About Anemonadic

Release 16/06/11

4th Studio Full Length Music Album - Anemonadic

Anemonadic is a new voice experiment. Musica Humana is the theme of a Pre-PhD research on the sense that singing can be used as an instrument that is tuned with the whole human body in resonance of the mind, soul and spirit.

Anemonads are the name of nymphs of the wind, air elementals, which are connected with singing. In fascination with sea anemones and the esoteric concept of the spiritual unity of the monad, 'Monad' means also a single note in music. Inspired by these themes, Anemonadic was the name chosen for this new collection of soundworks.


Fatum- is latin for fate, and O Fortunae is the piece "O Fortuna", the most notorious part of the Carmina Burana, Latin for "Songs from Beuern" (short for: Benediktbeuern), is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular.
They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who set up and satirized the Catholic Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and an anonymous poet, referred to as the Archpoet.
'O Fortunae' is Ever Orchid's own version of the musical piece arranged by Carl Orff, and 'Fatum' the reading of its translation in English.

Akkadian- has been for centuries the international medium of communication, the lingua franca or language of diplomacy in the Ancient Near East. Because of this (and also by other means) the Mesopotamian civilization has had a powerful influence on other areas in the Ancient Near East and traces of it are found in the Bible and in Greek civilization. The Occident, in several aspects, indirectly became heir to the Orient, in science (astronomy, mathematics, medicine), in art (narrative techniques, epic) and in religion (mythology, theology). Indeed, in classical terminology one could say:
Ex oriente lux ''the light (comes) from the east''.

Horologium- is a small and faint constellation in the southern sky (declination around −60 degrees). Its name is Latin for clock. It was created in the eighteenth century by Abbé Nicolas Louis de Lacaille, who originally named it Horologium Oscillitorium after the pendulum clock to honour its inventor, Christiaan Huygens. The name has since been shortened to be less cumbersome.
One of the few objects of interest to amateur observers is R Horologii, a Mira variable with one of the largest magnitude ranges known. The globular cluster AM1 is found in the constellation, the most remotely known globular cluster in the Milky Way at a distance of 398 000 light years.

Nimrud- is an ancient Assyrian city located south of Nineveh on the river Tigris in modern Ninawa Governorate Iraq. In ancient times the city was called Kalḫu. The Arabs called the city Nimrud after the Biblical Nimrod, a legendary hunting hero (cf. Genesis 10:11-12, Micah 5:6, and 1Chronicles 1:10). The city covered an area of around 16 square miles (41 km2). Ruins of the city are found in modern day Iraq, some 30 kilometres (19 mi) southeast of Mosul. The ruins are located in the District of Al Hamdaniya, within 1 kilometre (0.62 mi) of the village of Noomanea. Nimrud has been suggested as the site of the biblical city of Calah or Kalakh. Assyrian king Shalmaneser I made Nimrud, which existed for about a thousand years, the capital in the 13th century BC. The city gained fame when king Ashurnasirpal II of Assyria (c. 880 BC) made it his capital. He built a large palace and temples on the site of an earlier city that had long fallen into ruins.

Tathāgata- is the name the historical Buddha used when referring to himself. Literally, it means both one who has thus gone (Tathā-gata) and one who has thus come (Tathā-āgata). Hence, the Tathagata is beyond all coming and going. It is asserted by some that the name really means one who has found the truth.
The Buddha of the scriptures is always reported as referring to himself as the Tathagata instead of using the pronouns me, I or myself. This serves to emphasize by implication that the words are uttered by one who has transcended the human condition, who is beyond the otherwise endless cycle of rebirth, beyond all death and dying, beyond all suffering.
The word is also used as a synonym for arahant. It refers to someone who has attained the highest goal of the religious life: "a tathāgata, a superman (uttama-puriso)". In Buddhist thought, such an individual is no longer human.

