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walker-journal · 4 years ago

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Lenan and Lampchops (Adam and Caoimhe)

Characters: Adam Walker (Hunter- Tapir), Caoimhe Brennan (Leanan-Sidhe-Sadie)

Timing: Before the events of Hell’s True North

Summary: The search for Nell continues on a deceptive world of sheep and stray sod where Adam happens to run into, Caoimhe, one of the music professors who isn’t quite as surprised about Sheep Hell as she should be.

Content Warning: Gun Use

Adam looked into a bright sky with unfamiliar stars and other verdant worlds of fields and jungles that loomed in the sky. Fields of soft grass extended unbroken toward the horizon, undulating in the breeze. Towering thickets of Illuabris Ferns, larger than he’d ever seen them grow on Earth, were pillars of black and violet that stood stark against the rolling green.

Vegetable Lambs grazed around the Hunter, paying him no mind as they basked in the off-color light of alien suns. Adam had been wandering for what felt like many days now, but the strange sky didn’t give much clue if that was true. Only the deterioration of his clothes, now bleached by sun and sporting tattered holes hinted that the Hunter had been hiking for far longer than he realized. He couldn’t even count how many of these barometz lambs he’d eaten to keep his strength up, the rest of the herds always just staring with dull dispassion as Adam butchered and cooked one of their number.

He was lost, and had been so long enough for his tactical gear to fray, fade, and make Adam look more like a beleaguered deserter than someone who’d come here armed to the teeth on a mission.

The Hunter had to admit that of all the worlds he’d been to so far while trying to find Nell, Lambchops Land was definitely the most surprising with its ass-kicking at the moment, and it hadn’t even given him a scratch.

Adam felt a flicker of a paranormal presence that definitely wasn’t another goddam lamb. He crested another hill at a slow cautious gait, raising his rifle at the…

The new music teacher?

Wait….was that her? Was he…?

Ok, so if her chest burst open and she’s been a Lamb Alien the whole time Adam was just done, so done.

“Hey ...uh..Professor Brennan,” said the sunburnt ragged soldier, “what brings you to Lambchop Land?”

It was like something Caoimhe had seen in a picture, or dancing between the flames of the bonfires they’d light in Ireland. It was a world forever just out of reach, only as permanent as any single tendril of flame. It was beautiful, painted in hues of blue and green, all movement as the grass swayed back and forth, a patchwork quilt of stars overhead, and–

And Vegetable Lambs. Vegetable Lambs as far as the eye could see. They dotted the otherwise pristine landscape, cutting figures of cotton-fluff and fruit against the horizon. The peaceful breeze brought with it the bleating of different herds. It was by far the best portal Caoimhe had poked her head into yet: picturesque with a touch of levity.

Then the view changed with the barrel of a rifle. She followed the length of it up until she was met with ruffled hair and sun-bleached clothes, and the kind of weariness only seen in well-worn travelers who hadn’t seen home in far too long. He looked out of place, a single ragged figure painted in dusty pencil over a backdrop of vibrant oils. It was a concept, but Caoimhe wasn’t sure it quite suited him. The way his grip sat against the rifle, she thought maybe he might better fit in the climax of an old western; the twanging of the guitar builds.

“Just me.” She held her hands up for a moment before letting them fall back to her side. He looked like he’d been prepared at one point in time. This trip wasn’t an accident for him. “Would you believe me, if I told you I just stumbled in? Can’t say I expected White Crest to be so...dimensionally inclusive.”

Adam cocked his head at the music professor, features moving from confusion to frowning wariness as her lack of disorientation set off alarm bells in his brain. The Hunter could feel that she wasn’t human but didn’t narrow things down much.

“I’d believe it,” Adam affirmed. “There have been some other folks that’ve gotten yoinked by these space rips,” the planar wanderer noted. “White Crest is in a weak spot in reality,” the apocalypse prepper claimed, not really bothering to pretend ignorance when he was gun totting on the Veggie Lamb Planet. “I just hope we can find some way to seal that shit up before everything goes to hell...like permanently y’know?”

Adam sighed. “So uh...you would have happened to have seen a portal anywhere?”

Yes.

Caoimhe hesitated a moment. She’d pegged it right, he was prepared. Whatever had actually brought him to a planet of Vegetable Lambs, he at least had a mission now. And it seemed like the knowledge to accomplish it, if he could ever find a portal again. If she helped him find a portal again. His expression shifted, and her eyebrows lifted; curious.

He needed help, something curious in and of itself, considering. The portal she’d come through herself wasn’t too far away, obscured by the rolling hills. If he could manage to walk a straight line for more than a few minutes, he might even be able to stumble back through it without her help. But the state of him told her he’d been trying just that, to no avail. If something had him that turned around–

“I haven’t been here very long, so logically there should be one not too far away.” She kicked the grass at her feet. “If we put our heads together, we can find a way out. Don’t think either of us will be doing much good solving the portal crisis here. Any ideas what’s caused it yet?”

