A Butterfly’s Metamorphoses (Métamorphoses du Papillon)
France, 1904. Dir. Gaston Velle (Pathé Frères), 1 min 40 sec
The Manufacture of Artificial Flowers (Fabrication des Fleurs Artificielles) France, 1911. Dir. unknown (Pathé Frères), 6 min 4 sec
France, 1912. Dir. unknown, 8 sec
Chrysanthemums (Les Chrysanthèmes)
France, 1907. Dir. Segundo de Chomón (Pathé Frères), 2 min 30 sec
Fashion from the Galeries Lafayette (Présentation de mode des Galeries Lafayette) France, 1912. Dir. unknown (Gaumont), 1 min 10 sec
Magic Roses (Les Roses Magiques)
France, 1906. Dir. Segundo de Chomón (Pathé Frères), 2 min 40 sec
Different Hair Dresses (Coiffes et coiffures) France, 1905. Dir. Gaston Velle (Pathé Frères), 41 sec (clips)
Haarlem’s Flower Fields (Bloemenvelden Haarlem) Netherlands, 1909. Dir. Willy Mullens, 1 min 45 sec
Brahmin and the Butterfly (La Chrysalide et le Papillon d’Or) France, 1901. Dir. Georges Méliès (Star Films), 1 min 54 sec
The Latest Parisian Fashion: Hairstyles from the House of Decoux (De Laatste Parijscher Mode: Kapsels van het Huis Decoux) France, c. 1913. Dir. unknown (Pathé Frères), 26 sec (clip)
I know the story of a rose. Does it seem strange to you to speak of a rose when I am talking about animals? But it acted. Every two days I would buy a rose and place it in water in a vase made specially narrow. Every two days the rose would wilt and I would exchange it for another. Until one certain rose, rose-coloured without colouring or grafting, just naturally of the most vivid rose colour. Its beauty expanded its wide open corolla, the heart, by great breadths. It seemed so proud of the turgescence of its petals, it was not completely erect: with graciousness it bent over its stem, was fine and fragile. An intimate relationship intensely developed between it and me, and, so glorious in her apparition, observed with such love, lasted in beauty and life an entire week. Then died. It was with reluctance that I replaced her. And I never forgot that rose lived from love. That rose. Jewel of my life.
Flowers, not any specific flower, the strange privilege of revealing the presence of love. Love can be posited from the outset as the natural function of the flower; the symbolic quality mysteriously strikes the human sensibility. Men have linked the brilliance of flowers to their amorous emotions, a question of phenomena that precede fertilization. If one expresses love with the aid of a flower, it is
the corolla, rather than the useful organs, that becomes the sign of desire. The object of human love is never an organ, but the person who has the organ. If the sign of love is displaced from the pistil and stamens to the surrounding petals, it is because the human mind is accustomed to making such a displacement with regard to people, puerile, providence to satisfy people’s manias: how do these garish elements, automatically substituted for the essential organs of the flower, develop in such a brilliant way? Nothing will prevail against the natural truth that a beautiful woman or a red rose signifies love, if one says that flowers are beautiful, it is because they seem to conform to what must be, they represent, as flowers, the human ideal, even the most beautiful flowers are spoiled in their centres by hairy sexual organs, the interior of a rose does not correspond to its exterior beauty; if one tears off all the corolla’s petals, all that remains is a rather sordid tuft.
Camille 1 was given a suite of pattern-forming genes expressed on monarch surfaces over their transformations from caterpillar to winged adult.
This elegance is rather satanic: one is tempted to attribute to them the most troubling of human perversions; even more than by the filth of its organs, the flower is betrayed
by the fragility of its corolla, it is the sign of their failure after a very short period of glory, the marvelous corolla rots indecently in the sun, even though it seemed for a moment to have escaped it in a flight of angelic and lyrical purity – the flower seems to relapse abruptly into its original squalor.
