#mention of the Dreamtime

[hasellia]

Hey don't cry, here's a story about a boy and a puppy thylacine (Kaparunina*) from the people who saw them.

How the Tasmanian Tiger got his stripes.

*Kaparunina is the name of the Tasmanian Tiger in Palawa kani, a reconstructed/composite language created by people of various indigenous tribes of Tasmania.

There is a referral to rape later on in the video, but the actual story stops before that.

[carbonox]

Hey there. I'm working on a track pack for a fangame mod based on PS2 era platformer classics, and Ratchet and Clank was one of the places on the list.

I want to know which planet from the series was your favorite. It can be from any R&C game that didn't come out on the PS3 onward, due to reasons

Pretty tough to pick just one favorite from the ps2 games, there are tons of planets that I really love!

So my immediate reaction to this ask when I saw it last night was planet Boldan from Going Commando, though after sleeping on it I don’t know if I’d rather go with that planet or with Kalebo III from RaC 1. So I suppose if you’re looking for a track idea, I’d say one of those two. Kalebo III might be a better representation of the series since it’s got the Gadgetron headquarters on the map

Honorable mentions are Florana from Up Your Arsenal and Notak from Going Commando

Good luck with your mod project, I hope it goes well!

[fatehbaz]

A Dreamtime story from the Nuenonne First Nation of Bruny Island off the Southeast Coast of Tasmania (lutruwita) narrates how [...] a young pup [...] of the “Tasmanian tiger” (thylacine) [...] transformed [...] into corinna [...]. When lutruwita -- Tasmania, also known as Van Dieman’s Land -- was opened for British colonization in 1803, a medley of settlers -- from [...] fortune-seekers to species hunters -- made it to the island in the course of a few years. Travel guides and memoirs published at the time soon dubbed Tasmania the “sanatorium of India,” drawing many British colonists to the island who hoped to recuperate their health debilitated by prolonged stay in the tropics.

More significantly, it wasn’t only materials and bodies that circulated between the colonies [India and Tasmania]. But also ideas, impressions, and experiences gained in one colony made their way to the other. [...]

Settler farmers identified the thylacine as a “blood sucking vampire” [...]. [P]olitician John Lyne -- a representative of the Tasmanian rural lobby -- proclaimed, quite preposterously, that “30000 or 40000 sheep” were taken each year by the thylacine [...]. By 1830, the Van Diemen’s Land Company was already offering a reward for the killing of [...] the “hyena” i.e. the thylacine. Likewise, Mercury reported in 1882 in a piece headlined “Tiger Extermination” that landowners declared “a reward of £5 to be paid for each full-grown tiger [...] and £2 10s, for all cubs [...]." As a result, the animal [...] was extirpated by 1936. Comparison between the thylacine and the Indian tiger abounded in settler discourses [...]. This was in spite of the fact that the thylacine and the Indian tiger were two entirely different species, morphologically and ecologically. [...] Yet early settlers in Tasmania, many of whom had first landed on or had connections in British India carried the idea of the tiger as a ferocious predator [...]. [T]hese representations of the thylacine’s “nature” were based on faulty understanding of the animal perpetuated by myopic colonial science that privileged imperial economic interests above all. [...]

---

One of the major thylacine traders in Tasmania was James Harrison. Known as the “West Coast naturalist,” Harrison purchased and sold about twenty-five live animals and twenty dead specimens of thylacine. He was born in the Nowgong district of Assam in northeast India to a family of speculators en route from England. It is noteworthy that James Harrison spent his childhood in a region in India that was known for its [...] wildlife. Game hunting [...] was [...] [a] common pursuit among the Europeans in Assam [...]. Moreover, the period saw a spike in the visit of professional hunters and species collectors to the region as vast [habitat] was being stripped off to make way for tea plantations. [...]

---

William Thomas Dennison, who served as governors of Van Diemen’s Land (Tasmania) and Madras in India, described in Varieties of Vice Regal Life (1870) the tiger hunts he had organized in India. Dennison’s book reinforced the idea that the tiger is a pest, an impediment to human progress, which echoed his policies towards the thylacine during his stint as the governor of Tasmania (1847-1854). [...]

---

Likewise, Sainthill Eardley Wilmot -- the grandson of Sir John Eardley Wilmot, the lieutenant-governor of Van Diemen’s Land from 1843 to 1846 -- served as a forestry officer in British India. Sainthill was born in Hobart in 1852 and spent his early life there. In My Home In Tasmania (1852), Louisa Ann Meredith mentions the presence of an “untamed” wild thylacine in Sainthill’s grandfather Sir John Eardley Wilmot’s private menagerie in Hobart. Later Sainthill Eardley Wilmot would take a particularly hostile attitude towards the tiger and other big cat species while working as the Inspector General of Forests in British India. [...] He also wrote an it-narrative about the Indian tiger, The Life of a Tiger (1911), that predicted the tiger’s impending extinction. On multiple occasions, he has alluded to the thylacine “wreaking havoc” on flocks of sheep in Tasmania. [...]

The material circulation of the living thylacine in India is little known apart from an exhibition of two live members of the species at Madras Zoo in 1886 [...]. The narrative circulation of the animal, however, has been relatively plentiful.

---

Text by: Bikash Kumar Bhattacharya. "Constellation Spirit, Vicious Vermin, and Icon of Environmental Guilt: Affective Entanglements of the Thylacine in Tasmania and India". The Otter, Network in Canadian History and Environment (NiCHE). Emotional Ecologies series (edited Jessica M. DeWitt and Sarah E. York-Bertram). 20 July 2023. Published at: niche-canada DOT org/2023/07/20/constellation-spirit-vicious-vermin-and-icon-of-environmental-guilt-affective-entanglements-of-the-thylacine-in-tasmania-and-india/ [Image and caption are shown unaltered as they originally appear included in Bhattacharya's article. Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[mournivaldisco]

A master post of all my Warhammer fic.

Spot the post-rock titles.

