#also the ancient motif and being godlike

[literaryvein-reblogs]

literary & character tropes (pt. 5)

Tropes - themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions

All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive.

Ancient Evil: A character, concept or thing that's old and evil.

The Blind Seer: Are blind, and yet they can see more than we can, metaphorically speaking, by using heightened senses, divination, or some type of magical powers to gain knowledge of the world around them. It is a recurring theme in mythology; Justice is blind, Odin plucked out an eye to gain knowledge, and the Graeae had had only one eye among three of them. Time and time again, the sacrifice of sight is shown to result in greater cosmic knowledge.

Bloodbath Villain Origin: The villain's Start of Darkness began with sudden mass murder.

Botanical Abomination: A strange, incomprehensible organism that looks like a tree or other plant, but they came straight out of a forest from your nightmares.

Changeling Tale: Babies who are abducted by fairies and replaced.

Chronoscope: A chronoscope or time viewer is a device that uses images that show past or future events like a television. They can sometimes also cause time travel. They are common in sci-fi, and often take different forms.

Goo-Goo-Godlike: An all-powerful child who doesn't know any better.

Hide-and-Seek Horror: A game of hide-and-seek is played for horror.

The Omniscient: A character that knows everything. Either literally everything, or simply everything worth knowing under the circumstances. Beings with this ability tend to be background characters that the reader is told little about.

Reading Tea Leaves: Tasseomancy (alternatively known as tasseography or tassology) is a form of divination that interprets patterns in tea leaves, coffee grounds, or wine sediments. The method involves the quarant (the person getting their fortune told) being provided with a cup of a particular drink (Tea, Coffee and Wine being the most common forms). They are asked to drink from a specific cup, leaving a small amount for the leaves and/or pulp to gather. The leaves/pulp then form a variety of shapes, from animals to inanimate objects, even mythical creatures and specific people. These shapes hold symbolic significance, their presence spelling things ranging from good fortune to omens of doom.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

[janherdlicka]

Zentralgestirne (…des letzten Menschen) Pt.I/V

film-photograph on baryte print

60x40cm

Edition 05+03AP

2022

„ suddenly the three mock suns united in one, and plunged into the sea. A few seconds afterwards, a deafening watery sound came up with awful peal from the spot where they had disappeared. (…) it appeared as if suddenly the motion of earth was revealed to us–as if no longer we were ruled by ancient laws, but were turned adrift in an unknown region of space. Many cried aloud, that these were no meteors, but globes of burning matter, which had set fire to the earth, and caused the vast cauldron at our feet to bubble up with its measureless waves.“

(Mary Shelley The Last Man 1826 p. 487)

The body of work „Zentralgestirne“  is a photographic reflection of Mary Shelleys novel „The last man“ which was released in 1826 representing late romanticism while at the same time pioneering apocalyptic science-fiction. The story of Verney as last living human being on an earth shaken by plagues and natural catastrophes can also be interpreted as literary anticipation of current thought models regarding posthumanity. In midst the description of rising apocalypse as result of a gigantic mesh of nonhuman rejections lies the general questionning of human sovereignty. The motif of collective loss of human control is central to the three part novel and uncovers the absurdity of romantic discourses and conceptions of dominating nature in the early 19th century. While in the scenery above Verney as a human spectator is watching three sunlike meteors from top of the dover cliffs the series „Zentralgestirne“ is multiplying the sun itself.

On the one hand the photographic result of multiple central stars at the sky seemingly accompanying each other in total equality and harmony is mimicking this specific section quoted above. On the other hand it can be seen as a demonstration of alternative thinking apart from what is humanly imaginable. Decomposing the one and only reality of a central and often godlike described star in our solar system can also lead to reevaluating the concept of humanity as one and only force dominating on a planetary scale. In the multiplicity of the three central stars lies a symbol of equality, cooperation and interrelation in the sense of for example polytheistic religion. This way „Zentralgestirne“ takes Shelleys Last man and transformes him into becoming the last man as representative of a human self image which in the 21. century seems to be more and more outdated.

[finnichang]

what if… ancient Fierce Deity Link? I’m just very suspicious about not seeing his face in the trailer… artist info: @FinniChang Instagram | Twitter

[godsofhumanity]

I've always wondered why dragons are so prevalent worldwide? From feathered serpents godlike beings in east asia, to serpents with lion bodies and eagle wings in the banylonian/Persian areas to firebreathing demons of greed in western europe.

These are all very different creatures, but all are called dragons.