For flowers do not age honestly like leaves, which lose nothing of their beauty even after they have died; flowers wither like old and overly made-up dowagers, and they die ridiculously on stems; the external part of the plant is endowed with an unambiguous meaning, the impression of strength and dignity, foliage, bears witness to the impeccable erection of plants, nothing contributes more strongly to the peace in one’s heart and to the lifting of one’s spirits, to one’s loftier notions of justice and rectitude, than the spectacle of fields and forests, a veritable architectural order, correctness. The decisive harmony of vegetal nature. Flowers themselves, are reduced to an episodic role, to a diversion, they can only contribute, by breaking the monotony, to the inevitable seductiveness produced by the general thrust from low to high. Don’t all these beautiful things run the risk of being reduced to a strange mise-en-scène destined to make sacrilege more impure?
I want to paint a rose. Rose is the feminine flower that gives herself wholly and such that the only thing left to her is the joy of having given herself. Her perfume is a crazy mystery. When inhaled deeply it touches the intimate depth of the heart the landscapes of the body still accessible to the eye so beautiful.
Camille 1 received genes allowing per to taste in the wind the dilute chemical signals crucial to adult monarchs selecting diverse nectar-rich flowers and the best milkweed leaves for depositing their eggs.
I want to paint a rose. The scarlet ones are of great sensuality. The white ones are the peace of the God. The yellow ones are of a happy alarm. The pink ones are fleshier and have perfect colour. The orange ones are sexually attractive.
I want to paint a rose as much at home with what is dead as with living flesh, conversations with the dead cannot be quoted, they must first and foremost be imagined. I want to paint a rose, a small speaker, partially buried in dust, a small speaker, dust a corner, a speaker, a speaker endusted, encornered, a frail frame dust will blow away.
Oh they’re so lovely. I’ve never seen such pretty roses. Honestly, I’ve never seen such pretty roses. They’re so lovely some perfect roses some roses so perfect in
Fashion in Film Festival presents: Into the Garden of Chimerical Delights
Friday 30 May 2025, 7pm, Barbican Cinema 1
Musarc conjures a live vocal and rhythmic soundscape for this mesmerising kaleidoscope of feminine imagery: women posing or adorned with floral arrangements, examining and manufacturing blooms, and magically conjuring or emerging from flowers. Others portray women in elaborate costumes personifying flowers and their pollinators, like butterflies and bees. Spanning various pre-World War I genres, including trick films and some of the first fashion newsreels and industrial process films, these shorts reflect 19th-century notions of femininity as synonymous with beauty and enchantment. Yet, the various ornamental human-nature hybrids that populate many of these films also reveal undercurrents of thrillingly ‘dangerous’ female exoticism, eroticism and power.
The programme features several new digital restorations from hand-coloured and stencil-coloured nitrate prints, including a sneak peek into some of the films included in Fantastic Flowers, the recent joint restoration project between Eye Filmmuseum, the Royal Film Archive of Belgium, and Filmarchiv Austria, to be premiered at this year’s Il Cinema Ritrovato festival in June.
The screening is followed by a panel discussion with Musarc, joined by the programme curators Marketa Uhlirova and Elif Rongen-Kaynakçi. Moderated by festival co-curator Dal Chodha.
* Content warning: some films include exoticising images that may be culturally insensitive or offensive.
‘The films screened this evening are amongst the earliest to blur the boundaries between human and non-human forms with such imaginative flair. Women here are portrayed as delicate, almost otherworldly beings. They are entwined with the sensuous allure of flowers and ephemeral insects that, while dazzling, also suggest excess, transgression and sexual desire.’ — Marketa Uhlirova and Elif Rongen–Kaynakçi
Into the Garden of Chimerical Delights is part of Fashion in Film Festival’s 2025 season GROUNDED: Fashion’s Entanglements with Nature, a major UK-wide season exploring the relationship between fashion and nature through the lens of cinema.
Spanning the late nineteenth century to present day, the programme examines fashion’s role as simultaneously a barrier and a connecting tissue between humans and the natural world. With over 80 titles including rare screenings and UK premieres, GROUNDED presents diverse narratives addressing ecological and geopolitical concerns while exploring imaginative spaces of poetry, comedy, beauty, joy, horror and transgression.