Silly - crack/outside of canon, no smut:

Assorted Yarns from the Warp – random cracky one-shots about various characters

An Average Monday on Prospero – Primarch bodyswaps

The Primarchs Read Mean Tweets – self-explanatory

Never Have I Ever – primarch drinking games

Documentary Evidence – Dorn reviews Mersadie’s memory coils during her imprisonment

Sanguinala Silliness – in the 41st Millennium, Guilliman and the Lion try out Sanguinala customs. Works up to shipping, no smut.

Fluff or silly, but could technically take place in canon:

The Bear – Tarik tells his favourite joke to the Mournival

Mountain Heart – The Lion inhales sleepy cuddles pollen. Set on Sotha during the Unremembered Empire

Dreamtime – sleepy Sanguinius

Serious - missing scenes/reinterpretations close to canon, no shipping that would be unimaginable in canon (take with a pinch of salt if you are not a Loken/Mersadie shipper):

These are my favourite to write. Just taking the canon and pushing it a teeny bit.

And So I Watch You From Afar - Erda writes to her sons.

When the Sky is Burning, When the World is Falling Down – missing scene from The Solar War. Loken and Mersadie

These Depths Were Always Meant for Both of Us – written before EatD vols 2 and 3 released, set in upcoming books. Loken and Mersadie

The Death – written after finishing EatD 2, set in upcoming book 3. Loken, the Emperor and Horus, mentioned Sanguinius

Dynasty – written after finishing EatD 3, set some time immediately before the Siege. Horus and Fulgrim

After the Fall – written after finishing EatD 3, set at climax of that book. Loken and Mersadie

Serious/smut – doesn’t conform to established canon, heavier shipping:

Reconnect (WIP) – divergence at the point of The Solar War. Mersadie/Loken fluff in epistolary form. No smut

A Day Dark with Night (WIP) – Set immediately after Curze’s attack on Azkaellon. Sanguinius/Azkaellon. Will contain smut in future chapter

A Steamy Meeting – Guilliman, the Lion and Sanguinius in the bathhouse on Macragge during the Unremembered Empire era. Smut

Inconsequential – Set during Unremembered Empire era. Established Guilliman/Lion/Sanguinius. NB Sang coming out. No smut.

Vampires will Never Hurt You – Guilliman’s POV on the 41st Millennium, mourning Sanguinius, with flashbacks to Unremembered Empire era with G/L/S (smut). This is my favourite single thing I’ve written.

That Intimate Knowledge – written after finishing EatD 2, looking back at Horus/Sanguinius’ relationship. Little bit of smut

Scenes from a Reunion – written after reading The Lion: Son of the Forest. Technically not aligning with canon re Launciel and Galad because in canon it was just subtext

Experiments – Set in the 41st Millennium when Guilliman decides to remove the Armour of Fate. Smut starring Yvraine.

Sudatoria – Sanguinius and Guilliman in the bathhouse in Unremembered Empire era. Smut.

Quality Time – the Mournival discover porn. Smut

Closer – Sanguinius/Jaghatai set during the Siege. Smut

Nowhere, Still Somewhere - Loken/Abaddon angsty smut post EatD3

A Horus Heresy (WIP):

Series which became an AU Heresy. Everyone is bonking each other.

Heresy of the Free Spirit – Horus/Sanguinius first getting together, set after Melchior. The first Warhammer smut I ever wrote.

We’re Falling Through Space, You and Me – Loken and Mersadie getting together, set during Horus Rising. Smut (There’s a line in this which makes me giggle to re-read because it’s so abrupt, like Mersadie, slow down girl.)

The Time of Perfect Virtue – AU from Horus Rising events. Loken or Mersadie’s POV until later chapters. Smut and drama and heresy.

A Gathering – Fulgrim/Horus/Sanguinius threesome. Smut

Milestones – an OC from this AU contemplating things. Gen.

Come Ruin and Rapture (WIP) – continues the cliffhanger from the Time of Perfect Virtue. Smut and drama.

[lishadra]

you mentioned wanting to hear stories from First Nation Australians in the tags of the kangaroo post so I thought I'd share this with you. dreamtime stories have a long history, with some stories estimated to be more than 50,000 years old.

https://japingkaaboriginalart.com/aboriginal-dreamtime-stories/

YOOOO THANK YOU

[animalsdoingcapitalism]

In the 1860s, killer whales struck a kind of deal with European whalers in Eden, one that the coastal Thaua people*—part of the Aboriginal Yuin Nation—had laid the groundwork for thousands of years. With the guidance of Thaua crew members, the whalers went from treating the orcas as pests to seeing them as partners, under what came to be known as the “Law of the Tongue,” in which orcas would help the whalers find and catch larger baleen whales, in exchange for their favorite parts: the lips and tongue. The deal went swimmingly, it seems, until, it is said, white whalers ruined it.

“They [the Thaua and killer whales] had this really good relationship long before the whaling,” said Lynne Thomas, daughter of Yuin elder Guboo Ted Thomas, in an interview with the Australian Broadcasting Corporation (ABC) in 2014. “That relationship was very strong, not only through working as a whaleman down there at Twofold Bay, but also culturally, because they’re part of our dreaming stories.” In Australian Aboriginal cultures, Dreamtime stories explain how things came to be.

“We consider beowas [killer whales] to be our brothers,” writes Thaua traditional custodian Steven Holmes in a foreword for a new study on Eden’s orcas in the Journal of Heredity. “In Australian Aboriginal cultures, Dreamtime stories explain how things came to be. The Thaua’s Dreamtime stories say that when a Thaua member dies, they are reincarnated as a beowa. The beowas remained part of the Thaua, even after passing.”

For a long time, the Aboriginal history was left out of the story of Eden’s killer whales, says zoologist Danielle Clode at Flinders University in Australia, who spent years digging up the truth behind these stories for her 2002 book, Killers in Eden. “There was no mention of Aboriginal people whatsoever. It was a purely white story, [like] they arrived and trained the killer whales like sheep dogs.” But now, the museum, historians, and other researchers are beginning to center the role of the Thaua.

“If it hadn’t been for the Indigenous crews on those boats, I don’t think that that relationship would have evolved,” says Clode. “And the Europeans would have just killed the killer whales because they were getting in the way.”