I wonder what you think

i think that all cultures universally just agree that the idea of a reptilian-looking creature that may or may not breathe fire, has massive wings, and is incredibly huge, is just a really Neat and Cool idea. and i have to say, i agree!

in all seriousness though, i do think that snakes and dragons (kinda similar, bear with me) are common motifs that are EXTREMELY prevalent in world mythologies AND modern religions also. i mean you have the feathered serpent deity, Quetzalcoatl, then you have the Midgard Serpent, Jormungandr, there are also snakes/dragons prevalent in Asian mythology, also Satan appearing as a snake in the Garden of Eden. 

i did a little googling and some people** say that, 

“The behaviour of snakes and their facial features (e.g. the unblinking, lidless eyes) seemed to imply that they were intelligent, that they lived by reason and not instinct, and yet their thought-processes were as alien to humans as their ways of movement.”

and there’s also this little segment about the concept of immortality, and creation:

“Some cultures regarded snakes as immortal because they appeared to be reincarnated from themselves when they sloughed their skins. Snakes were often also associated with immortality because they were observed biting their tails to form a circle and when they coiled they formed spirals. Both circles and spirals were seen as symbols of eternity.”

so idk, i guess reptiles are just Neat! i also don’t know how much truth there is to this, but perhaps ancient cultures may have come across dinosaur bones and stuff?? and may have come up with the idea that they belonged to some large fearsome creature that may have been idolised (e.g. a dragon?). so lots of thoughts i guess!

[stormcloudrising]

The Feather Represents the Blue Winter Rose on the Show

March 23, 2019

For all its importance in the books as a symbol of the daughters of House Stark and more importantly as a link between Lyanna and Jon as mother and son, there is barely a mention of the blue winter rose on the show.  As, R+L=J is probably the most important plot point of both the books and show, one would think that the symbolic blue rose motif would have been included in the latter.

Now yes, we did see glimpses of some blue roses on the show but it was in a most surprising of locations—on the stain glass windows in the throne room at Kings Landing.  This is interesting choice of location and it was most likely chosen to indicate that Jon is the rightful Targaryen heir to the Iron Throne.  The roses in the windows were shown in the background on four occasions that I can remember.  

The first was the scene with Sansa and Septa Mordane when they discussed her marriage to Prince Joffrey; the second occurrence was again with Sansa when the newly crowned Joffrey had her stripped and beaten; the third time was when Tywin rode his horse into the throne room; and of course the last appearance that I remember in Dany’s vision of the destroyed throne room with either snow or ashes falling from above.  As an aside, because of Dany's torch, I tend to think that the droppings were ashes and not snow.  When she placed her torch on the floor, there wasn't any change to the flame, as one would expect if it were lying in wet snow.  However, let’s get back to the topic at hand.

As there were a number of scenes in the throne room, there could have been more sightings of the blue roses that I missed.  Nonetheless, those appearances of the symbolic motif were presented as just background noise when one would have expected that because of its importance to the story, its appearance would have been a central plot point.

 Surprisingly, Dan and Dave did not go that route and one can’t help but wonder why that was the case.  Why did they leave out such an important symbol of Jon’s connection to Lyanna?  I think the answer is that they didn’t.  They simply changed things on the show and made the motif a feather instead of a rose.  I think that they went this route because of their decision not to film the Tourney at Harrenhal.  My thinking is that they didn’t film the tourney because they wanted Rhaegar’s connection to Jon via Lyanna to remain a mystery until the latter seasons of the show.

Some will argue that almost everyone knew that Rhaegar was Jon’s dad and so there was no need to hide the linkage by replacing the rose with a feather.  To that I would answer that there are still fans who have read the books who don’t believe that R+L=J.  More importantly, those of us who have read the books tend to forget that the vast majority of the viewers of the show have not done so and most likely never will.  It seems pretty obvious that D&D’s writing are more for those viewers than the rest of us who have read the books.  This actually makes sense when you consider that it was these viewers who were blown away by the many surprises in the earlier seasons and who spread the word that GOT was not your typical fantasy story.  This was a major contributor to the popularity of the show.

However, while I can see them not wanting to introduce Rhaegar into Jon and Lyanna’s story too early, they still needed a way to connect all three.  They seem to have decided that the best way to do so while keeping to the theme in the books was with a motif other than the blue rose.  The question then became what and how.  

With Ned and Robert being the only two still alive that were directly connected to both Rhaegar, Lyanna and the events of the past, it made sense that they were used to set up the linkage.  All that remained was a decision on the choice of motif to use as the replacement for the rose.