Fashion in Film Festival is based at Central Saint Martins, University of the Arts London. GROUNDED is supported by the BFI, awarding funds from the National Lottery.
fashioninfilm.com
Thank you: EYE Filmmuseum Amsterdam, FPA Classics, Les Archives Françaises du Film (CNC), the Royal Film Archive of Belgium, Gaumont-Pathé Archives, Filmoteca de Catalunya and Filmoteca Española. Special thanks to Tamara Anderson, Jonathan Gleneadie, Thomas Zagrosek, Zanya Fechner, John Hughes, Cyana Madsen, Maria Chiba, Agnès Bertola, Caroline Patte, Simone Appleby, Regina De Martelaere, Arianna Turci, Josep Calle Buendía and Aide Fernandez. Musarc would like to thank London Metropolitan University and St Paul’s Bow Common.
Marketa Uhlirova is an art historian, curator and co-founder of the Fashion in Film Festival, where she has been director since 2006. With an interest in the intersection of fashion, art and moving image, she has curated film programmes for venues such as Tate Modern, Barbican, and the Museum of the Moving Image in New York. In 2017 she and Rollo Smallcombe co-created the film experience The Inferno Unseen, a reimagined version of Henri-Georges Clouzot’s unfinished 1964 film.
Elif Rongen-Kaynakçi is Curator of Silent Film at Eye Filmmuseum. Throughout her career, she has been instrumental in the discovery, restoration, and presentation of numerous presumed-lost films. Her longterm involvement in the archive’s colour restorations has resulted in collaborations including Fantasia of Color in Early Cinema (2015) and The Colour Fantastic: Chromatic Worlds of Silent Cinema (2018). Most recently, she co-curated Cinema’s First Nasty Women, a DVD box set featuring 99 films, released by Kino Lorber in December 2022.
Dal Chodha is a writer and Editor-inchief of Archivist Addendum – a project that explores the gap between fashion editorial and academe. He contributes to various international titles and is a Contributing Editor at Wallpaper* magazine. In 2020, he released his first book SHOW NOTES, which is an original hybrid of journalism, poetry and provocation. His second, You gotta keep your head straight about clothes, was released in December 2023. Chodha is the co-curator of Fashion in Film Festival’s 2025 edition.
Musarc is one of the UK’s foremost experimental choirs. The ensemble has developed a distinct reputation for its interdisciplinary and research-led approach to music and performance, and the space it affords artists and singers to experiment with new ideas. Since its inception, the choir has collaborated with more than 130 artists and composers, including Jennifer Walshe, Keiji Haino, Jay Bernard, Lin Chiwei, Laure Provost, Ed Atkins, Lina Lapelytė, Jack Sheen, Imogen Stidworthy, Neil Luck and many others; and numerous festivals and arts organisations in the UK and abroad –including the Artangel, Tate Britain, ICA Institute of Contemporary Arts, Northampton Contemporary Arts, BBC Proms, London Contemporary Music Festival, Post Disaster (Taranto, Italy), Palais de Tokyo (Paris), the Royal Academy, CCA Goldsmiths, Museum of London, Serpentine Gallery, MK Gallery, Wysing Polyphonic, Cafe OTO and Bold Tendencies. Musarc is part of The Centre for Creative Arts, Cultures and Engagement (CREATURE) at the School of Art, Architecture and Design, London Metropolitan University. To find out more about the choir and how to join visit musarc.org.