Thaua crew members insisted the orcas be spared, and showed the Europeans that they could be an asset, explained Thomas. More than an asset, a partner, Clode adds. Through her research, she concluded that the orcas weren’t just working side by side with the whalers, but actively collaborating, as the locals’ and museum’s stories say. Four remaining eyewitnesses explained how the hunts went in a 2004 interview in an ABC documentary based on Clode’s book. The orcas cornered whales in the shallow bay and sent scouts to the whaling station to signal the men it was time to hunt. The orcas would then guide them to the trapped whale, and wait for their reward. Once the whale was harpooned and killed, the whalers would let the body sink, so orcas could feast on the lips and tongue. Once the body bloated a bit and floated, the whalers could pull it ashore.

[afwfan]

Heel Dani has discovered that her forearms are more versatile than she originally gave them credit for. The outside edge isn't just good for being driven into an opponent's neck, it can also be used to club across the back of the head and neck. The inside edge isn't just good for compressing the cardioid on the side of the neck, it can also be used to club across the chest, throat or face in a clothesline, not to mention it's use for collapsing an opponent's windpipe.

Lucy has been on the receiving end of most of these things today, and mostly holding in there until...

Dani has learned how to use her thumbs also, and when the chance presents one of them digs into Lucy's eye socket. Cursing in pain and anger, Lucy makes a serious mistake.

Under no circumstances should you expose your back to Dani Dreamtime.

Inside blade of the forearm. That list is now complete. I don't think we're going to be seeing any further entries after this one though...

[experimentik]

Experimentik #71 / February 21. 2024 / Peter Cusack / Kaffe Matthews / DuChamp

February 21. 2024 / 20:30- (doors 20:00)

3 x Solo:

Peter Cusack - field recordings, guitar

------

Kaffe Matthews - live processing the Ripley and Worm. 15th century alchemical systems

------

DuChamp - no-input mixer

------

FB event: https://fb.me/e/1clG9gmh3

----------------------

Peter Cusack is a field recordist and sound artist/musician with a long interest in the sound environment. He initiated the “Favourite Sounds Project, which started in London and has since taken place in Beijing, Prague, Manchester, Taranto, Hull, Berlin, Braunschweig. His project ‘Sounds from Dangerous Places’ (sonic journalism) has investigated the soundscapes of sites of major environmental damage like the Caspian oil fields, the Chernobyl exclusion zone and the Aral Sea, Central Asia, and asks the question, “What can be learnt about dangerous places by listening to their sounds?”. He is a member of Crisap (Creative Research into Sounds Arts Practice) at the University of the Arts, London and during 2011/12 was a guest of the DAAD Berliner Künstlerprogramm. His current work – field recording, audio streaming, soundwalks, guitar playing on location – often concerns the environmental crises as it is heard close to home, particularly in Berlin where he lives.

----------------------

Kaffe Matthews is a pioneering music maker who works live with space, data, things, and place to make new electroacoustic composition. Site, accessibility and the physical experience of this music has always been central to her approach and so she has also invented some unique interfaces – the sonic armchair, the sonic bed and a variety of sonic bikes which enable new paths into composition for makers, and ways in to listening for wide ranging audiences.

2021 and she developed the breathing Enviro Bike to enable riders to hear music made by the pollution of the air as they ride.  Summer 2022 saw the Buzz Bike in street compositional research in Berlin, now ready to make new vibrational composition.

Today, Matthews is back live on stage with no laptop. Instead a new DIY instrument the Ripley, a noise filter system designed on alchemical discoveries made by G.Ripley, a 15th British alchemist, flanked by 2 processing ipads.

Long concerned with community and the environment, Matthews has also established the collectives ‘Music for Bodies’(2006) and ‘The Bicrophonic Research Institute’(2014) where ideas and techniques grow within a pool of coders and artists using shared and open source approaches, publishing all outcomes online.

Since 1995 Matthews has performed and taught worldwide, receiving awards such as the NESTA Dreamtime Fellowship; Honorary Professor of Music, Shanghai Music Conservatory; a Scottish BAFTA with Mandy McIntosh & Zeena Parkins; Distinction Prix Ars Electronica Sonic Bed_London and Honorary mention for cd cécile. She is the first woman to have received the Edgar Varèse guest professorship, computer music, TU Berlin. Kaffe has also been releasing solo works on Annette Works since 1996.

photo © Samuel Carnovali

----------------------

DuChamp is an Italian scientist, musician and curator based in Berlin, religiously devoted to drone. She released albums for Boring Machines ("Nar"), Idiosyncratics ("Sculpture"), Full Body Massage ("A Blazing World"). Since 2017, aside baritone guitar and keys, DuChamp incorporate real field recordings in her music, related to her personal memory, into her drone compositions, by adding layers of sounds and noise in attempt to recreate some kind of apophonias.

-----------------

Experimentik 2024 is kindly supported by inm

[aokozaki]

do you have a favourite dreamtime story?

To make sure I was thinking of the right thing, I googled the Dreamtime. Did you know it's possible it's based on a mistranslated term? But calling the mythic history of Aboriginal Australia "Dreamtime" or "Dreaming" is so ingrained in academia and pop culture that many indigenous Australians use the term (at least in English) anyway?

Wikipedia calls it a "self-fulfilling academic prophecy".

In any case, it's been ages since I heard any, and I don't remember which group this was from, but I've always been enchanted by one particular story explaining how the stars came to be.

I mentioned it a while ago, but I'm fascinated by the idea of the "firmament", the idea of the stars being a literal dome far above us. Due to parallax perspective, that's what it looks like to the naked eye, and so many cultures independently framed the night sky the same way.

As a big dome, perhaps with holes or points on it. That's so neat.

[eagledreaming]

YOU ARE ENOUGH ENABLING FOR ME TO GO ON THIS TANGENT. YOU BROUGHT THIS UPON YOURSELF LYSSA.

As a preface, this is me mixing Nasuisms and Deep Nasu Lore with Gamilaraay Dreamtime Stories, so it may be a bit hard to read because I know from personal experience people have a hard time when it’s far out of their knowledge zone. But please know that I put a lot of thought into my people’s past and how it might fit into the Nasuverse.

