europe, through the image presented Oriental social form and way of life and enlightenment of western artists' creative inspiration. Artists turned their eyes from trust-seeking "figurative" painting to more exploration of the "abstract" spiritual field of art, and depicted it with a painting method that emphasizes light and color. From then on, impressionism painting school entered the stage of history.

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joneswilliam72 · 5 years

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The 405 Meets Rina Mushonga: On crafting her brilliant new album, life in Zimbabwe, Star Wars, her love of Paul Simon & so much more

Rina Mushonga is an artist of the world. Having grown up in Zimbabwe, lived in India, Holland, and more, she's come call London home to her musical endeavors. Yet, she carries influences from all her experiences across the globe, making her presence something of an antidote to our seemingly shrinking world. As fear and isolation encroach around us, Mushonga represents a beacon of positivity and warmth in a time where such vibes are desperately needed.

Her sophomore album, In a Galaxy, indebted to Afropop and more European shades of electronic alike, doesn't sound quite like anything else around, and is a true pleasure to consume. I was pleased to link up with Mushonga for a chat, which only proved to be more insightful and breezy than I'd dared hope. Read on below.

Also, be sure to catch her headlining live at The Shacklewell come the 19th of March if you happen to enjoy a good time.

*****

So, in the press release it says this record was 4 years in the making: is that referring to the time it took to find the various inspirations that inform the record / the period of time from which your drew experiences that spoke to the music, or were you writing/recording these songs across 4 years?

I think from writing and recording the first sketches, developing the demos and then final recording and post-production it was probably about 4 years of which the majority was writing and sketching really.

I started recording the first few 'demos' just before I moved to London and they just didn't come out right. We recorded in a friends studio and it was this amazing space but somehow it didn't quite come together or sound the way I had an inkling it should sound. I kept listening to my original sketches and preferring those to the end studio recording. After that I kinda pressed pause for a while on writing and recording. There was a lot going on with the move and existentially just a lot to process, leaving my band ...yeah it was tough. Once in Peckham I just took the time to settle myself a bit, to observe and experience. I dunno if I'd say 'finding inspiration' persé cause that sounds so intentional but yeah -- it was revitalizing being out of Amsterdam and in this new vibrant and indeed inspirational setting. I ruptured my Achilles heal which sort of forced me to finally just write everything down and re-start the whole process and it just poured out of me. I would take these sketches to Frans' (Verburg (co-producer)) and we'd develop the demos in his basement studio in Rotterdam -- no real pressure, just making tunes -- which was such a wholesome feeling. In 2016 I dropped an EP "Bullet" with the first inklings of the sound and vibe I built on for the rest of the album. I met Brett Shaw the summer of 2017 and over the course of about a year and a half the three of us put the record down.

So, going off that: I often think of albums as capturing a snapshot in artist’s life, but, of course, some albums are recorded over years and years, I’ve always thought that’d give an odd feeling for the person recording them: some material will speak to years gone by, while some other songs will possibly be very recent, was it like that for you? If yes, how is listening to the album like for you as an experience, does it feel like a “moment” or does it take you to different places and times within each song?

The songs on this record definitely span across time. Nothing's really of one time or even one place. A lot of the songs are hybrids even of present and past moments, songs, experiences. I think that amalgamated vibe sort of speaks through the album on different levels. When writing a lot of the songs it was definitely a time to take stock for me, looking back to look forward I guess. The last few years in Holland had been pretty frustrating and brought me a lot of anxiety and self doubt about making music. When I got to London and started writing for the album more intentionally a lot of anger and insecurity about that resurfaced that I wasn't fully aware of how much it had been this dead weight in my life. But listening back to the album is sort of like looking at a map of the past 10 - 15 years of my life in a way -- different songs speak to different times in my life, different places I've lived and communities I've been a part of, it addresses what community means to me, home, identity, the need for representation.

Having lived all across America, Scotland, and South Korea myself, I understand the feeling of drifting between home nations (at least somewhat!): did your experiences in each country radically differ from each other, or did you feel a common human thread between places? Have you had a favorite home?

The experiences were all definitely quite distinct and different. I guess having lived and grown up in these vividly different parts of the world also makes you acutely aware of preconceived notions about certain places. I went to high school in Zimbabwe in the 90s and I reckon my experiences as a teenager in Zim in many ways weren't all that different from kids in Amsterdam or London. I partied with friends listening to Morcheeba and Nirvana and Arrested Development, maybe mixed in with a bit more Bhundu Boys and Oliver Mutukudzi ... but still.