Andy Cowton is a composer working across multiple platforms of film and performance. Aranzazu Fernández Rangel is an architect whose practice centres around public realm design and placemaking. She holds an MA in Narrative Spaces from Central Saint Martins and a PG Dip in Integrative Arts Psychotherapy from UEL. She is passionate about transforming environments, internal and external, through relationship building and participation. After 25 years in architectural practice and 10 years teaching, Carol Mancke plays in the intersection of fine art and cities. Her collaborative projects engage different time frames and use images, objects, physicality, humour, hospitality and conversation, to create clearings in the midst of everyday life. She would like to be an ocean or river mammal in her next life. Carolyn Roy is a dancer currently interested in fundamentally useless activities and barely perceptible micro performances. She teaches various things at Trinity Laban, LCDS and Independent Dance and is a member of Chisenhale Dance Space. Derk Ringers is a designer and researcher with a strong background in industrial systems. After completing his MA in Industrial Design at Central Saint Martins, he has been working on projects that reimagine systems of material production and social organisation. His work has a strong anthropological focus, and he uses aesthetic decision-making to engage with complexity. Through an analytical approach, playful investigations, and speculative provocations, Derk’s work aims to express diverse perspectives and imaging resilient futures. Fiona Thendean is a London-based, Californiaborn AI Scientist focusing on responsible
AI development. She earned her MSc in Artificial Intelligence for Sustainable Development at UCL, where she researched explainability for deep reinforcement learning in the context of climate change policy models. When she isn’t working with code, she designs jewellery, plays piano, and takes long nature walks (and copious photos of birds). Franziska Böhm is an independent German artist based in London, working across music, dance and academia. Drawn to duos, she explores relational dynamics and the themes that emerge between collaborators: with Hannah Archambault she works with sound, movement and voice in their duo Raspy Moans; co-directs Palpable with Sofia Pomeroy; and cofounded Sounding Sensations Praxis with Serena Ruth. She has a cat called RatBetty and works in a Spanish deli pairing wine and meats. Hannah Archambault is a French-Polish artist, musician and performer. She explores music for its meditative qualities in performance or installation settings. Her voice, organ drones and field recordings are inherent to her compositions. Hannah’s latest EP Uneven Places of Love was released on Glossy Mistakes label. She is also part of Raspy Moans, a duo with Franziska Böhm which has movement, singing and music at its core. Isabelle Pead is an artist working across sculpture, sound, video and performance. Often utilising large scale installation, her work is informed by actions of storytelling and collectivism, exploring the relationship between the voice and the sounding body. She is interested in how sound and the voice can work as social tools for creating community through shared noise making and sonic experiences. Joseph Kohlmaier is an artist, designer, and Associate Professor in Critical and Contextual Studies at the School of Art, Architecture and Design, London Metropolitan University. Joseph is the founder of Musarc and has acted as its creative director since 2009.
Kalina Pulit is a Polish-born, Londonbased filmmaker, photographer and creative director. Her work explores the spectrum of human emotion within micro and macro communities, highlighting people, places and scenarios that might otherwise go unnoticed. Her visual style is defined by a bold and meaningful use of colour and a blend of analogue and digital processes. Kalina is a University of the Arts London (UAL) alumna and an associate lecturer. Lizi Sánchez is a Peruvian visual artist who has been based in London for the past twenty years. Her work explores language, focusing on how meaning shifts through different processes and contexts. She is also the co-founder of Museo en Residencia, a pocket-sized, collaborative, and itinerant museum project. Lola Wilson is a London-based junior architect based in East London. She studied Sculpture at Central Saint Martins and is particularly interested in the intersection of space, form, and sound. Outside of architecture and music, you might find her cycling past you – she loves her bike. Łukasz Kopeć likes to play with words, sometimes sounds, once weekly with sourdough, and numbers. Mariam Bergloff is a music researcher and sound artist based in London. Her compositions take the form of dissonant soundscapes, noisy polyrhythmic loops and generative sound collages. She is also half of Spiraal, a new electronic duo drawing upon the paranormal, OSTs, field recordings, discordant melodies and restless dreams. Max West studies Music Composition at Trinity Laban. Max composes instrumental and electronic music, experimenting with ideas around fragmentation, noise, visual art and language. He is a keen collaborator with dance and as a performer, he is a no-input mixer noise artist Michael Poole is an artist, maker and musician, sometimes at once and sometimes not at all. He’s interested in doing and not doing and is often making maps to places which