To start, we go to the beginning, Bayami, The Ancestral All-Father, a gigantic man whose arms can stretch further than any other mans can. He first came down to the earth many years ago. He landed upon the lands of what would eventually become the countries of Eora, Kamilaroi, Wiradjuri, Guringay, Darkinjung, and Wonnarua. And he began exploring this land that he had heard a call from beyond the borders Milky Way's Arm, all the way in his home of Bulimah.

He first met a serpent with scales of iridescent opal, the Rainbow Serpent, Garriya. an ancient dragon older than time itself. For how long Garriya had rested no one can say, but Bayami's arrival awoke the serpent, and they had a lovely conversation and began to travel with each other. The massive body of Garriya formed rivers and mountains, and Bayami's massive arms formed valleys and caves, and Bayami used his power to fill in the rivers with water.

Soon enough his actions gained the attention of the Great Mother Elemental of this region, Birrangulu, who was curious to what was causing such a ruckus within her domain. The handsome Bayami and the lovely Birrangulu were smitten with each other at first sight, and Garriya knew to back off and return to his sleep for a time.

Birrangulu blessed Bayami with a new power, he, like her, would be a source of all Maa, Spirit Animals, within Australia. And their children would eventually take on the forms of one that is connected to their ancestral parents.

Bayami and Birrangulu had many children, but the most important two were Daramalan and Muni Burribian. Who were given the laws to live amongst humans by their parents, and they themselves passed on those laws to the humans in turn so that all could live in harmony with the world and with each other.

Many of Bayami and Birrangulu's children intermingled with the many Murri tribes across the Central Eastern Australia. Their spiritual potency elevating the murri people until all of them were partly as powerful as the first children of the ancestral all father Bayami.

Once Bayami felt his time was done, he had left Australia, leaping from Mount Yengo into the stars above and returning to Bulimah his home amongst the stars, the Sky Camp.

Now most of this admittedly just me repeating Kamilaroi Belief on the origin of the world, with some Fate-isms slipped in, but it's the primer of everything. After all, I need to give a primer for what I am about to go on about. Bayami is not of the Earth as I mentioned, he is from the Bulimah, The Sky Camp. Bulimah I am having the idea, is a planet in the Star System of the Farthest Star of the Milky Way. This is because Bulimah is "hidden behind the milky way" to the view of the Murri Peoples. Which in my head, "Hidden" means that it's not something visibly in sight from the naked eye, which the farthest star, behind the mass of stars that make up the milky way, would be. Bayami is The Ultimate One of Bulimah, as I've said a few times. He came to the Earth the first time because he heard Gaia's call for the Ultimate Ones of the Solar System all the way from Bulimah. How did he hear it? That is just the kind of person the people of Bulimah are, and especially Bayami, as their great hero and their ultimate being of the planet.

He is powerful, able to leap across the stars above to reach wherever he desires across the Milky Way. He can traverse the stars with ease. This is a trick the others of the Bulimaroi can learn, but Bayami is the best of them all, incomparable in his potency. Due to the ancestry of Bayami and Birrangulu, two who are not human, and not mortal by any means, The Murri Peoples at first had a different kind of mortality from the normal humans of the other nations across Australia, and especially all of humanity really. How then did they become to have the same mortality? Quite simply, Bahloo is the cause of all this.

Bahloo, The Moon, was trying to evade Yarai, The Sun, who was trying to make him her husband. Yet he did not want to be her husband, so when he was crossing a lake to escape her, he asked for the help of the Daens Tribe to help his snakes cross the river. However, the Daens were afraid of his snakes, thinking they would bite them. Out of spite, frustration, and anger, Bahloo cursed the Daens and all of the Murri People, that they would live as all Humans do, and die as all Humans do, and snakes would forever be at odds with humans.

[akasztofavirag-por]

for the band ask… your personal favourite band and song by them? 💚

I have several favorites but I will go with Ayreon this time. I will go with The Sixth Extinction but some honorable mentions/other songs to check out are: Dreamtime, Across The Rainbow Bridge, Ride The Comet, Day Three: Pain, and Journey To Forever.

Thanks! ❤️

send me a band/artist and i’ll tell you my favorite song by them.

[fineartsjournal]

213341 Art Studio IIIA ⋆ Weeks 5 - Eueuguuughhhh

The plan: make something entirely out of my small selection of bargain bin albums, and present it.

Keeping in mind, the plunderphonics must flow. No further depth to the samples used, presentation is to be entirely encased in its technique - like any artwork produced prior to the invention of the camera.

So I could actually hear the new albums I brought, I ordered this bad boy on TradeMe.

…and it came not even two days later (albeit twice as expensive as I had hoped).

Without hesitation, I put it straight to work, ‘ripping’ audio all nine of my CDs, to which I stored them neatly both on my PC and on OneDrive, prepped and ready for all my sampling exploits.

Giving them a skimmed listen, I can proudly say that they're all terribly mediocre in their own special way:

The Shadows - Dreamtime: An instrumental soft-rock cover album featuring a pedal-steel guitar that gets old, really fast.

Theo Eastwind - One: Easy-to-forget folk rock with no dynamic flow whatsoever. It's just... loud.

Kim Stockwood - 12 Years Old: Decent, chill pop. I could hear a couple sample-able moments in there somewhere.

Fruit - Here for Days: Another folk rock album?? Slightly more memorable than One, but just as loud.

MC Trey - Tapastry Tunes: Probably the best one out of the bunch, but her voice throws me off - she's Fijian-Australian, why does she have a British accent? She had an interview with Rolling Stone, why does her channel have 274 subscribers?

James Hill - A Flying Leap: Instrumental ukulele album :(

Ylva Skog - Terra Firma: Avante-garde-y classical music, okay sampling material.

Clay Aiken - Measure of a Man: What? You haven't heard of THE Clay Aiken? 2003 American Idol runner-up Clay Aiken? Featuring an NZ-only cover of Bridge Over Troubled Water? Burn in hell, Clay.

Imelda May - Love Tattoo: Another acutally nice album; a whole lot of rockabilly jams! Also, the only album that the cashier recognized.