They decided to go with a feather and while this may seem like an unfathomable choice for some, I think that the choice was made for the specific reason that it could be tied to Sansa’s arc.  So they went with a feather as the motif and had Robert place it on Lyanna’s crypt in the first episode of the series where it sat gathering dust until season 5, episode 4 when it was found by Sansa.  What a coincidence!

Sansa finding the feather was not the only coincidence in the scene.  There were two others. I could be wrong and if so, please correct me and I will update but I believe that the only reference to flower in the entire series was in this scene when Petyr told Sansa the story about the Tourney of Harrenhal and Rhaegar placing a crown of blue winter roses in Lyanna’s lap.  Hmm!  Why do we get a reference to the flower for the first and only time at that moment when Sansa is holding the feather that symbolically connects to that particular story via Robert, who placed it on Lyanna’s tomb?  The second coincidence in the scene is that Sansa does not place the feather back on Lyanna’s tomb but instead walks out with it in her hand.  

As @thelawyerthatwaspromised pointed out in her fabulous breakdown essay on history of the feather and its importance in Sansa and Jon’s arc, the writers then created a throwaway scene between the daughter of Winterfell and Myranda for the sole purpose of showing the audience that Sansa was now wearing the feather as an adornment on her wrist.  It is obvious that on the show, the feather represents the blue flower motif from the books and so if she is not meant to be seen as the Blue Winter Rose, why is linked to Sansa both literally and figuratively?  I think that their reasoning is really not that difficult to understand.

In both the books and the show, Sansa is symbolically tied to birds and as a result feathers.  I believe that this symbolic connection will be shown to be of major importance in the last two books as I discussed in my Alayne Stone essay.  

In the books, her connection comes as a result of the Hound branding her with the moniker “little bird.”  On the show, he does the same and Cersei also constantly refers to her as little dove.  And of course, in season 4, episode 8, we get the full impact of her bird and feather symbolism as “Dark Sansa” makes her debut when she descends the staircase of the Eyrie in the gorgeous black feather dress that she made for herself.  But what do Sansa and feathers have to do with the Blue Winter Rose?

Well, as I have argued, I think Sansa Stark is the most symbolic blue winter rose in the story.  Yes, all the daughters of House Stark through the ages can be considered symbolic of the blue flower—including the one of Bael the Bard fame, Arya, and of course Lyanna.  However, I believe that the one who most symbolize the characteristics of the flower is Sansa as I discussed in my Of Sansa Stark and the Glass Menagerie essay series.  In fact, I think that while the sweet smelling blue flower in the crack in the Wall from Dany’s vision is about Lyanna as Jon’s mother, it is quite possibly more indicative of Sansa and her connection to Jon.

Part of the reason for this opinion as I discussed in the Glass Menagerie essay is the belief that the jonquil flower is symbolically representative of the blue winter rose.  In ancient times, it was actually considered a rose.  In fact, many biblical scholars believe that it is the famous Rose of Sharon referenced in the biblical poem, Song of Songs or as it is also known, the Song of Solomon.

The famous poem is a romantic celebration of the sexual love between a young couple.  However, at its heart, it is also tells the story of the seasonal renewal of the land. Many biblical scholars are of the opinion that this Song of Songs tells a story that is very similar to the ones of various ancient cultures wherein the fertility of the earth is dependent on a sexual encounter between a man and a woman—generally godlike deities.

One interesting thing about the Rose of Sharon referenced in the poem is the description of the ancient location from where it received its name.  This is the description of ancient Sharon.

The Plain of, the area where the coastal plain widens south of the slopes of Mt. Carmel, extending about thirty miles south to the Yarkon River north of Joppa. It varies from about eight to twelve miles in width. In Israelite times, the dunes supported an impenetrable oak forest. Pastureland would have been on the fringe of the forest (1 Chr 27:29). The rose of Sharon is kind of a crocus growing as a “lily among brambles” (Song 2:1-2). Thus the biblical picture of Sharon is a forbidding jungle of oaks and swampy marshes rather than a fertile or productive plain.

Society of Biblical Literature

The description of the Plains of Sharon is extremely similar to that of the River Styx and it’s surrounding marshy landscape.  In ancient Greek mythology, Styx was the name given to the river that led to the domain of Hades.  He of course was the Lord of the Underworld who kidnapped Persephone from the Vale of Nysa while she was out picking flowers.  And it just so happens that the flowers that were used by Hades to entice the young goddess and bring her into his clutches was none other than the narcissus jonquilla or in other words, the ancient rose.  Today’s modern roses are hybrids and look nothing like their ancient counterparts.