can’t be visited. Molly Astley is an interdisciplinary artist and musician whose work is guided by exploration of sensory perception and vibrational relations. She is the founder of the deep listening choir Silt Ensemble and holds an MA in Art & Ecology from Goldsmiths, University of London. Natalie Savva is an Architect, educator, art exhibition designer and scenographer. She has always lived on an island and finds peace in scuba diving and sweltering cross-country road trips. An alumna of the Cooper Union in NYC, she co-founded Studio naama, also teaching Architecture with a focus on ‘Making housing public’. Rebecca Faulkner is a spatial practitioner engaged in the fields of Landscape Architecture, Public Realm, and Architecture. She has a keen interest in the gendering and governance of public spaces, actively challenging inherent design biases. In practice, she advocates for co-collaboration with young women and girls, as well as wider local communities, to create more inclusive and equitable places across the city. Telling stories on her piano, Saori Miraku is a pianist-composer, improviser and performer. Her musical work includes her compositions, piano solo, improvisation-based collaborations with instrumentalists, sound artists and visual artists. Her music is an invitation to transcend, to reach beyond the everyday world and into a place of stories, memories, imagination, dreams and transformation. Saori released her piano solo album Many Times on Earth in December 2023. She also appears in short films, music videos and photographic projects. Tara Fatehi is a performer, writer, and performance maker and co-founder of From the Lips to the Moon experimental music and poetry nights. She explores playfulness, mistranslation and unfinishedness through dance, poetry, voice and video. Her book Mishandled Archive documents her 365 days micro-performances in public space (LADA 2020). Zeina Nasr is a songwriter, improviser, analog synth devotee, and lover of cats.
The choir labours under the sun. It carries its own weight, falls, rises and inspects its own ruins. It is thirsty. The choir attentively puts the facts, that is the way it knows, not by logical exegesis. The choir pauses. It turns its sail hard into the wind of tradition. It is commensurate with the materials that pass through its practice. This practice is the only territory it owns, its performances are but materialisations, archipelagos. The choir’s many bodies extend and contract with every new encounter. It is first and foremost a body of bodies, that is its affordance. It puts next to each other multiple languages and looks for contradictions, in which it rejoices. It is a civic structure, vacillating, interdisciplinary, it has grown its own immune system under minor and major incursions. The choir projects its transformations. It makes its own effigy to rethink what it may be. The choir is writing, it is looking to find a common desire (prose, mostly without meter). It is for those who feel their way through a score to an unknown end. This is its destiny: to defend itself against the disparity of the moment. The choir is not easy. It has hierarchies, but they cannot always be seen. It wishes to be touched, it is pure relation, that is its erotics. The choir is a method: everything for it is a metaphor that leads back to itself.
Musarc was founded in an architecture school. The image of the city, modern society and the friction of civic space have animated its work from the beginning. Today, it is part of an art school where it continues to ask what it means to be contemporaries, or comrades in time.
Musarc conceives of the choir not as a group of people who stand and perform from the periphery of the stage, but as an oracular apparatus that is alive with knowledge. This kind of chorus struggles against its own traditions, most prominently the preconception that its many voices sound as one. In truth, it is both singular and plural at the same time, a subject of subjects, polyphonous, always on the verge of disintegrating into something chaotic and unknown.
To look at the chorus in this way has many different consequences, some of which remain unknown to itself until they transpire from its body moving through place and time. Musarc asks questions, even if it only ever answers obliquely. It is a wild and hungry research group. It is fiercely interdisciplinary and multifarious, no practice or line of inquiry is alien to it. It strides into the unknown. It rejects the notion of perfection, talent, optimisation, and of anything ever being finished. It abolishes the line between amateurism and professionalism. It posits the body as first affordance, and the techniques of bodies in dialogue with the affordances of their environment as the fulcrum of knowledge. The chorus eats together, it has a writing group. It works through a process of assembly and collage. The choir takes risks. This requires a considerable amount of trust for a large group of people, which is upheld precariously. It is here that the choir’s persona materialises, and with it
the immense generosity which artists, composers and organisations encounter when they work with us. The choir, above all, is a place of learning and a pedagogy. To borrow from Paulo Freire, the choir is where we co-intend on reality, unveiling it, coming to know it critically, in the task of re-creating that knowledge.