I also added, from my dad's records, this extra CD to my collection, called “Cool Fever - From Disco Jazz to Jazz House” that, while available in physical form through resellers, cannot be found in any digitally archived form online - and that added spice of obscurity is fine by me.

John Oswald! We're overdue talking about him. While we've made a fair bit of mention towards the second, isolated invention of plunderphonics in the Bronx; John Oswald's definition of the genre saw more 'academic' origins.

With works stemming as far back as the late 1960s, his time at the Simon Fraser University would see him participating in the 1968-onwards World Soundscape Project (an ecologically-focused wildlife sound collage which is quite self-explanatory); using these sound collage methods, and informed by the literary Cut Up Technique popularised by William S. Burroughs, Oswald would perform various sampling experiments from the mid-70s onwards.

In 1985, Oswald presented to the Toronto Wired Society Electro-Acoustic Conference his essay on plunderphonics - which coined the term. His paper laid out the philosophy behind the genre, and its place within the history - and legality - of music.

He then applied these philosophies with the 1988 EP (and subsequent 1989 album release) - Plunderphonic - with a parodical take on the album cover for Michael Jackson's Bad, where MJ's torso is collaged with a nude model.

This accompanies the central track to the release, daB, which jumbles around the song Bad to an extent not dissimilar to Collage #1 ("Blue Suede") 28 years earlier - to take the 'lowbrow' pop hit and flip it into the 'highbrow'.

What it accomplishes in its seven-minute runtime is a technical marvel, a satiric time capsule that sounds as fresh as it sounds incoherently groovy, humorous, and even spooky.

Although Plunderphonic was distributed freely and at expense to Oswald, it goes without saying that Oswald landed himself in legal trouble due to the nature of this release; with the Canadian Recording Industry Association ordering the destruction of all undistributed copies.

The music video for daB released in 2016 after two years of production, and visually ensnares the idiosyncrasies of daB to a 'T'. In a later edition of the Plunderphonical Chronicle, I will mention the symbiotic relationship that the genre, in a specific, 'meme-y' form, has had with video editing.

In 1993, Oswald released his magnum opus, the logical endpoint to the genre, Plexure. The following screenshot is taken from the official entry on plunderphonics.com:

Micro-sampling just about every charting CD release from the decade, Plexure features 20 minutes of "megaplundermorphonemiclonics", with a new sample appearing roughly every second to a total of "1,001 electroquoted contemporary pop stars*" as well as "*including hundreds of morphosoniferous performers".

It's best compared to quickly changing radio stations, but you have to appreciate the technical prowess that goes into an album as DENSE as this.

It's an intense listen, but I'd recommend it at your Plexure.

[atwas-meme-ing]

The Monkees Headquarters

Original Album Favorite Song: Shades of Grey. Wonderful song about growing up and realizing the world isn't as simple as you thought it was. Least Favorite: Band 6. I mean, there's nothing there, it's basically just filler. It's a little funny, tho, once you find out they were trying to do the Looney Tunes theme.

Special Edition Favorite Song: Can't choose between All of Your Toys and The Girl I Knew Somewhere. Both are so amazing, and both should have been on the original album, you won't change my mind. Least Favorite: Jericho. I think this is the only Monkees song that I almost always skip when I binge listen to them. Yes, I hate this one strictly because they are making fun of a Bible story. I have that right.

Songs with more than one version and my favorite version is on this album I'll Spend My Life with You- The arrangement of the first version on More of the Monkees sounds too sweet. This one sounds sadder, more wistful, and I think the pedal steel contributes a lot to that. I Can't Get Her Off My Mind- I like how this version has that old-timey sound to it. The intro usually makes me think of Charlie Chaplin, it's that kind of sound. The Girl I Knew Somewhere- I honestly prefer Micky's version, just because I think Micky's voice works better with the instruments (I know nothing about music theory, but I would guess it has something to do with the key Micky's voice is in?). But I do wish they had mixed it as Micky's lead vocals with Peter and Davy's backing vocals (from the version with Mike's lead vocals). Once you hear Peter in the background- not to mention the harpsichord player (probably also Peter) going wild at the end of the song- the officially released version that we all know and love just sounds wrong. Wish I knew how to remix, I'd put Micky's vocals over Peter's backing track myself, just to see how it should have sounded. Pillow Time- Ok, call me crazy, but even if we throw out the banter (which I actually enjoy), I think we lost something by not having the repeat and Micky's zither in the Present version of Pillow Time. This one made it sound like it was supposed to be some psycho-jello dreamtime song, which I think would have worked well, considering it's a lullaby.

[scottelkartwork]

EXHIBITION

PAINTING / SCULPTURE

Nexus - The Collective Works of Recent National Art School Graduates

Shaffer Gallery, Darlington, Australia

May 25 - June 3, 2023

What I connect with…

Nexus at Sheffer Gallery is an exhibition of recent National Art School Students, organised and curated by my good friend and artist Vicki Potter. Potter’s works in the show (the first three shown above) are a real highlight, showcasing her technical proficiency with her favourite medium, as well as showing her unique ability to pull colours together that give the domestic settings of her artworks moments of pure joy.

The work of assemblage artist Kim Baldwin has considerable impact within the context of the mostly painted wall works that make up the show, with its bright colour panels and sculptural forms that emerge out from the walls, spill out onto plinths, and rise up from the floor. Baldwin also has a sizeable corresponding painting that takes its colour cues from her sculptural work, establishing a dialogue between mediums, that speak of her organic process of playing, and making discoveries, with forms and colours finding their perfect eventual fit along the way.

Martin Williams is another artist working across disciplines adding three new bronze sculptures to his repertoire, as well as an impressive blue painting drawing parallels to Francis Bacon but clearly inspired by the unique National Art School chapel space that is now home to life drawing classes. Williams curious figurative sculptures are a real triumph.

Near the entrance to the exhibition is a series of small works by painter Olwen Henstridge. The three intimate still life compositions could almost be a triptych, but are instead presented as three individual works. Each feature a small glass vessel with a white and yellow striped table cloth, and in two of the compositions, various fruit. Henstridge’s keen observation of the glass makes them feel luminous, as well as adding shadows that give the forms weight. My favourite is the first panel that has a more muted palette, and a dark burnt umber hue cutting out the contrasted shape of a sherry glass.

