Allelujah short 07

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp.

Allelujah vocal 01

Allelujah Vocal 01 is a short vocal piece featuring a female voice singing Allelujah.

Allelujah vocal 03

Allelujah Vocal 03 is a short vocal piece featuring a synthesized female voice singing Allelujah.

Ave Maria

Ave Maria is the famous hymn and it features piano and 5 synths. I decided to use synth pads to create the evolving strings part and sounds of synth bells to add tone. The piano part makes this hymn distinctive.

Death

While death is a central topic from Kierkegaard's earliest journals to the last writings leading up to his 'martyrdom,' he treats death as essentially mysterious. In the Concluding Unscientific Postscript, Johannes Climacus insists that he has not understood death, while the discourse "At a Graveside" speaks of death as "undefinable" and a "riddle." Kierkegaard is also particularly averse to discussing the nature of the afterlife, leading some to claim he views the afterlife merely as a heuristic device for teaching the living to live well. However, Kierkegaard rejects neither the Christian doctrine of resurrection nor the notion of posthumous survival more broadly; rather, the essential moral meaning of death for the living has the interesting effect of making many ways of talking about death morally illegitimate

Sporobolus stapfianus, a model desiccation-tolerant grass

Sporobolus stapfianus Gandoger, one of ~40 known ‘anabiotic’grass species (i.e. ‘able to regain vital activity from a state of latent life’), is the most versatile tool for research into desiccation tolerance in vegetative grass tissue. Current knowledge on this species is presented, including the features that suit it for investigations into the plant’s ability to survive dehydration of its leaf protoplasm. The main contributors to desiccation tolerance in S. stapfianus leaves appear to be: accumulation during dehydration of protectants of membranes and proteins; mechanisms limiting oxidative damage; a retention of protein synthetic activity in late stages of drying that is linked with changes in gene expression and in the proteomic array; and an ability to retain net synthesis of ATP during drying. S. stapfianus exemplifies an advanced stage of an evolutionary trend in desiccation tolerant plants towards increased importance of the dehydration phase (for induction of tolerance, for synthesis of protectants and for proteomic changes).

Who is he now? The unearthly David Bowie

The question that has led and organised this special edition on David Bowie draws provocative attention to the way his career has been narrated by the constant transformation and recasting of his star image. By asking who is he now? the edition recognises that Bowie is a chameleon figure, one who reinvents himself in and across the media and art platforms that he is found in. This process of renewal means that Bowie constantly kills himself, an artistic suicide that allows for dramatic event moments to populate his music, and for a rebirth to emerge at the same time or shortly after he expires. Bowie has killed Major Tom, Ziggy Stardust, Halloween Jack, Aladdin Sane, and the Thin White Duke to name but a few of his alter-egos. In this environment of death and resurrection, Bowie becomes a heightened, exaggerated enigma, a figure who constantly seems to be artificial or constructed and yet whose work asks us to look for his real self behind the mask – to ask the question, is this now the real Bowie that faces us? Of course, the answer is always no because Bowie is a contradictory constellation of images, stories and sounds whose star image rests on remaining an enigma, and like all stars in our midst, exists as a representation. Nonetheless, with Bowie - with this hyper- schizophrenic, confessional artist – the fan desire to get to know him, to immerse oneself in his worlds, fantasises, and projections - is particularly acute. With the unexpected release of The Next Day ((Iso/Columbia) on the 8th March 2013, the day of his 66th birthday, Bowie was resurrected again. The album and subsequent music videos drew explicitly on the question of who Bowie was and had been, creating a media frenzy around his past work, fan nostalgia for previous Bowie incarnations, and a pleasurable negotiation with his new output. In this special edition, edited by life-long Bowie fans, with contributions from die-hard Bowie aficionados, we seek to find him in the fragments and remains of what once was, and in the new enchantments of his latest work.

The world to come: stories

In 1738, English preacher, Isaac Watts wrote ‘The world to come’, a Christian tract about departed souls, death, and the glory or terror of the resurrection. Almost 300 years later the world to come still fascinates readers. It’s not only climate change, it’s the climate of everything: from technological ‘advances’ that threaten to create an immortal humanity; to an endless ‘war on terror,’ which means that, though we may never know war, nor will we ever truly know peace; to a thousand visions of post-Apocalyptic life in the media. The world to come is everywhere; it is with us now… In this anthology, twenty-one writers respond to the world to come – the one just around the corner, the hereafter and the everywhen.