Finally, we imply ‘music’ when we speak of the chorus. But to always speak of music implicitly, rather than in the first instance, is unusual for a choir and indicative of its peculiar constitution.
Somewhere at the intersection of these observations lies Musarc’s methodology and its practice. The score the choir is performing this evening developed over five rehearsal sessions through an iterative process of ideation and experimentation, debate, instantly archiving, reworking and assembling ideas, recording them in progress.
To resist interpretation, we kept our recollection of the films and their beautiful, strange and haunting images suspended, working mostly away from the material. The aim early on was to transpose the films into a vacillating, contradictory state through the music, letting synchresis do its work, a term Michel Chion coined to describe the ‘spontaneous and irresistible weld’ between image and sound. This act of welding happens in the audience, stitching together and mapping a territory of unknown private and collective associations. Like this, the process of composition remains ongoing.
In this project, we have been testing how to go further with co-creation, drawing more than ever on the skills, ideas and experiences of the members of the ensemble who brought provocations,
ran workshops, composed the music together and took the rehearsal process into unexpected directions. Each of the miniatures at play during tonight’s performance emerged from a thought or an idea that was deployed in the space of the rehearsal by a singer or group of singers, tested and transformed into what it is, for now.
In order of appearance during the process, workshops were conceived or led by Andy Cowton, Carolyn Roy, Derk Ringers, Joseph Kohlmaier, Aranzazu Fernández Rangel, Lizi Sánchez, Zeina Nasr, Isabelle Pead, Franziska Böhm, Hannah Archambault, Kalina Pulit, Molly Astley, Saori Miraku and Michael Poole. The films were arranged into a sequence by Natalie Savva, Carolyn Roy and Kalina Pulit. The rehearsals were documented by Kalina Pulit, Andy Cowton and Max West. The libretto was composed by Carolyn Roy and edited by Joseph Kohlmaier, with contributions from Mercedes Vicente, Carol Mancke, Lizi Sanchez, Łukasz Kopeć, Petra Johnson and Ian Blake. The final score was developed by Joseph Kohlmaier, Andy Cowton, Isabelle Pead and Max West.
The initial concept for the performance was developed by Joseph Kohlmaier, Carol Mancke and festival curator Marketa Uhlirova. Joseph Kohlmaier and Andy Cowton were responsible for the overall artistic direction of the programme.
Joseph Kohlmaier, May 2025
Musarc has a writing group which acts as a chorus within the chorus.
For this project, the group produced a libretto through a process of reading, appropriation, recollection, assemblage and re-assemblage of texts, including the following sources:
Robert Ashley, Automatic Writing (Lovely Music Ltd, 1979)
Georges Bataille, ‘The Language of Flowers’, in Visions of Excess: Selected Writings 1927–39 (Manchester University Press, 1985)
Walter Benjamin, The Arcades Project [1927–40] (Belknap Press of Harvard University Press, 1999)
Daniela Cascella, Nothing As We Need It: A Chimera (punctum books, 2022)
Donna J. Haraway, ‘The Camille Stories: Children of Compost’, in Staying with the Trouble: Making Kin in the Chthulucene (Duke University Press, 2016), pp. 134–68
Clarice Lispector, Água Viva (New Directions Publishing, 2012) , ‘The Imitation of the Rose’, in Complete Stories (Penguin UK, 2017), pp. 131–50
Graham Stuart Thomas, The Graham Stuart Thomas Rose Book (Frances Lincoln, 2004)
their smallness. They even look fake, their colour concentrated, as inside an earlobe, feel the redness coursing through them.
Hair is the frontier region lying between two kingdoms, if one tears off all the corolla’s petals, all that remains is a rather sordid tuft, one is tempted to attribute to it the most troubling of human perversions.