As has been suggested by many in the fandom, through her abduction by Petyr Baelish, he of the demonic last name, Sansa is the symbolic Persephone of the story.  Petyr even attempts to tempt her with a slice of pomegranate as Hades did with the mythical daughter of Demeter and Zeus.

I mentioned this bit about Persephone and the Rose of Sharon to show that Sansa is symbolically connected to the both the jonquil flower as well as to the ancient in-story character who bears its name.  I am of course speaking of the mysterious woman from Florian and Jonquil fame.  The real world myths about the jonquil flower along with textural clues…including the drawing of the famous pair that appears in The Hedge Knight have led me to the conclusion that the ancient Jonquil was the original Blue Winter Rose of House Stark.

As I’ve stated, based on how it has been used on the show, it seems obvious that he feather motif is playing the part of the blue winter rose in the story.  If Jonquil was indeed the original Blue Winter Rose, it could also explain why the feather is so closely connected to Sansa in the show.  However, this raises a question.  

If the blue sweet smelling flower in the crack in the Wall that Dany saw in her vision is meant to signify her connection to Jon and their future marriage as many in the fandom argue is the case, shouldn’t the feather as the stand-in for the winter rose on the show be tied to her?  Why isn’t the feather connected to Dany? Curious, don’t you think!  If further proof is needed that the true romantic arc in the story is not Jon and Dany but rather Jon and Sansa then there is no greater evidence than the feather.  And as Sansa is never shown returning the feather, it means that she still has it.

There is one last thing that I want to discuss before I end.  If Sansa is the Blue Winter Rose, a fact that on its basic level cannot be argued with as she is a daughter of House Stark; and if the feather is the playing the part of the flower on the show—meaning that Sansa should also be seen as the feather; then what is the symbolic importance of it freezing in the teaser as it applies to Sansa?

I proposed that it implies that Sansa is in danger not just from the actions of Cersei as things come to a close but also from the Night King.  Yes, everyone is in danger from the White Walkers but my tinfoil is that Sansa faces a specific threat from the Night King and that is what is implied with the freezing of the feather and Arya and Jon pulling their weapons and stepping protectively in front of her.   

Now, the scene of the three in the crypts won’t be in the show.   Rather like the first teaser it is meant to set up the theme of the season.  The first teaser with ice and fire meeting over the Trident on Aegon’s Painted Table is meant to show the theme of the danger that both forces will pose to the realm.  And I think that the second is meant to showcase the danger of the White Walkers to the Starks as a whole and possibly to Sansa in particular.

For this reason, I am most curious to find out what is on the scroll that Sophie mentioned was given to her by the prop guy as a keepsake of the show.  I think that it’s quite possible that the scroll in question was the one Sam was shown taking from the Citadel and that once revealed, the contents will have something to do with Sansa…maybe even a drawing of an ancient woman that looks like her.  My tinfoil is that it will be a drawing with a face that is similar to the one in Botticelli’s “Birth of Venus.”  Just three more weeks to go to find out whether my theories end up being pure tinfoil or whether I’m onto something in regards to the books and overall story.  Can’t wait to find out!

[harveyman-wsc42]

Evaluation

-3 pieces of artist research that has impacted my work.

Katrien De Blauwer

her unique collage style gave me a new perspective on the impotence of construction and selection.

Mike Mignola

such a unique and relaxed art style which resonates with me.

MF DOOM

A rapper who I researched. His godlike ability to rap with the most unique flows ever. Has created his own universe with lots of different characters played by him. He really was the prime example of doing what you want to the best possible standard.

-ideas behind my work

Ideas behind my work generally come from everyday life, I tend to stick to my own and although I do have respect for other artists I would like to consider my work individual, and as an insight to my mind and imagination. Absurdity, as an artist I would like to challenge whoever looks at my work with I would like to do a lot of things. I like using colours but I do find it hard sometimes because there are two parts of me, one that likes a flamboyant black and white sketch with lots of Character and the other wanting to go off the rails a bit more but in a sense when I'm drawing in my head I am imagining the colours as I create my art.

-new techniques ive used/experimented with

photoshop. I have had brief experiences with photoshop in the past but I had never really seen it use for the arts until recently. In the lessons with charlotte it has been really fun to manipulate my work in a way I never have before. I enjoyed having to figure out how to compose all the different layers on photoshop. I discovered a new found appreciation for digital artists who use programs like photoshop because it does take a lot of time and attention to detail, all things I will be looking forward to learning.