“I uh...can’t find my way,” Adam admitted. The Hunter reached into his pack and pulled out a battered compass. Adam closed his eyes and placed home at the forefront of his mind, focusing on the faces of friends and the DIE fraternity house. The compass Penelope had enchanted on the eve of their last night began to spin. The sorceress’ magic sensed the intention of Adam’s heart and soon the compass needle was dutifully pointing the way to portal back White Crest.

The only problem was, no matter how far Adam walked on these paradisiacal rolling hills in the direction of an exit, he kept circling back and retracing his way out.

“This compass was enchanted by a witch to help me find the way,” Adam said, choosing to simplify the painful knot of emotions that came with this gift. “But no matter what happens I keep circling back.”

Adam shook his head at the question of a bigger picture. “I know there are keys and big-ass worm boring through dimensions but I’ve got no idea how they all fit together yet.”

“I’ve gathered.” Caoimhe grinned up at the disheveled Adam, obviously having been wandering for longer than he ever should have been. Curiosity brought her the rest of the way up the hill to stand next to him. It was a neat trick, to say the least. With a needle to point him exactly where he should go, he should have found his way out long before the sun could bleach his clothes. The hills were just redundant enough to be confusing, but not that confusing.

“You focus on the compass, then. Nowhere else, just the compass. I’ll make sure we’re not doing any circles.” Placing a gentle hand on his elbow, Caoimhe led them in the direction the compass pointed, a direction she knew would eventually yield a portal and a ticket home again. “You know, if you ignore the fact this portal has you all sorts of twisted up, it’s kind of beautiful.”

It was. Blues and greens and yellows and the gentle bleating of the Vegetables Lambs. It was rather harmless, but then, Caoimhe still knew exactly where she was standing and in which direction she needed to go. “Keys and worms. That’s...way too vague. Have there always been portals, or did I just move in at the wrong time?”

“Yeah in a Little House on the Prairie butter-churning sort of way,” Adam admitted, controlling himself enough not to flinch Caoimhe put his hand on his elbow. His Hunter senses send icy hot pinpricks through him at the paranormal woman’s touch and not in the sexy way. Adam was thankful that his time in White Crest had made the feeling of being around supernatural beings routine enough that he didn't go into fight or flight mode as much as he used to.

“So uh, is finding your way out in the country just a superpower you’d got then,” Adam asked as they crested another hill of strange colorful plants whose tendril polyps writhing and curled in the sunshine. Outright asking ‘what’ Caoimhe was seemed a bit on the nose considering that she was in a helpful mood.

“White Crest is in a like, dimensional weakspot,” Adam posited, seeing no reason to conceal the information considering how literally to hell everything was going. “It’s properly why there are so many demons and whatnot around, but this is definitely a huge spike in Hellmouth stuff.”

With Adam following, Caoimhe let go and walked a few steps ahead. Her fingers curled into her palms and she spun herself through a few different answers. What she did wasn’t a superpower, though some might construe it as such. With their eyes glazed over and their hands moving over the keys of a piano, with a whole world of inspiration spreading itself in front of them. The divine muse. Caoimhe swallowed. It wasn’t a superpower. It was a mystical science at best. She wouldn’t go so far as to say a curse; she could hear her mother screaming from Ireland.

“Have you considered you might be exceptionally good at getting lost?” She cast a glance his direction, tone light. She had a feeling he wasn’t. She had a feeling he’d see right through her dancing around the point. “I’ve spent a lot of my life traveling, you tend to get good at the cardinal directions.”

She didn’t want to be seen. “Lovely. Welcome to White Crest, right? Portals and Hellmouths, and– what, what is that?”

The sun blotted out and the bleating seemed to increase in volume. Something deeper and louder broke through the din, then. Something Caoimhe could feel rattle in her chest.

“I mean...that’s fair,” Adam allowed, sunburned face breaking into a smile at Caoimhe’s counterpoint as he kept his eyes locked on the compass as they weaved their way through blossoming heaths and swaying forests of Illuabris Ferns.

Caoimhe’s exclamation raised Adam’s gaze to the verdant valley spread out below them.

In a cleft between four grassy hills was a circle of cairn stones. Within the cairn circle was what seemed to be a pit of pure sunlight that shone like a beacon in the sudden gloom that’d encroached across the sky.

Beyond the sunwell was what Adam had first taken to be an enormous tree before it shambled forward on hoofed feet. It was then that the Hunter realized it was a giant Barometz, bigger than any Earthly ecosystem would’ve made possible. It’s roots were a cluster of long hooved legs and scrambled forward like a bovine millipede. Engorged clusters of Vegetable Lambs hung from its branches in the matter of grapes on a vine, their discordant cacophony of shrieking growing closer.