Mat Hooker continues his exploration of figures in a landscape, but plays with scale creating compositions that pull the works into a place for emotive consideration; are these figures expressions of the landscape? Are these beings of some mythical origin story akin to the indigenous Dreamtime? Or are these landscapes an emotional expression of the figure? The ambiguity of Hookers work sets up the foundation for the viewers curiosity to project their own lived experiences into his imagined landscapes, with the outcome different for each person who views the work, guided only by the subtle hint of figurative gesture.

I’ve mentioned just five of the ten artists on offer here, who each bring something unique to the table, definitely making the trip into the gallery well worth it. Of course I may be biased having spent the last three years with these people, but if an art scene is a club, then supporting your mates is a good place to start to build a thriving arts community. Well done to everyone involved.

Open now till June 3.

[indiapicture]

Stock Photography Explained and Examples of Stock Images

Indian royalty free images are ideal for your product images, photography and graphic work. Our collection includes a wide variety of royalty free images for all your needs like ecommerce, website templates, banners, brochures and flyers. This royalty-free stock photography is high quality and original.

Nowadays, stock images and photography are an important part of photography. It's similar to magazines, fashion, and industrial photography. To comprehend this significance, one must think of it as a branch of photography that handles the images licensed to a particular person or company. Most often, they are created and destined to be used in a particular task or for a database. A perfect example of such imaging could be the photographs taken by Discovery, the nation's geographic and Discovery. The images are usually used as the company's intellectual property and are available for sale as such.

Here are a few things that one must know about using Stock Images

* The royalty-free image* Right managed imagery

* The history of stock images

Images and industry structure

The most common usage of these images is in the professional setting. There's always a stock or a bank of images that has a selection of images with a particular purpose. Instead of understanding the pictures and their history, you should focus on using these famous images.

The general organization of photography, per the first international conference held in Belgium in 1911, provided the first set of photographs. Another important source is Getty Images; after this, the Corbis was the next popular image bank. You should consider these early attempts at stock images very seriously, even with the most advanced equipment and resources available. We are yet to witness the dedication and resourcefulness demonstrated by these banks.

Similar to the images being utilized by the agency are used only under a license that is usually obtained by paying an amount. The percentage of use is usually determined by the audience or readership of the image, too. Consider this an example common to rights to movies that are in the air purchased by the various Hollywood agencies, and they depend on the number of viewers and the frequency of the airing. More viewers mean that the movie won't receive the same exposure twice; eventually resulting in an image will be priced higher in the cost of the picture.

Furthermore, the newest entry in the world of stock images is those published by popular websites like Dreamtime, Indiapicture, Scoop, and Indiapicturebudget. These are the final phases of the image industries that are expanding exponentially, particularly after the creation of technology for digital imaging. Today, you can master numerous new techniques of the trade and master the basics too.

The above-mentioned websites have over the years become favorable in terms of the quality and the quantity of their Indian royalty free images available for use commercially. Though there are many other websites where one can find creative commons images like Wikimedia, Indiapicture and Indiapicturebudget the ones mentioned above are certainly worth a look.

[mythologyfolklore]

Ares and Athena through the years - Ch. 17

Chapter Seventeen: The gods during the dark age

.

“My, those were a few messed up mortal centuries!”, Zeus exclaimed.

The legendary kings of old were no more and the last heroes had finally passed away; Menélaos and Helene, who had been granted a prolonged life, had died together and their souls had been carried away to Elysion, where many of their friends were waiting for them.

“Now that this mess is over, I think mankind should have a break – preferably several centuries.”

“U-huh”, Apollon agreed. “The Age of Heroes is over now. Soon the people who worship us will forget how to even write. The old cultures are dying.”

“So they won't remember us? We will be forgot?”, Hera asked, bewildered.

“Not really”, Zeus soothed his wife. “We will remain in their collective memories. In a few centuries, they will relearn how to record things and stories. They will remember us again and this time, they will write about us. Mankind won't forget us, just where our worship came from and who we once were.”

“But can't we just make them write everything down now, instead of letting them forget?”, Athena objected.

Zeus shook his head. “No, my child. We have been meddling way too much lately. Humanity doesn't need us now, it needs rest. It needs time.”

The goddess of wisdom sighed sadly, but didn't protest any further.

.

What were centuries to humans were but decades to the gods.

During that time, they focussed on their own lives.

And on their family.

Eris had damaged the bonds between the gods during the great war, but now it was time to repair their family ties.

Of course Eris and Ares' twin Enyo received a house ban; Zeus was now hundred percent done with the quarrelsome nature of his daughter and of the daughter of Nyx. Not only he – the other Olympians applauded, when he announced his decision.

.

It was a lot more peaceful and a lot more quiet.

Without Dionysos' constant partying it would have been too quiet.

It had been ten Olympian years now and Ares was still travelling the world.

Sometimes he wrote letters to them, but he wasn't much of a writer and his messenger bird needed a while to get to Olympos from wherever its master was.

None of the Olympians would have admitted, that they were happy about the war god's letters. Except for Aphrodite of course; she was quite openly joyful every time the divine vulture arrived with as many letters as it could carry in its talons.

Today was such a day.

They were holding council, when Iris came in.

Zeus rose from his throne. “Iris, this better be an emergency. You know that no one is allowed to disturb the council meetings of the Dodekatheoi, unless the matter is important.”

Iris cleared her throat: “Forgive me, my king, but here is a letter from Ares.”

The meeting was forgot instantly and everyone jumped up.

The eleven Olympians gathered around the rainbow-haired messenger, until Hera snatched the roll of papyrus from Iris' hand.

“Let us see it!”, Aphrodite demanded.

“Everybody settle down!”, Zeus commanded. “Hera, give the letter to me. Let's gather around Hestia's hearth and I will read it to you all.”

So they all did.

Hestia eyed them curiously, as they all gathered around her warm and friendly fire.