-most successful piece of work

This is my most successful as well as my favourite. It was a freestyle but I had a reference for the base. Its a self portrait of myself, in my work something I've noticed is that I like to give my characters demon/evil attributes. For example my 3 favourite motifs : long sharp dark nails, pointed ears, smoking.

Its a representation of human struggle. Its similar to the term ‘I have demons’. Obviously there's no way to tell we have demons. The demons are in reference to mental health struggles. I guess my characters are humans who just let their demons show, and there's nothing wrong with that. As you can see by the character above, he has fire coming from his body, but he is unscathed, he is smoking and has the pointy ears. Its a representation of self destruction and numbness although chaos ensues all around him his nonchalant expression says everything about how he's feeling. Im very proud of it.

-Write about the journey from initial ideas/experimentation to final outcome making. What have you learnt? Are you pleased with your outcomes? Why?

-If you could display your work from this project anywhere in the world…or at any time in history…..where would it be and why?

This is a very good question. in a perfect world I would choose everywhere simply because I could be everywhere at the same time, but that's not realistic so I guess id go with my ancient relatives. I would be interested to see if they would take a liking to my work and find a sense of familiarity. It would be interesting to see if like me, my ancient relatives were also artists.

-List 10 words to describe your final outcome – and include an image of it.

-If you needed a soundtrack/music to go with your outcome from this project what would it be and why?

vomitspit - MF DOOM

accordion - MF DOOM

fastlane - King Geedorah 

crosshairs - DANGERDOOM

tammys song (her evils) - Kendrick Lamar

crepuscolo sul mare - Piero Umiliani 

All the songs are incredibly good and tasteful just like my work. JOKING. 

I would choose these songs because its the type of music I would listen when creating so if people were to see my work I would like to accompany them with this selection of songs because that way hopefully they would understand the headspace I was in when creating my work.

-What space do you work in at home/elsewhere? 

I work from home and im lucky enough and grateful to have my own study area where I do most of my work. Its an inspiring place because although it may sound silly I arranged all the furniture in the room, this has helped to create a comfortable space to work in. It also doubles as a music studio, it is a very amateur setup but I love it. Its a creative space with plants, lava lamps and salt lamps, creating a comfortable atmosphere.

-What can you do now that you could not do at the start of this project 

Improvise. I find it hard to create something even if I do have a reference or inspiration on the spot. I would consume a lot if valuable time thinking of the idea instead of bringing it to life. But now I feel as if, as an artist I can just get started a lot quicker compared to how I used to be therefore giving me less time to try and make it ‘perfect’ nothing is perfect and that is a good thing, a lot of time as human beings we find beauty in peoples so called ‘flaws’.

[janherdlicka]

Zentralgestirne (...des letzten Menschen) Pt.II/V

film-photograph on baryte print

60x40cm

Edition 05+03AP

2022

„ suddenly the three mock suns united in one, and plunged into the sea. A few seconds afterwards, a deafening watery sound came up with awful peal from the spot where they had disappeared. (...) it appeared as if suddenly the motion of earth was revealed to us--as if no longer we were ruled by ancient laws, but were turned adrift in an unknown region of space. Many cried aloud, that these were no meteors, but globes of burning matter, which had set fire to the earth, and caused the vast cauldron at our feet to bubble up with its measureless waves.“

(Mary Shelley The Last Man 1826 p. 487)

The body of work „Zentralgestirne“  is a photographic reflection of Mary Shelleys novel „The last man“ which was released in 1826 representing late romanticism while at the same time pioneering apocalyptic science-fiction. The story of Verney as last living human being on an earth shaken by plagues and natural catastrophes can also be interpreted as literary anticipation of current thought models regarding posthumanity. In midst the description of rising apocalypse as result of a gigantic mesh of nonhuman rejections lies the general questionning of human sovereignty. The motif of collective loss of human control is central to the three part novel and uncovers the absurdity of romantic discourses and conceptions of dominating nature in the early 19th century. While in the scenery above Verney as a human spectator is watching three sunlike meteors from top of the dover cliffs the series „Zentralgestirne“ is multiplying the sun itself.

On the one hand the photographic result of multiple central stars at the sky seemingly accompanying each other in total equality and harmony is mimicking this specific section quoted above. On the other hand it can be seen as a demonstration of alternative thinking apart from what is humanly imaginable. Decomposing the one and only reality of a central and often godlike described star in our solar system can also lead to reevaluating the concept of humanity as one and only force dominating on a planetary scale. In the multiplicity of the three central stars lies a symbol of equality, cooperation and interrelation in the sense of for example polytheistic religion. This way „Zentralgestirne“ takes Shelleys Last man and transformes him into becoming the last man as representative of a human self image which in the 21. century seems to be more and more outdated.