“Well shit, its like a…. Megalamp King.”

“It’s coming our way, is what it is.” And directly in their way. Caoimhe thought throwing a dog on a piano might sound better than the thing trampling its way towards them. She’d heard middle-school bands who could give it a run for its money. Which was all entirely ignoring the fact that one misplaced, vine-thick hoof could squash her. It was a beautiful place, but she really didn’t want it to be the last place she ever saw.

“We shouldn’t be too far from the portal, but…” The sound of shuffling and the increasing din of the creature moving towards them was almost too loud, “We’re going to need to get through or around that. And unlike you, I don’t have a rifle.”

Nor were her gifts particularly suited for Vegetable Kombat. Round one, fight. “Any ideas?”

Adam reached behind to his back and produced a metal sphere topped with a fuse clip and safety to offered it to the professor. “I’ll fire at it and try to draw the Lamb Tree off the side,” he suggested as the towering Barometz began to lumber up the hill. “Run to the portal while I distract it. When you get there, pull this clip and throw this explosive at it.”

Adam doubted a handheld grenade would actually kill something this big but it’d at least buy a moment or two hopefully. “That might give me enough to run to you and we can get the hell out. Sound good?”

A bomb. He handed her a bomb. And really it shouldn’t have been too much of a surprise, considering the rifle with which he’d greeted her, but Caoimhe still took a moment to stare at it. Her strengths had always been a little more subtle. It was in gentle but purposeful touches, encouragement, making someone weak just for existing and creating in a space with her. Adam’s strengths appeared to be explosive weaponry.

“...Sounds better than anything I could’ve come up with.” Caoimhe took the metal sphere gingerly, like it was liable to go off if she squeezed it too hard. Okay, she knew how a grenade worked. She’d watched movies before. She was entirely prepared. She nodded, “Just make sure you don’t get lost trying to find me.”

She cast a grin over her shoulder and ran. And it was shaky at best. The kind of grin worked around a desperate joke and a heart hammering a sharp staccato against her chest, through legs that felt more like jelly than muscle and bone. The ground shook as she did her best to flank it, each thunderous footstep displacing the earth around it. A quick glance up and Caoimhe could catch wide-eyes with different clusters of Vegetable Lambs dangling off the main beast, their mouths dropped open but the cacophony too loud to pick out the individuals.

She was going to throw up. Perhaps not right in the moment, but later, after the adrenaline fully wore off. After she had a chance to remember how tightly she’d been holding the grenade and how many times she’d almost tripped over her own feet. How the grass itself seemed to tangle around her ankles and she could only catch glimpses of Adam through the weaving roots and swaying lambs. She might even laugh, too. Since when was a lamb so horrifying?

By the time she spotted the portal, her chest burned, and it would be so easy to jump through and be done with the whole experience, but Adam. She pivoted around, pulled the pin, and lobbed the grenade as hard as she could.

Adam sprinted out of the ensuing cloud of splintered wood and sheep guts, wiping fleece and gory vines out of his eyes. He bled from an array of bites from entire clusters of ravenous sheep and burns from vine constriction. The Megalamp Tree staggered in a panicked frenzy, thrashing out wildly in the splinters and smoke. Enormous limbs carved deep furrows through the bright grass as they slammed blindly down. Adam wove back and forth among the heather as he tried to avoid the descent of column-like branches and the vegetable lambs being flung everywhere like shrieking dandelion seeds.

Adam sprinted over to Caoimhe, plastered in bloody fleece and leaves. He looked over to the vortex swirling between the cairn stones. “Thanks! Nearly got strangled by the Bo-Peep there.”

Caoimhe almost didn’t expect to see him come out the other side. Between the thrashing off the Megalamp Tree and Adam’s penchant for getting completely turned around, the odds were not in their favor. But he rounded the thrashing beast with a thanks and Caoimhe promptly doubled over, dry-heaving into the once-serene, swaying grass. For a moment, a thumbs up was all she could manage over pulling in one breath after another.

She was made for classrooms. For violins in bar bathrooms and crooked smiles and french horns and running from her problems. Adam was obviously built of tougher stuff. He didn’t seem much phased by red-stained fleece and sticky leaves. He had a rifle and a bomb, and something twisted in Caoimhe’s chest, but she wasn’t going to question him when he’d handed her a ticket out. He was made for something else.

“I found the portal.” She rubbed at her eyes and grinned behind the column of her forearms. She found the portal, and he fought their way out. Caoimhe supposed she should be thankful. “Wouldn’t have been much good if I had been crushed, though.”

The ground shook as clumps of lambs fell wildly onto the ground, little feet scrambling every which direction, lost. Whatever Adam was made for, she was glad she’d found him. “Thank you.” She crooked a thumb over her shoulder at the mess of a beast behind them, “That was all you. I think...I think maybe we’d both have been stuck here.”