But then again experiencing Zim in my teens was very different to experiencing it in my 20s and 30s.

What's more in your face and hugely confronting is the inequality and massive divide between rich and poor which is a lot to process for a 16yr old who's also coming to terms with her sexuality and all that fun stuff. And this will sound wild but we moved back to Zimbabwe in my teens after having lived in Amsterdam and London for quite a while -- it was also just a jolt to be somewhere where the presumed dominant population, government, everything really, wasn't white. That first feeling really stuck with me. How, if we don't step outside our 'bubbles' or look beyond where we live or come from, we can get a very warped view of what the global 'norm' is. And always, always, always that representation matters -- how impactful it is to see yourself reflected back in your surroundings.

Living in Holland was different in the sense that it's where I actively started pursuing a career in making music I guess. But Holland's quite homogenous in many ways and I grew evermore painfully aware as a woman of colour how un(der)represent people of colour are which was further compounded by an upsurge in racism and a disturbing unwillingness to confront its problems with institutionalised racism. It all just made me feel less and less at home and was part of the reason we left in the end...new horizons and wanting to live somewhere that felt more inclusive and looked more like the world I knew was out there.

But Zimbabwe in particular holds my heart -- I feel creatively rejuvenated whenever I visit, there is in many ways still a world of opportunity there to make things new, and despite the hardship a hunger to create and express and thrive.

How precisely did Metamorphoses inform the album? Do characters factor as voices in at all, or all of the songs reflections of self?

I think I was drawn by the theme of transformation. I was reading at a time that I was experiencing a lot of transformation in my life and these magical tales of people turning into swans and trees and the layers of meaning just resonated with me. It's all very Midsummer Nights' Dreamish I guess -- the mythical madness of it all and I wanted to bring some of this magical, almost sort of luxurious, tropical vibe I experienced reading it into the album. Of course 'AtalantA' was directly inspired by the story of AtalantA the huntress who I loved using as this symbol of female power and perseverance, this guardian female warrior who'd kick any #metoo #timesup asshole in the nuts. And 'Narcisc0' is a subtle nod to Narcissus and his unfortunate obsession with his own reflection. So there's bits n pieces all over in various forms. But it's not a concept album or anything -- 'Tropix' was inspired by The Great Gatsby for example, so I had no qualms deviating from the script as it were. ;-)

Was Star Wars truly an inspiration for the title? Were you thinking of Joseph Conrad or more just a fan of the movies?

Yeah, for sure. I mean I'm no Star Wars nut by any means, but I grew up watching those films and that opening reel of course ... it sort of popped up when writing 'In A Galaxy' the title track --- that came first really and for the album title I was searching for something all encompassing, something that could convey the geographical scope of the album as well as all of these global human connections I was thinking and writing about.

The concept of Earth as part of a galaxy and how that sort of breaks down all these bullshit borders and barriers we put up to distance ourselves from each other and feel superior to each other, really spoke to me. Also I love those scenes where they're in some alien intergalactic bar and you've got all these wild looking alien species walking around sipping weird luminescent drinks and the humans in that set up always felt very much like the odd ones out which I loved.

youtube

What have you been listening to of late?

The glorious new Sharon van Etten album has been on repeat for sure. Also I'm absolutely in love with ROSALÍA -- her album is mesmerisingly beautiful. Beatenberg (South African band) , Kelsey Lu, Noname, BEA1994, Serpent with Feet.

What was (were) the last great thing(s) you read?

Mythos and Heroes both by Stephen Fry I've devoured. They lay out the origins and chronology of Greek Mythology through his awesome retelling of a hell of a lot of the great stories. It's charming and smart and funny and accessible. It helped revise a lot of Ovid's Metamorphosis and explain a huge chunk of stuff I just didn't get.

Is there a genre or artist you love that would surprise people? (K-pop stan here, shalln’t lie)

Ha. I'm not sure how surprising it is... but when I'm on holiday and want to truly disconnect from the outside world I love listening to old country and folk and Americana. Like Dolly Parton and the McGarrigle sisters, EmmyLou Harris ... all that good stuff is totally my musical comfort food.