“My dear sister, our goddess of the hearth”, Poseidon spoke, “We want to have a little family moment in your peaceful presence.”

Hestia smiled through her flame and it became just a little brighter, as her aura of domestic harmony spread out.

As they all sat down on the floor, Zeus unrolled the scroll and began to read:

“9th Maimakterion¹ (I think)

Dear family,

sorry for not having written to you in a while. Been kinda busy lately. I just arrived here. I'm being on the move a lot, so I don't stay in one place for long enough to have something to write about …”

Zeus huffed: “And he's not even telling us where he is!”

“Read on”, Hera urged.

Her husband went on: “I'm kinda on the other side of the world right now. Kinda boring here in Polynesia – oh, so that's where he is – but it's fun to fly above the Pacific Ocean with the wind. The ocean is so huge, that I need ages to find the tiniest islands. And even longer to find islands where gods live. The communication is awkward, because I don't speak their language and vice versa. Worse, they seem to speak, if not a whole other language, then at least a different dialect on each island. Even using sign language is problematic sometimes. But they seem friendly enough and they do seem to understand the concept of host and guest exchanging presents. There are a few things I have memorised so far, mostly a bunch of prohibitions called Tapu². Some of them are pretty dumb, if you ask me. Then again, once I manage to tell them about my home land, they would probably think some of our traditions pretty stupid too (reasonably so, if you ask me). The peoples of Polynesia have no writing system and neither have their gods.³

So yeah. I'll be staying here for a few mortal decades. Boring as it is around here so far, it's also weirdly relaxing and maybe I will finally get the hang on those Polynesian languages and their culture, which is pretty similar between all these scattered islands (luckily for me). Perhaps then I'll be able to tell you guys more.

That's it.

Sorry for this letter being so short, but there really isn't much to write about right now (also I'm running out of writing material). Maybe I'll go to Australia next.

Sending you gifts from the indigenous gods. They may be simple compared to the last ones, but they were made with love, so you better appreciate them.

Lastly, I'm fine and hope you're too. I'll let you know, when I come to Australia and how long I will stay there, so you too can write to me and tell me how you're doing. I haven't heard from y'all in a while and … well, I just think about you guys a lot. Wish you were here.

Love and miss you all and wishing you happy early or late birthday, because I can hardly congratulate you all punctually.

Always  yours, Ares.”

Zeus rolled the letter up. “That's it. The letter really is way too short. Such a shame.”

“Show us, what else he sent us!”, Aphrodite demanded.

The King of the Gods rolled his eyes, but opened the magical bundle the letter had been attached to.

“Ah, look at that!”, he cried, when he pulled out a huge-ass shell. “I think that one is for you, brother.” And handed it to Poseidon.

The sea god laughed and cradled the shell in his lap.

Afterwards each and every of the Olympians received a present of some sort.

Athena grinned, when she was handed a harpoon.

“Don't even think about it!”, Poseidon snarled.

“Too late!”, the wisdom goddess smirked.

“Ah, this is also for you too, I think”, Zeus said, when he fished out a bundle of scriptures written on tree bark, probably because Ares had run out of papyrus.

Athena skimmed over a few of them and smiled. Ares had sent her an account about what he had understood about the culture of the people there so far. How thoughtful of him.

“Here are a few recipes for Hestia – oh, he even has some gifts for Hades and Persephone! Flower seeds and … oh great, more of those creepy masks. Hades will love them.”

“Did he not send anything for me?”, Hephaistos inquired glumly.

Zeus searched through the package. “Doesn't look like – ah, here! 'Dear brother, sadly I haven't found a people that knows metal work so far, so have some photographs.'”

The divine smith beamed and took the stack of photographs.

“Show them to us, pleeeease!”, Aphrodite begged.

Hephaistos handed them around, so the other gods could look at them too.

After the gods had passed the pictures around with lots of chatter, they each tucked their respective souvenirs away and sat in comfortable silence.

Eventually Aphrodite whispered: “I miss him so.”

“Me too”, Hephaistos agreed quietly.

“As do I”, Hermes admitted. “Even though he calls me squirt and pipsqueak all the time.”

Athena spied Zeus and Hera clasping each other's hand – they missed their son too, even though they didn't say it.

Even she herself did miss her prick of a half-brother.

It just seemed too quiet around here, even with Dionysos throwing a party at least once a week. It felt wrong, not seeing him every day, not hearing his dumb suggestions and annoying rambling about violence and the horrors of armed conflict, seeing his throne empty in the assembly … and having someone to spar with. She couldn't even train with Enyo, because the goddess of bloodlust and violence had a house ban (and Zeus was showing no sign of lifting it anytime soon).

Even not hearing the inevitable insulting nicknames felt off by now.

It was lonely without her volatile counterpart.

Not that she would admit it.

.

A few months later, the Olympians got a letter saying that he was in Australia.

“You wouldn't like it here”, Ares wrote. “The part of the continent where I'm in is unbearably hot (the deserts of Egypt are a dream compared to that) and the gods around here are actually ancestral spirits, rather. They're really benevolent, but you wouldn't like their life style. They're nomads, which honestly is no wonder, because the great desert is … well, pretty damn dry, so staying in one place wouldn't make any sense. They live as hunters and gatherers, just like the mortals here do. Australia has a unique flora and fauna though. In other words, it's fine, if you're tough and can live without the comfort of our civilization.

Btw, I've heard stories about a rainbow snake, who is asleep during dry season and shouldn't be woken up from their slumber. I think I'm gonna wake them up.”

A few weeks later, he updated them: “Waking up the Rainbow Serpent was a shitty idea. The indigenous gods and mortals are now pissed at my stupidity (and my disrespect). The Serpent was really pissed at being disturbed, caused one Tartaros of a thunderstorm and set the whole area underwater. But hey – this place really could use the rain.”

The Olympians laughed; this was just such an Ares thing to do!

.

Not long after, they got a letter from the New World.

Ares was in South America and travelling up the continent. He would then move on to North America, he wrote, and once he was done there, he would cross the Atlantic and stay with the Norse gods for a while, before returning to Hellas and Olympos.