Timaeus- is one of Plato's dialogues, mostly in the form of a long monologue given by the title character, written circa 360 BC. The work puts forward speculation on the nature of the physical world and human beings. It is followed by the dialogue Critias. Speakers of the dialogue are Socrates, Timaeus of Locri, Hermocrates, Critias. Some scholars have argued that it is not the Critias of the Thirty Tyrants who is appearing in this dialogue, but his grandfather, who is also named Critias. The dialogue takes place the day after Socrates described his ideal state. In Plato's works such a discussion occurs in the Republic. The main content of the dialogue, the exposition by Timaeus, follows. Nature of the Physical World Timaeus begins with a distinction between the physical world, and the eternal world. The physical one is the world which changes and perishes: therefore it is the object of opinion and unreasoned sensation. The eternal one never changes: therefore it is apprehended by reason (28a). The speeches about the two worlds are conditioned by the different nature of their objects. Indeed, "a description of what is changeless, fixed and clearly intelligible will be changeless and fixed," (29b), while a description of what changes and is likely, will also change and be just likely. "As being is to becoming, so is truth to belief" (29c). Therefore, in a description of the physical world, one "should not look for anything more than a likely story" (29d). Timaeus suggests that since nothing "becomes or changes" without cause, then the cause of the universe must be a demiurge or a god, a figure Timaeus refers to as the father and maker of the universe. And since the universe is fair, the demiurge must have looked to the eternal model to make it, and not to the perishable one (29a). Hence, using the eternal and perfect world of "forms" or ideals as a template, he set about creating our world, which formerly only existed in a state of disorder. Timaeus continues with an explanation of the creation of the universe, which he ascribes to the handiwork of a divine craftsman.

The Hyksos were an Asiatic people who invaded the eastern Nile Delta, in the Twelfth dynasty of Egypt initiating the Second Intermediate Period of Ancient Egypt. By the Fifteenth dynasty of Egypt they ruled lower Egypt and at the end of the Seventeenth dynasty of Egypt they were expelled. The hiatus in the rule of their own land by the Egyptians extended from the end of the Twelfth Dynasty of Egypt to the start of the Eighteenth dynasty of Egypt and the move of the capital to Thebes. The German Egyptologist Wolfgang Helck once argued that the Hyksos were part of massive and widespread Hurrian and Indo-Aryan migrations into the Near East.

Wangülén- means "star" in Mapudungun. Mapudungun (from mapu 'earth, land' and dungun 'speak, speech') is a language isolate spoken in south-central Chile and west central Argentina by the Mapuche (from mapu and che 'people') people. The Wangülén is a type of benign spirit of the Mapuche, they are closely related to humans Mapuche, since one of them would have been chosen as the first man Mapuche woman. Therefore, also the Mapuche woman at the conclusion of his early life can become a Wangülén achieve, if kept alive the traditions and laws of Admapu, and had a great descent who remembers and honours his memory. (If man can become Pillán).
Through Pillán Wangülén and there is no clear separation between the divine spirit and human beings, not only because the latter have been originally generated by the first, but because they themselves can also become Wangülén or Pillán.

Terpsichorean- In Greek mythology, Terpsichore "delight of dancing" was one of the nine Muses, ruling over dance and the dramatic chorus. She lends her name to the word "terpsichorean" which means "of or relating to dance". She is usually depicted sitting down, holding a lyre, accompanying the dancers' choirs with her music. She is sometimes said to be the mother of the Sirens by Achelous. Her name comes from the Greek words τέρπω ("delight") and χoρός ("dance"). Terpsichore figures among her sisters in Hesiod's Theogony. When The Histories of Herodotus were divided by later editors into nine books, each book was named after a Muse. Terpischore was the name of the fifth book. "Terpsichore" is the title of a large collection of dance tunes collected by Michael Praetorius, some originating with Pierre-Francisque Caroubel.