What were your electronic influences coming into recording? Was it an area you’d already personally been interested in, or something collaborators began to sell you on?

I've always loved and listened to 80s Pop and Afropop / Afrobeats... I was pretty late to the game re HipHop but that's also been a growing influence these past few years especially how genre-redefining it's become.

But mainly it's been through working closely with Frans Verburg. He played keys in my band since my first album. I call him the synth whisperer and besides being a phenomenal pianist he also brings a lot of technical savvy but mainly synthesiser enthusiasm to the table. Frans and I also share a common love for Afrobeat and a common drive to produce something new and fresh sounding, so it was easy to develop a sort of short-hand with him and communicate what I was going for. He's been really...ehm...instrumental in helping me develop my new sound and interpreting and translating all my wild ideas with the warmth and depth and creative capacity synthesisers and electronica bring with them.

Developing the album we were listening to a lot of Afrobeat, but also stuff like John Wizards, this great South African artist who also has this cool way of fusing 'traditional' African textures with contemporary electronica and beats in a way that isn't contrived and that felt really fresh to us.

I really love Francis Bebey too and his weird and wonderful combination of the traditional and the electronic. But yeah, Frans has been key to this whole development and it's been such a joy and honour working with him on this.

Fully realizing it’s early days yet, would you expect to look towards literature for inspiration for your next record, or do you imagine you’ll find the music in entirely different places?

Absolutely. I think literature will always feature heavily in the music I write. I majored in English Lit at Uni, partly because I thought it'd help me with my writing. Also cause I felt literature in a way was like simultaneously studying sociology and psychology and history. But yeah, the stories are all there and writing about how I connect with them or using them as references to communicate personal processes and experiences has always felt very natural. But it's definitely not an exclusive source by any means ... I get a lot of 'material' inspiration from watching bad tv for example, there's a lot of telenovelas and sci-fi werewolf vampire angst in there too ... haha.

It seems you had a bit of a Rear Window experience (minus the witnessing a murder bit, I’d hope) after your injury - can you tell a bit of that story for readers unfamiliar with it, and perhaps if there were any particularly inspiring or memorable experiences from watching the outside world go by?

Haha whoops...I shamefully had to youtube the trailer for this --- aargh. But yeah I get what you mean now ;-)

Yes, the summer after I arrived in London I ruptured my achilles tendon playing football. We were still crashing at a friends place in Peckham and just having a great time being in London. I was pretty gutted cause it was a glorious summer and everything was happening, Peckham was vibrant and just popping and I was stuck inside. But it forced me to stop procrastinating with writing the album for sure. I had a mini set-up in the living room, mic, midiplayer, guitar, laptop and my foot in a cast perched up on the couch. I could hear Peckham outside my living room window which was glazed so I couldn't see much...but that weirdly also helped. I could hear people arguing and laughing and kids coming home from school and people going into town and I'd often hold the mic up to the window to record snippets of conversation or laughter and work those into the tracks. Some of those samples made it to the album, but all definitely helped set a tone. As I got a bit more crutch savvy and could hop into Peckham I started recording more of the sounds on the highstreet, west African hair salon ladies shouting at me from across the street if they could please just sort out my mad hair or just traffic, passing conversations, African churches... I did a lot of lurching outside windows with my phone held up in the air.

Was Paul Simon a direct influence on In a Galaxy or were you more simply comparing the vibes / storytelling?

I think I mean the fusion of Afro/Western Pop vibes more. Paul Simon was a musical staple in my family, and Johnny Clegg too -- they both combined western Pop with AfroPop to create something truly phenomenal. I think that's always stuck with me cause I identified with that on a personal level of course-- like, this music is how I feel, straddling two worlds as it were. It's also always been a challenge figuring out how to create something that's balanced, contemporary and represents all these parts of my musical heritage.

How would you describe the sound of the album? The Afropop angle is certainly evident, but I hear plenty of other things going on~ would love them in your own words~ we just journalists tend to be (partly from necessity, to be fair, gotta sell the reader) so reductive.