Zeus put the letter down and sighed: “I hoped that he would return to us right away, as soon as he's back on our continent.”

The other Olympians nodded glumly.

But there wasn't much they could do; they couldn't keep Ares from visiting his old friends, especially when he was so far away.

.

A few Olympian years later, Ares had finally got his arse up to leaving the Americas and the first European pantheon he stayed with was the Norse one.

“Welcome, Ares, son of Zeus!”, Óðinn greeted the Olympian. “Your father told us, that you were on a journey. I hope your travel was safe?”

“Yup!”, Ares grinned. “Safe and fun! Sorry for just showin' up here, but thanks for havin' me anyways. So good to be here and see y'all! How're ya doin'?”

“Just fine, thank you”, the one-eyed god replied.

“HOLY COW, ARES, IS THAT YOU?!”

Before Ares could respond, he was pulled into a bear hug by a giant of an As with flaming red hair and eyes.

“Hey, Þórr”, Ares choked, squirming in the thunder god's embrace. He didn't worry about the three-quarters-Jötunn crushing him, but damn, he couldn't breath!

“Oh, sorry!”,  Þórr laughed sheepishly and put him down.

The Hellenic god gasped for air, before grinning from ear to ear. “Missed ya too, man!”

Ares, who wasn't exactly a small man either, still barely reached up to the Norse god's shoulder and had to stand on his tippy toes to hug the other back.

“What have you been up to?”, Þórr asked.

“Travelling the world, meeting new people, seeing new places – oh, hey, Týr and Freyja!”

“'Sup”, Týr responded and Freyja waved.

Óðinn cleared his throat: “Anyway, my friend, how about you settle down first? Let's find a place for you to stay. And once you have rested a little, how about we throw you a celebration worthy of a divine guest such as you?”

Ares beamed: “Awesome! Your hospitality is one of the greatest things around here – apart from your battle prowess, of course!”, he added with a wink and everyone laughed.

He was received with all honours and it had been a while since he had felt home like this.

The panthea abroad had been nice and all, but their definition of hospitality was completely different, sometimes downright dubious. This was what he knew; the Germanic and Hellenic peoples had their hospitality in common. And the crazy parties of the Norse gods were right up his alley.

He had been invited to stay in the halls of Óðinn himself and that was fine with him. While the one-eyed god had his own brand of creepiness (which was reflected in his Kenningar: Raven God, Father of the Slain, Father of Victory, Hanged God, Foretelling God …⁴) he was a fine host … most of the time.

That evening he was laughing and dancing with his hosts (and watching out for a certain trickster, who likely would try to prank him).

A few of the gods were looking on in envy, as Ares danced wildly with Freyja, laughed heartily with Þórr and even had an arm wringing match with Óðinn (turned out the Allfather was a lot stronger than he looked) which ended in a draw.

There was some amusement, when Ares got into a little spat with Óðinn's blood-brother Loki.

The trickster had the tendency to roast everyone, when he was drunk – good to see, that this hadn't changed in all those centuries.

The Æsir just rolled with it, obviously having heard it all before.

Ares on the other hand (though he too was used to being roasted) had no intention to let it slide and perhaps escalate; this was a party, not an assembly or battlefield.

After a short banter with the trickster (that he lost, because even drunk Loki was more eloquent and witty than him), he just made short work of it and carried the smaller god off, to where he knew Loki's own house to be.

“Foxy jerk made trouble again?”, Sigyn deadpanned, when she saw her drunk husband squirming on the taller god's shoulder.

“Just some roasting”, Ares told her and dropped the fire giant unceremoniously. “Not really trouble. Still, I think he needs a nap.”

“Sure does”, Sigyn snarled.

Ares almost laughed, when the tiny goddess dragged Loki off, grumbling about how “the foxy jerk” made nothing but trouble and so on.

.

Olympos, 4th Poseideon⁵

My dear love,

thank you for telling us you're in Asgard.

Your children and I have been anxious, since you haven't written to us in a while.

We're doing okay and it's good to know that so are you.

We hope you have lots of fun in Asgard.

But you really should come home soon.

We miss you all so terrible, even your parents and – you won't believe it – even Athena misses you! Of course she would never admit that, but I know she does; women just know these things, you see. Things down on earth are starting to get interesting too. This one city in Italy, Rome is its name, is showing great ambition. The Italian gods are starting to get more ambitious too. Venus is a bit obnoxious at times and it pisses me off, because Aineías was my son, not hers! And don't get me started on Mars – I know, you hate him.

But to more pleasant things; the rest of our family is okay too, but your father has been very glum lately, I don't know why.

Hephaistos is working on improving his far-speakers and cameras even further, though he did that just last year. Oh well, I guess a genius is never truly satisfied.

Eris and Enyo are alright too, I think. At least Athena says so – she meets them more often than I do. Athena is in a bad mood, because she has no one to spar with – she's complaining that sparring with Enyo just isn't the same.

But I must go now, your mother is stress-baking again and I want to get at one of her delicious cakes.

I love you lots, we all do.

And we miss you.

Please be back soon, Ares.

In love, Aphrodite.

.

Ares grinned and tucked the letter into his magical bag.

“So Daddy's Owl misses me too, huh?”

.

---

.

1) Maimakterion: the Attic month from November to December. I allowed myself a small anachronism here, because the Attic calendar was likely invented just a bit later than where my story currently is. The Attic calendar is a lunisolar calendar and was used in Athens. The month Maimakterion is named after an epithet of Zeus. 2) Tapu: "Consecrated/Forbidden/Prohibited/Cursed" (also "tabu" or "kapu", the spelling and precise meaning depend on the region), the traditional prohibitions of the Polynesian peoples. The origin of the word "taboo". 3) The only known exception is the Rongorongo glyph system from the Easter Island, which hasn't been deciphered yet. 4) Those are genuine epithets of Odin. 5) Poseideon: the Attic month from December to January. I think you can guess who this one is named after.

Bonus: I sincerely apologise for my treatment of Australia. I had to write this from the POV of an entitled Greek god who is used to ... well, Greek culture. And the ancient Greeks were rather snobbish towards the rest of the world.