She stopped short of a ‘we make a good team,’ and settled for a thankful smile, stepping back to make sure he was able to pass through the portal and casting one last glance at the mess they left behind them.

#evebrennan #caoimhe #Portal Combat #potw #adam #gun use tw

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spirit-science-blog · 4 years ago

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Avatar! Considered by many to be one of the most groundbreaking movies of our generation, it stands as a testament for how far our technology has come, allowing us to create and bear witness to new worlds as we’ve never seen them before. Yet, under the surface of the technological achievement of this film lies an intense undercurrent of hidden spirituality.

At the highest level of the movie, we see the story play out as a narrative between the dualistic nature of our human consciousness, and our relationship with our planet. You can describe this duality in ways such as Organic vs. Mechanic, the soft vs. The hard, the light vs. The dark, the enlightened vs. The asleep or alien vs. the native.

This dualistic theme is introduced to us by a look at how the human world has evolved, and a reflection of the same consciousness we have today that got us there. People are cold, and the earth has been polluted, there is no sign of things improving. Those in power are using their resources to leech off of another planet to support their dying world.

Jake, the lead protagonist, lands on Pandora with the same conditioning as the rest of the military - Pandora is a hostile land, and the natives are deadly, everything wants to kill you. As the story progresses, we see the transition from one paradigm of consciousness into another - through Jake's discovery that the story he’s been told is not the highest truth.

As we are introduced to the Na’Vi, we are invited to explore a fresh take on Spirituality, which has been designed for this movie based on African, Native American, and other Indigenous cultures of the world. They teach us of Eywa, the deity to whom the Na’ vi praise in reverence, and we are taught that to them, God is feminine, and nature is infused with her divine spirit. Scientifically, we are given explanations of this, through the electro-chemical neural network that exists between all of the plant life on the entire world, connecting experience as if one giant living organism, something the Na’Vi can tap into. Around their sacred tree, we see rocks formed in the shape of an electromagnetic field, further illustrating this symbolism.

What’s impressive here is that this is not exclusive to just Pandora, in that we see this reflected in the whole universe. Scientists today have observed that the Universe itself appears to form much like a neural network, suggesting that everything in existence is a part of a giant interconnected mind. These are foundational teachings of Hermetics, and James Cameron has embedded these ideas deep into the foundational structure of the story.

Further, it may not be coincidental that Eywa sounds similar to “Yahweh,” one of the names for God in the Bible. It’s almost as if through this film, we are shown this connection to the religions that we have in the world today, and how life changes when we look to the feminine side of deity, versus the masculine.

Throughout this movie, we see Jake begin to soften to the experience of the Na’Vi. As this process is happening, we see an apparent juxtaposition between two different states of consciousness.

The first is the perception that you are separate from nature, a mentality embodied by the entire human army, and jake too when he goes on his first mission. He is curious about his environment, but it is separate from him, and this is made very clear once he finds himself alone in the wilderness, struggling to survive. This is deeply relevant to a quote by Albert Einstein, who said the following:

"I think the most critical question facing humanity is, ‘Is the universe a friendly place?’ This is the first and most basic question all people must answer for themselves.

"For if we decide that a universe is an unfriendly place, then we will use our technology, our scientific discoveries, and our natural resources to achieve safety and power by creating bigger walls to keep out the unfriendliness and bigger weapons to destroy all that which is unfriendly and I believe that we are getting to a place where technology is sturdy enough that we may either completely isolate or destroy ourselves as well in this process.

"If we decide that the universe is neither friendly nor unfriendly and that God is mostly ‘playing dice with the universe,’ then we are simply victims to the random toss of the dice, and our lives have no real purpose or meaning.

"But if we decide that a universe is a friendly place, then we will use our technology, our scientific discoveries, and our natural resources to create tools and models for understanding that universe. Because power and safety will come through understanding its workings and its motives."

"God does not play dice with the universe,"

For Jake in the forest, we see him light a torch, drowning out the light of the natural beauty around him. This is not dissimilar to how in a city, it is difficult, if not sometimes impossible, to see the lights of the stars above our heads. It’s only when we turn out the light, can we truly see.

Just before Neytiri rescues him, there is a moment where she is going to kill him, but a little bit of nature comes and stops her from firing the arrow. This may very well be one of the most significant scenes in the entire movie because it shows the difference between Na’Vi consciousness and human consciousness. She can listen to nature, she hears what it has to say, and she surrenders to the divine will. Instead of firing anyways, she stays her weapon, and saves the day with sorrow, because the jackals didn’t have to die. She remarks that he is like a baby, making noise not knowing what to do, speaking to his spiritual immaturity. She points out that it’s HIS fault the jackals attacked him because he wasn’t in tune with nature. This speaks to our own ability to take responsibility for what we are creating, even if its unconscious.