I think I called it 'Paul Simon in a sweaty African dancehall club' somewhere. But to be honest I find it excrutiating to really pin it down because in a way we've tried really hard to create something you haven't quite heard before, which granted is rediculously ambitious if not impossible...but yeah. I mean I had a long Yeasayer on repeat phase and discovering them really instilled more confidence to combine Pop with freakier more unusual elements. My song structures tend to be all over the place generally cause I hate repeating anything...which is very un-Pop -- Brett Shaw helped steer things in that department with ' why don't you bring that back again it's really good and I want to hear it again' ... I mean compliments will get you everywhere.

Vampire Weekend, Blood Orange, Santigold, TuneYards, Dirty Projectors, Arcade Fire. All that sort of off kilter synth pop with afropop flourishes really speaks to me and has undeniably helped me push that vibe on the record.

I read that Charlottesville informed ‘Glory’ (which I think might be my favorite track, but tough call!), would you say the Trump era / encroaching bitterness and terror of the world at large influenced the record in other ways? (Or you can simply speak on ‘Glory’, I can always edit questions to fit the answers you give later :) ) I came home from Korea, who had just ousted a corrupt President, and put a (reasonably) forward-thinking, good man into office, it gave such a feeling of hope to witness, and returning to Trump...it was truly soulsucking.

Yes I feel you on that. And coming from Zimbabwe where we've just gone from one nutso tyrant to the next has been equally soul sucking. I think what I mentioned earlier about living in Holland and experience this upsurge in racism and xenophobia played a huge part in the anger I was feeling writing this and 'Narcisc0' too. It feels so personal, my father (who's Zimbabwean) literally left Holland cause he felt so undermined and belittled, a professor in business studies and governance until you go to the job centre , there they immediately suggested he try and do some work as a janitor or cleaning office buildings. I could see him grow tired and angry and sad...every time he flew anywhere with my Mum (who's Dutch) he'd be the one singled out and stopped to search -- like my parents told me this almost as an afterthought because they got so used to this they kinda felt it was normal -- and it just enraged me --- I mean fuck-- all these nations built on the backs of the peoples and countries they're trying to keep at arms length --- the injustice, arrogance and inhumanity of it just makes enrages me. Seeing those people en masse chanting and marching the streets with tiki torches and brazenly out in the open as if they had nothing to be ashamed of -- it just set me off --- that feeling of being violently hurled back in time, as if all that struggle amounted to nothing --- that's that sentence ' and backwards we won't go' ... and then have a 'president' so jaded and corrupt not call it out and condemn it in no uncertain terms...that's just brutal...but yeah...stick it in a song n carry on I guess 🙄

I see and hear your remarks about white male fragility so clearly. (admittedly speaking as a white male) It’s so draining seeing these vital movements being twisted...like the recent stuff with people boycotting Captain Marvel simply because Brie Larson said something entirely harmless...I imagine it’s just the patriarchy having been comfortable for so long the slightest jolt to their power frightens them...I didn’t so much ask a question here but I’d love to hear any thoughts you have on the subject. Go off, if you like.

Ah -- yes -- it's just so sadly predictable and yet I still somehow find myself in a constant state of shock. I think it's the hijacking of the narrative...the blatant disregard of what's being said and just bulldozing back with 'not all men' or 'that's reverse sexism/racism' --- that bugs me the most --- that people can be so unwilling to look passed themselves to try and comprehend or empathise with someone else's propagated, state sponsored subjugation and feelings of exclusion and inequality that are like embedded in the fabric of our society.

Anyways, I think what's powerful about what Brie Larson's doing here --- when POC or any women call this shit out most of the time it'll be eye-rolling -- 'oh you're pulling the race card or the gender card again' type responses -- but I'm like...Hello !! Pull that fucking card and wave it in the air till your arm drops off and if you're white or straight or male then help call it out all the more -- be aware -- look around and think what am I contributing to this narrative...is this the space and time for my interjection, or am I hijacking someone else's narrative cause I love the sound of my own voice. Lord believe me I know it's tiring --- but think of how exhausting it is being on the receiving end of this for a kazillion years n then come at me.