Médousas- In Greek mythology Medusa (Greek: Μέδουσα (Médousa), "guardian, protectress") was a Gorgon, a chthonic female monster, and a daughter of Phorcys and Ceto; Only Hyginus, (Fabulae, 151) interposes a generation and gives another chthonic pair as parents of Medusa; gazing directly upon her would turn onlookers to stone. She was beheaded by the hero Perseus, who thereafter used her head as a weapon until he gave it to the goddess Athena to place on her shield. In classical antiquity the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion.
Caravaggio painted two versions of Medusa, the first in 1596 and the other presumably in 1597, The first version also known as Murtula, by the name of the poet who wrote about it (48x55 cm) is signed Michel A F, (Michel Angelo Fecit) and is in private hands whilst the second version, slightly bigger (60 x 55 cm) is not signed and is in the Uffizi, Florence. As a feat of perspective, the picture is remarkable, for out of the apparently concave surface of the shield - in fact convex- the Gorgon's head seems to project into space, so that the blood round her neck appears to fall on the floor. In terms of its psychology, however, it is less successful. The boy who modelled the face (in preference to a girl) is more embarrassed than terrifying. For once Caravaggio cannot achieve an effect of horror; he was to find in the legends of the martyrs a more powerful stimulus to the dark side of his imagination than classical myth.
In Greek myth, Perseus used the severed snake-haired head of the Gorgon Medusa as a shield with which to turn his enemies to stone. By the sixteenth century Medusa was said to symbolize the triumph of reason over the senses; and this may have been why Cardinal Del Monte commissioned Caravaggio to paint Medusa as the figure on a ceremonial shield presented in 1601 to Ferdinand I de' Medici, Grand Duke of Tuscany. The poet Marino claimed that it symbolized the Duke's courage in defeating his enemies.

Khimaira- The Chimera or Chimaera, from χίμαρος, khimaros, "she-goat" was, according to Greek mythology, a monstrous fire-breathing female creature of Lycia in Asia Minor, composed of the parts of multiple animals: upon the body of a lioness with a tail that ended in a snake's head, the head of a goat arose on her back at the center of her spine. The Chimera was one of the offspring of Typhon and Echidna and a sibling of such monsters as Cerberus and the Lernaean Hydra. The term chimera has also come to mean, more generally, an impossible or foolish fantasy, hard to believe. Homer's brief description in the Iliad is the earliest surviving literary reference: "a thing of immortal make, not human, lion-fronted and snake behind, a goat in the middle, and snorting out the breath of the terrible flame of bright fire". Elsewhere in the Iliad, Homer attributes the rearing of Chimaera to Amisodorus. Hesiod's Theogony follows the Homeric description: he makes the Chimera the issue of Echidna: "She was the mother of Chimaera who breathed raging fire, a creature fearful, great, swift-footed and strong, who had three heads, one of a grim-eyed lion; in her hinderpart, a dragon; and in her middle, a goat, breathing forth a fearful blast of blazing fire.
The Chimera appears in Etruscan wall-paintings of the fourth century BCE. Robert Graves suggests, "The Chimera was, apparently, a calendar-symbol of the tripartite year, of which the seasonal emblems were lion, goat, and serpent." In Medieval art, though the Chimera of Antiquity was forgotten, chimerical figures appear as embodiments of the deceptive, even Satanic forces of raw nature. Provided with a human face and a scaly tail, as in Dante's vision of Geryon in Inferno xvii.7-17, 25-27, hybrid monsters, more akin to the Manticore of Pliny's Natural History (viii.90), provided iconic representations of hypocrisy and fraud well into the seventeenth century, through an emblemmatic representation in Cesare Ripa's Iconologia.

Mnemosynes- Mnemosyne, source of the word mnemonic, was the personification of memory in Greek mythology. This titaness was the daughter of Gaia and Uranus and the mother of the nine Muses by Zeus: Calliope (Epic Poetry), Clio (History), Erato (Love Poetry), Euterpe (Music), Melpomene (Tragedy), Polyhymnia (Hymns), Terpsichore (Dance), Thalia (Comedy), Urania (Astronomy). In Hesiod's Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses. Zeus and Mnemosyne slept together for nine consecutive nights and thereby created the nine Muses. Mnemosyne also presided over a pool in Hades, counterpart to the river Lethe, according to a series of 4th century BC Greek funerary inscriptions in dactylic hexameter. Dead souls drank from Lethe so they would not remember their past lives when reincarnated. Initiates were encouraged to drink from the river Mnemosyne when they died, instead of Lethe. These inscriptions may have been connected with Orphic poetry (see Zuntz, 1971). Similarly, those who wished to consult the oracle of Trophonius in Boeotia were made to drink alternately from two springs called "Lethe" and "Mnemosyne". An analogous setup is described in the Myth of Er at the end of Plato's Republic.

Pharos Meditation - Pharos: Latin, from Greek, after Pharos, a peninsula, formerly an island, in the Mediterranean Sea at Alexandria, Egypt, and the site of an ancient lighthouse, one of the Seven Wonders of the World.

A tower with a light that gives warning of shoals to passing ships.