Over the following hour or so of the movie, we watch as Jake profoundly connects with the Na’vi and their ways, and in doing so, discovers his spiritual self, and falls in love.

For viewers watching the film, we get to experience the transformation of Jake within us because we are experiencing the movie within our consciousness - and so Jake becomes our avatar, as for those of us who are receptive, we too learn to soften to the more natural ways of life. The film provides a lens for us to ask ourselves, where are we hard, rigid, or otherwise emotionless in our journey through life, and how can we connect deeper with ourselves and the natural world around us?

Curiously, there is a deleted scene from this movie that almost taught us a more in-depth lesson here, but unfortunately, it was cut from the final production. The scene features Jake in his avatar form participating in a sacred ceremony that is not all that dissimilar from an ayahuasca journey. However, this version includes eating a worm and getting bitten by a scorpion - and as a side note - Scorpio is the zodiac sign of the invisible, mysticism, and transformation. Much like Ayahuasca, Jake goes through a rather tumultuous period as his consciousness changes awareness, and then he suddenly activates into his energy body. From here, he leaves his physical form and rises as energy into a world of light and transcendent beauty, where he connects with what is probably the spirit of Eywa through the great tree of life. And honestly, once you’ve seen this scene, watching the full movie just feels like it’s missing this big crescendo right in the middle. It’s such a powerful and transcendent scene, just saying.

While we cannot definitively say that Cameron and his team participated in Ayahuasca ceremonies, the connection here is too striking to suggest that he’s never heard of it either. Some even suggest that it was Cameron's exploration with plant medicine that inspired the movie, to begin with, but that’s all just purely speculation. Nevertheless - James, if you’re watching, I know you probably had some good reasons for taking that scene out, maybe you thought people wouldn’t get it, that society wasn’t ready, or perhaps you had some studio executive going “grumble you can’t show that to a billion people grumble” - whatever the reason, I implore you - please bring it back for Avatar 2!

Moving on, even though we didn’t get our ayahuasca scene, we got some other ceremonies that were just as interesting. As we see on multiple occasions, The Na’vi also participates in a sacred service where they link their consciousness together and connect with Eywa for the divine purpose of soul transference. Through their collective mind and mystic prayer, they can move the soul of one individual into another body.

What’s especially curious about this is that thinking biologically, why would any species need to learn how to do this? Especially for the NaVi, it doesn’t seem like something they’d ever need to use. They probably don’t have tons of empty Na’Vi bodies just lying around for them to switch their souls into whenever they want, right? Therefore, the significance of these scenes is to demonstrate two things. One - to give us an underlying idea that consciousness is not limited to the brain or body, but exists beyond it and through it, and further - that with a connection to the divine, we can accomplish anything.

After this movie came out, some people were depressed, and even a few cases of suicide, because the world of Pandora wasn’t real, and it was just so much more appealing than the world we have now. However, Pandora lives within us, and beyond that, the film provides us lessons on how we can restore life on earth to a natural way of being. Through the proper use of prayer, ceremony, and understanding that we all are connected through our thoughts and feelings, we can amplify our spiritual energy, and accomplish things that may even seem impossible to us today. One hundred years ago, we never could have conceived of technology like a smartphone. Just imagine where we could be in another hundred years?

Finally, the way that many people experienced this film was a narrative about nature. Humans have been incredibly destructive on the face of the planet, and we must change our behavior to thrive in harmony with the natural world. We understand clearly that Economic imperialism is disastrously exploitive, and it’s time we collectively find a better way to express the desire to create and expand in a way that is in harmony with all of life. We can see that the Na’Vi live abundantly; they do not have money; everything is shared. This says to us that we too can have lives like this if we can get to a place consciously where we see each other as connected, and give of ourselves freely to each other to Infinitum.

And, most important, Avatar is a narrative on the relationship between colonists and natives, which we have seen time and time again in the world in different ways, from Frozen 2 and Pocahontas to Dances with Wolves and Ferngully. This is a vital conversation because things in real life didn’t go the way they did in Avatar - civilizations were destroyed and suppressed. Today the are entire cultures that are still living under the heel of the colonialist empire.

Today, films like Avatar help to bring these conversations to light in a way that makes it easy for the collective consciousness to grasp. It’s effortless to take for granted the actions of our ancestors that brought us here today. Still, we must acknowledge our history and learn from it, and right the wrongs in our past if we are going to create collective healing and a better future for all of us.

Now, there’s one final thing I wish to speak on. I didn’t know where to share this, so let’s do it now. While the mentality of humans is observed as the antagonist in this movie, there is one aspect of it that we must recognize as necessary - which is a human technology. You see, the Na’vi live in a different paradigm, they do not need to build spaceships, they do that with their version of ayahuasca, but the humans, on the other hand, have these fantastic spaceship technologies, not to mention cool holographic computers as well. Unfortunately, we see this technology used for such selfish and abusive purposes because the technology itself isn’t evil, but the people are steering it.