[janherdlicka]

Zentralgestirne (...des letzten Menschen) Pt.I/II

film-photograph on baryte print

60x40cm

Edition 05+03AP

2022

„ suddenly the three mock suns united in one, and plunged into the sea. A few seconds afterwards, a deafening watery sound came up with awful peal from the spot where they had disappeared. (...) it appeared as if suddenly the motion of earth was revealed to us--as if no longer we were ruled by ancient laws, but were turned adrift in an unknown region of space. Many cried aloud, that these were no meteors, but globes of burning matter, which had set fire to the earth, and caused the vast cauldron at our feet to bubble up with its measureless waves.“

(Mary Shelley The Last Man 1826 p. 487)

The body of work „Zentralgestirne“  is a photographic reflection of Mary Shelleys novel „The last man“ which was released in 1826 representing late romanticism while at the same time pioneering apocalyptic science-fiction. The story of Verney as last living human being on an earth shaken by plagues and natural catastrophes can also be interpreted as literary anticipation of current thought models regarding posthumanity. In midst the description of rising apocalypse as result of a gigantic mesh of nonhuman rejections lies the general questionning of human sovereignty. The motif of collective loss of human control is central to the three part novel and uncovers the absurdity of romantic discourses and conceptions of dominating nature in the early 19th century. While in the scenery above Verney as a human spectator is watching three sunlike meteors from top of the dover cliffs the series „Zentralgestirne“ is multiplying the sun itself.

On the one hand the photographic result of multiple central stars at the sky seemingly accompanying each other in total equality and harmony is mimicking this specific section quoted above. On the other hand it can be seen as a demonstration of alternative thinking apart from what is humanly imaginable. Decomposing the one and only reality of a central and often godlike described star in our solar system can also lead to reevaluating the concept of humanity as one and only force dominating on a planetary scale. In the multiplicity of the three central stars lies a symbol of equality, cooperation and interrelation in the sense of for example polytheistic religion. This way „Zentralgestirne“ takes Shelleys Last man and transformes him into becoming the last man as representative of a human self image which in the 21. century seems to be more and more outdated.

[janherdlicka]

Zentralgestirne (...des letzten Menschen) Pt.II/III

film-photograph on baryte print

60x40cm

Edition 05+03AP

2022

„ suddenly the three mock suns united in one, and plunged into the sea. A few seconds afterwards, a deafening watery sound came up with awful peal from the spot where they had disappeared. (...) it appeared as if suddenly the motion of earth was revealed to us--as if no longer we were ruled by ancient laws, but were turned adrift in an unknown region of space. Many cried aloud, that these were no meteors, but globes of burning matter, which had set fire to the earth, and caused the vast cauldron at our feet to bubble up with its measureless waves.“

(Mary Shelley The Last Man 1826 p. 487)

The body of work „Zentralgestirne“  is a photographic reflection of Mary Shelleys novel „The last man“ which was released in 1826 representing late romanticism while at the same time pioneering apocalyptic science-fiction. The story of Verney as last living human being on an earth shaken by plagues and natural catastrophes can also be interpreted as literary anticipation of current thought models regarding posthumanity. In midst the description of rising apocalypse as result of a gigantic mesh of nonhuman rejections lies the general questionning of human sovereignty. The motif of collective loss of human control is central to the three part novel and uncovers the absurdity of romantic discourses and conceptions of dominating nature in the early 19th century. While in the scenery above Verney as a human spectator is watching three sunlike meteors from top of the dover cliffs the series „Zentralgestirne“ is multiplying the sun itself.

On the one hand the photographic result of multiple central stars at the sky seemingly accompanying each other in total equality and harmony is mimicking this specific section quoted above. On the other hand it can be seen as a demonstration of alternative thinking apart from what is humanly imaginable. Decomposing the one and only reality of a central and often godlike described star in our solar system can also lead to reevaluating the concept of humanity as one and only force dominating on a planetary scale. In the multiplicity of the three central stars lies a symbol of equality, cooperation and interrelation in the sense of for example polytheistic religion. This way „Zentralgestirne“ takes Shelleys Last man and transformes him into becoming the last man as representative of a human self image which in the 21. century seems to be more and more outdated.