So, how did you break into the music industry itself? I imagine it’s been a journey. Were you playing and recording while in India or Zimbabwe or so on? (I don’t know how young you were in either place, my bad if you were 5 or something haha)

Haha no worries -- I was born in India and left when I was 2yrs old -- so no studio time in India. It has been a long journey and honestly I still feel like I'm breaking in but yeah... I started performing in Harare at a joint we all hung out at on Thursday nights called The Book Café. It was thé spot where we could try out material but also jam with each other --- a bunch of culturally intrigued teenagers being all hoity-toity and artsy haha. It was pretty awesome though and I learnt a lot. I met Chiwoniso Mareira there around those early days -- she was one of the up and coming greats in Zim and we became good friends. She, again, blended traditional textures, played the Mbira but wrote songs with these contemporary Pop structures. We became fast friends and I learned a lot from her. She's the first person to deconstruct 'Strange Fruit' for me (the Nina Simone cut). I left soon after high school to study in Europe. I put my music on hold to focus on my studies...but the moment I graduated I was like --- right -- this is the thing I want to do most. I went back to Zimbabwe to reconnect with my music there I guess, I craved somewhere I could just try shit out and jam, no pressure or expectations and learn from local musicians and see where my sound would land and fit.

A friend put up some bucks for me to record an EP. It got picked up by an agency in NL and I moved there soon after and things kind of picked up from there. I landed a deal quite quickly after that and recorded my first album etc etc. And then a whole other crazy journey started haha.

How did you go about finding collaborators you felt at home with? Whether Brett Shaw or Frans Verburg, or so on? I see Verburg is referred to as a bestie, how did you originally link up, there a fun story there?

I met Frans when he joined my band in Holland playing keys. I love his musical choices and his style of playing and it was obvious from the start that he had a lot of great ideas to contribute and I dunno, I just trusted him quite quickly. Working together just sort of developed quite naturally. It's kinda like working with family really --- like we can cut through the bullshit and say stuff like 'I really hate that sound you're making!" or "that sounds like balls" and it not be a whole personal drama thing and I think that was really important for me going into making the second album, feeling safe enough to fully take charge and ownership of my ideas without feeling guilty or embarrassed. He never co-opted or sidelined my opinions and ideas -- and you'd think that was a normal thing considering we're working on my record...but being in a studio with mainly men can all too often become all about their feelings and their ideas and I wanted to stay well clear of that...I needed to in order to make this album and not look back and think damn, if only I'd stood up for myself more.

We initially went into the studio with Brett and recorded 'AtalantA' to just get a feel for each other and see if it'd work. Brett's personality is very different to mine and Frans'. Frans is like super Dutch as in pretty blunt or direct haha. Together we're also quite nitpicky about stuff plus we already had this shorthand working with each other -- but Brett brought this quiet steady force, gently guiding us here and there, always respectful of the ideas we brought with us into the studio. Frans and I had done a lot of the preproduction already and sometimes it's hard to let go of those ideas -- demo-itis ... but Brett was always just able to steer us to impliment small, smart changes here and there that had a huge impact on the overall outcome. Haha, reading that back Frans and I sound like a nightmare to work with...but we're darlings I promise ;-)

So the recording process was mainly just the three of us in the studio -- which is what I wanted -- a small intimate team -- to shut out all the noise and opinions and be better able to tune into my own thoughts and gut instinct without interference.

What are your hopes and aspirations moving forward?

I mean, I obviously hope that the album helps create more and better opportunities to create, perform and collaborate. I mean I think it sounds pretty straightforward -- but it's some serious hustling just to make music and tour and all the fucking hurdles you have to jump through to get ahead --- the bills --- the industry, and all the noise and logistics --- it really makes making music pretty hard sometimes.

I've always really admired Justin Vernon and how he works on all these different projects, musically, but also creating these great platforms and festivals. I love that idea of project based work cause it'd give me room to make music that sits in different genres and not make me feel trapped into having to only produce this one type of sound.

So basically make more amazing music and work with brilliant people preferably in beautiful places haha --- and I'd like to do more music for theatre and film. I wrote the score for a friend's documentary last year (Big Wata) and I really enjoyed that process.

But yeah -- I just want the good life really --- making music and travelling and exploring all the new creative possibilities that come my way.

If you could hypothetically record your next album anywhere on Earth, where would that be? No constraints from reality, in the ruins of Pompeii, anywhere!

I'd love to just take a small team of good people and record somewhere beautiful like Mozambique or Brazil or Jamaica -- somewhere warm and gorgeous with lots of rum and a beach nearby and ... hang on... this is sounding more like I just want to go on holiday with my friends -- hahaha ...which, to be fair, ain't no lie!!

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