Avatar itself was praised for its technological innovation. Through the film, we see a farther potential as to what humanity could create with our computers, and even more significantly - our bio-tech. It is through the technology that the avatar bodies were designed, and that which allowed a conscious neural link between their physical form, and the avatar body. It’s the idea that we are so powerful as a species, we can create anything we want to. If we follow in this thought, we can see that the entire world of pandora is something that we could turn the earth into, if we collectively decided we wanted that. We can learn how to terraform the whole planet into a thriving natural ecosystem, just as much as we can use it to destroy ourselves.

Ultimately, that decision rests in our hands, individually, and together as a species. The only thing that will limit us from some magical future for us all is if we can learn to live from the heart and see each other the way that the Na’vi saw each other. One with everything.

Thank you so much for watching! I know that there’s a lot more than this in the movie, so if you noticed something else that we missed, share it in the comments below, and while you’re at it, don’t forget to give a like and a subscribe.

With that, we’ll see you next week for some more Hidden Spirituality!

#spirituality #science #ascension #mystery school #spirit science

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sailorrrvenus · 6 years ago

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Shooting Dreams and Nightmares: An Interview with the Bragdon Brothers

Great photography tells a compelling story. Weaving narrative into photos and photo series is a challenging task — the storyteller cannot simply make the world conform to their imagination as the author or painter can. Photographers only have one frame to convey meaning — motion and action have to be paraphrased and the moment of transformation captured.

The limitations of physical reality and framing a decisive moment to tell a tale are what makes being a good photographic storyteller so hard. You need to think laterally, as your story relies heavily on the imagination and subconscious mind of the audience, much like infiltrating someone’s dreams.

Gareth (above, at left) and Gavin (above, at right) Bragdon are two street photographers who do this artfully. It’s unusual to find someone who performs this effectively, let alone two brother’s whose work compliments each other in a style that blends dreams with nightmares, emphasizing the surreal aspects of the everyday. There is a meaning in here, but just like in a dream the meaning is unclear and muddled- strange things are illuminated people become alien lifeforms, and life the world becomes a surreal and scary place.

I interviewed them to divine some understanding of these surreal images they create.

James Cater (to Gavin): On your old blog you wrote that “I can easily see commonalities between my handwriting, photography, music, drawing and so on…for example, I tend to favor delay/reverb which to me would be the sonic equivalents to photography’s slow shutter speeds, multiple exposures, blur and the like.” This is an interesting way for an artist to find their element in photo taking — by looking outside the photographic art to find their ‘punctum’ as you called it. Things have definitely developed since this, but what kind of art outside of photography continues to influence your style?

Gavin: I would definitely say movies/TV…in fact, maybe more so than other photography itself. Books as well. My favorite genre for all of those tends to be science fiction as well horror if it’s well done, you know focuses more on the eerie, uncanny, surreal, atmosphere and so on. And at least nowadays, consciously or subconsciously those are the sort of things I try to capture.

And I think it reflects the real world at the moment. We are living in a sort of sci-fi/horror. Everything seems off-kilter, unwinding, surreal, not quite real, this twilight zone. You got Donald Trump, of course, Britain is committing suicide with Brexit because it’s collectively lost its mind, you got other similar movements popping up in other countries. There’s also the effects of climate change becoming more and more tangible. We’re in a very weird and dark place right now.

(To Gavin) Many of your photos look like they are from stills the X-Files. How are you influenced by the paranormal or surrealism?

Gavin: As far as the former goes, when my brother and I were kids we spent a lot of time reading about the paranormal- ghosts, UFOs, cryptids and so on. I suppose that came from the fact that unlike many other kids our age, we never were able to watch say Friday the 13th or the Freddy Kruger movies. I think all kids have something of a need for horror and scares of some kinds, so for us, the books and shows about the paranormal supplemented that. The only difference was that, supposedly, what we were into was non-fiction. And there is something very surreal about the paranormal versus Hollywood horror.

Incidentally, we were/are planning to do a documentary project on “paranormal culture” if you will, in Scotland, you know tagging along with ghost hunters, UFO watchers and the like. Because of circumstances involving my brother’s illness, its been shelved for the time being but as soon as he’s in a better state its something I really look forward to jumping into.

(To Gavin) Do you have any experiences with extra-terrestrial life forms, or do you have any beliefs that some may consider ‘fringe’ or conspiratorial?

Gavin: I tend to be agnostic about the paranormal/unexplained. I tend to think there is “something” that happens, like what we think of as ghosts or alien spacecraft are things that are real in a way – that something is happening, and not just a bunch of lies or sightings of Venus/swamp gas (some of the skeptical explanations are just as ridiculous and far-fetched as the explanations of some of the most out there “believers”). But of course, yeah, there is a lot of bullshit out there.

Ghosts and UFOs and so on seem almost like glitches in the Matrix…they don’t belong in our rational, scientific natural world and yet there they are. What are they? Are they what they seem at face value? I mean even if none of it is real, I still find fascinating to think that maybe there is a thin membrane between our natural/rational world and others that leaks over sometimes. If it is all a modern form of mythology, then it’s a fascinating one.

I can say I have a short handful of what would be considered paranormal experiences, things that I can’t explain otherwise. And believe me, I wrack my brain for alternatives because I don’t want to go around believing I had an “experience” for the sake of it. I have seen what I believe was UFO once, its small fry stuff, but it’s one I really can’t explain. Basically, it looked a bit like a star flying around in erratic patterns around a larger and brighter star before the former seemed to disappear into the latter, which then just stayed there like a star or planet would. It’s a weird one and doesn’t even quite make sense as an alien spacecraft much less anything natural.

(To Gavin) How did you shoot this? Was it come across by accident with no explanation? What is the back story to this pic?

Gavin: I did indeed come across this by accident, as to what is really going on…I feel in this case it is best to say a magician never reveals his secrets. In some cases, I think the photo is best served by keeping the back story to one’s self, to keep the mystery. This is the kind of shot I really really actually hope to find every time I go out and shoot. A scene that, when framed correctly, is truly surreal and creates its own bizarre reality as a photograph separate from what really transpired in life. I really wish I would come across stuff like this more often!

(To Gavin) How did you light this? Who is this person in the photo?

Gavin: This is actually a staged shot. Back in college, I was working a project about, incidentally, the paranormal and I was trying to create photos that sort of resembled allegedly real photos you find in books on the subject. This is my brother on a rooftop in Malta. I put the flash behind him and put the camera in P-mode on a high ISO. The camera exposes for the ambient light, so doesn’t know the flash is there so thus things the flash hit end up being overexposed and seem to glow. The eyes are just basic “light-dots” I added in Photoshop. My PS skills are quite basic actually.

(To Gavin) Is this lit with a flash? Or just natural light? How did you achieve this hyper-realistic look?

Gavin: Natural light. Very straight ahead shot, point and click. I didn’t do very much with it in post-processing so I figure the hyper-real look is just from the layers in the scene.

(To Gareth) From an except I read on your bio from Forward Thinking Museum, you mentioned that you were learning photography in the hope of becoming a photojournalist, I read also in a 121clicks article recently that you have been struggling with a diagnosis of Lyme disease. How has this impacted your aspirations?

Gareth: It’s honestly a bit painful and unimaginable at this point to think I once such aspirations. The interview with Forward Thinking Museum was done back in 2013. My symptoms had suddenly started in February of 2012. I was having hundreds of skipping heart beats a day, breathlessness, random dizziness attacks. All the doctors assured me these symptoms where simply being caused by “anxiety” and “panic attacks.” I constantly felt like I was one missed heartbeat away from death. Despite this, my fascination with photography was only growing and my will power was stronger than my fears. When I look back at my old B&W pictures I can really see that weird mixture of passion and physical discomfort of the time reflecting off the pictures themselves. Living like that was hell and I still have no idea how I managed to capture those pictures, study photography, work or be in a relationship well dealing with that shit. I was sick but I was also healthy enough to still dream. What I did not expect is how much worse I was going to get over the coming years. By 2015 I started having daily headaches and migraines and by 2017 I was deathly sick having memory problems and crippling fatigue. It was not till the eleventh hour that my invisible illness that made my body into a torture chamber was finally exposed and diagnosed. Right now I’m undergoing treatment, but it’s been very difficult and is a slow process. For right now all of my dreams aspirations are being kept in a metaphorical shoe box until I’m better.

(To Gareth) When I read the quote, “I think the streets will prepare me for future battlefields,” it made me thought of a Bruce Gilden video, where he is walking around NYC and talking about the really dangerous place is ‘right here’. In any disaster area, working as a journo, you have a press pass that gives you permission to take photos. But being just a shmuck with a camera means anyone can do what they want to you. With your in your face style of photography, what are some of the most interesting reactions you have inspired from an uninvited flash to the face?

Gareth: Shooting this way, of course you’re not invisible but most of the time the reactions are fine. Sometimes people laugh or say thank you if you compliment them, sometimes it elicits a conversation. Bizarrely enough, there are quite a few people who don’t seem to notice it. However and inevitably you will get the odd bad reaction. One time I shot this guy smoking a pipe. He literally punches the camera into my face and starts having this big go at me, saying he’s a lawyer, he’ll sue me blah blah blah.

I stood my ground saying what I was doing was not illegal but physically assaulting someone was, which is what he just did to me. Usually when you get a bad reaction or whatever I try to be apologetic or defuse the situation not always “stand my ground”, but when someone acts like that and starts getting physical over their photo being taken, then no. Anyway, I was later informed that this guy was a lawyer — in fact, an infamous one well-known for his hard unionist and anti-Catholic leanings. He’s been caught out singing sectarian songs and jokes. He’s a bigot. After learning that, I did not feel bad in the least for ruining his day.

(To Gareth) In your series “Breathing Mannequins” you bring a high fashion style to the streets. It seems with this series that the intention is to make photographs that contrast human skin to the unnatural covering of clothing. What inspired you to look at people this way and how did you learn to shoot in this way?

Gareth: When I was first exposed to street photography I was attracted to its unpredictability and the unforgiving nature. I remember trying to find the “decisive moment” when I first started shooting the streets and completely failing to capture anything compelling. It was not until a Halloween night when I decided to use the pop-up flash on my camera that I discovered the potential of the flash. Soon afterward I purchased a flash gun and a set of flash triggers.

Much of my inspiration to capture subjects up close and off guard came from looking at the work of a local street photographer and friend Paul Cruickshank. I was drawn in by the feeling of energy and intimacy in his pictures. Armed with my flash gun and lots of courage I began getting closer to subjects. The black and white lighting storms soon led to interesting results and further pursuit of that aesthetic.

When I was shooting in black and white I was thinking in black & white and looked for people and things that would fit the dark and eerie look. It was not till I reluctantly switched over to color that I begin to see the visual potential of the subjects that peacocked their way down Edinburgh’s busy high street. I was also simultaneously being inspired by the surrealistic color work of Guy Bourdin. I believe his work had an even greater impact on me than most of the well-known street photographers.

(To Gareth) Do you yourself wear clothing that draws attention to yourself, that sacrifice practicality for fashion?

Gareth: No, not deliberately unless my clothes are falling apart. I used to wear this leather jacket where the sleeve was torn to shreds, but I was too skint to replace it for ages. One of my friends said it looked like I’d been run over by a car. That’s as flashy as I get with my fashion.

(To Gareth) How much warning did you get to take this- did the umbrella reverse itself just as you hit the shutter?

Gareth: Not very much warning. I was crossing the street and the umbrella reversed itself right in front of me and it was thanks to fast reflexes that I was able to catch this at the drop of a hat.

(To Gareth) Did you know this guy before you took the photo? It looks as if you were just having a drink with him?

Gareth: This was in Monmarte in Paris. There was a camera crew around this guy and I just jumped into the middle of this crowd and took the photo. Had no idea who he was but was later told he is something like a famous owner of cabaret clubs or something like that. Some celebrity anyway.

(To Gareth) What is the story behind this wretched creature?

Gareth: I caught this just as its owner was about to pick it up into a taxi cab. It’s some sort of particular breed. No idea which.

(To Gareth) How was this lit? How did the copper react to you flashing his horse?

Gareth: Lit with an off-camera flash from under the horse’s snout. It was years ago I took this, but I don’t recall the cop really reacting. I guess sometimes you have to be careful with horses. Horses can scare the shit out of me sometimes.

(To Gareth) When putting together your portfolio or an exhibition, what do you look for? What are the themes or feelings that speak to you to create a series like Under Grey Skies?

Gareth: When we put together things like that, I suppose not only are we trying to pick strong individual photos, but also have a sort of consistency to them. Not necessarily something literal, or something you can express with words, but the sort of thing you can see coming together when you’re actually in the act of putting it all together. I suppose the same can often be said of when we have series like the one you mentioned. Like when those photos are taken, we’re usually just out to take photos, not necessarily with a particular theme in mind, not consciously anyway. It’s later on that you notice when you have enough of these pictures does the “theme” become apparent.

(To Both) What is a vivid dream that you can pull from recent memory?

Gareth: I had this really vivid dream recently that involved a really strange lighting storm with these sort of UFOs in the sky and everyone looking up at them and then this apparition of a girl appearing in the hallway. It was really eerie and a bit omen-y. Then the dream moved on to going to the theater with my brother and parents and having a bad feeling about it and getting us to leave in a taxi, only for it to bring us back to the theater which then gets attacked by these guys with samurai swords. One of those dreams where you end up feeling really weird when you wake up.

Gavin: I had a dream where I found out Karen O died from meningitis or something. I was proper tore up about it.

(To Both) Lastly, this wouldn’t be a photographer interview without a gear shot, so show me what you shoot with!

About the author: James Cater is a digital and analog photographer, film lab operator, and model. The opinions expressed in this article are solely those of the author. You can find more of Cater’s work on his website and Instagram. This article was also published here.

source https://petapixel.com/2019/04/01/shooting-dreams-and-nightmares-an-interview-with-the-bragdon-brothers/

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pauldeckerus · 6 years ago