Camille 1’s gut and mouth microbiomes were enhanced to allow per to safely savour milkweed plants containing the toxic alkaloids that the monarchs accumulate in their flesh to deter predators.
Extreme beauty made her uncomfortable.
It was a risk. Why would it be a risk? They just made her uncomfortable, they were a warning. Why would they be a warning? They were so lovely. Oh they’re so lovely. I’ve never seen such pretty roses. Honestly, I’ve never seen such pretty roses. They’re so lovely.
I shall speak of the sadness of flowers, the strange privilege of revealing the presence of love. I’ll give you their nectar with pleasure. Something disclosed in the drunkenness of passion, flowers betrayed by the fragility of their corolla, the sign of their failure. It is the corolla that is the sign of desire, the object of human love is never an organ, a flower’s female organ, contains the beginnings of the seed.
A flower’s masculine organ composed of the filament and the anther, signs of love displaced from the pistil and stamens to the surrounding petals, these garish elements substitute for the essential organs of the flower.
After a period of glory the corolla rots indecently in the sun, flowers wither like old and overly made-up dowagers, no longer animated, they die ridiculously on stems, still accessible to the eye, our guide through these realms of death. Unnamed.
Unmapped. Threatened with extinction. Can you save what you can’t name? But, who is the one who names? Who is to name? We must survive, we must remain, Can you save what you can’t name? Who is the one who names? Who is to name? We must survive, we must remain.
Camille 1 had to become in symbiosis with an insect composed as five caterpillar instars before metamorphosis into a flying adult. Camille 1’s symbiogenetic join with monarchs had to accommodate the diverse parasitic and beneficial associates of the butterfly holobiont, as well as pay attention to the genetics of the migrating populations.
Desprez à Fleur Jaune: This rose is unique in that it attracts fireflies. No one knows what they find compelling about this particular variety, but wherever it is planted they hover nearby.
While the flowers are open by day, the fireflies sleep in their centres. As night falls, the flowers close slightly, the insects awaken, and they light the buffcoloured blooms from within, like luminous jewels.
Emotion. Guillot, 1862. Emotion. Fontaine, 1879. Empereur du Maroc. BertrandGuinoisseau, 1858. Erinnerung an Brod. Geeschwind 1886 . Eugène Fürst. Soupert et Notting, 1875. Ferdinand Pichard. Tanne, 1921. Fisher Holmes. Verdier, 1865. Frau Karl Druschkl. Lambert, 1901. Général Jacqueminot. Roussel, 1853. Georg Arends. Hinner, 1910. Gloire de Ducher. Ducher, 1865. Henry Nevard. F. Cant, 1924. Hugh Dickson. H. Dickson, 1905. Reine des Violettes. MilleMallet, 1860. Roger Lambelin. Schwartz, 1890. Rose du Roi à Fleur Pourpre. Mogador, 1819. Ruhm von Steinfurth. Weigand, 1920. Souvenir d’Alphonse Lavallée. Charles Verdier, 1884. Souvenir du Docteur Jamain. 1865, Hollamby’s. Triomphe de I’Exposition. Margottin, 1865. Ulrich Brunner Fils. Levet, 1882. Vick’s Caprice. Mr. Vick,1897. Zeya mays Corn 92%. Glycine max Soybeans 94%. Gossypium Cotton. Solanum tuberosum potato. Carica papaya Papaya. Cucurbita pepo Summer squash. Brassica napus Canola 95%. Medicago sativa Alfalfa. Malus Apple. Beta vulgaris Sugar beet
(99%). Ananas cosmosus Pink pineapple.
A silkworm aligns two threads, one thread secretes from the left, the other from the right side of its mouth, the threads solidify and join. During three to eight days, the caterpillar turns its head 300,000 times in a figure of eight movement whilst extruding one continuous thread of up to 3/4 mile long. Earthbound worms turn into air-bound moths. These days moths that manage to emerge can no longer fly.
(Bombyx Mori, silkworm).
Camille 1’s visual capacities and neural arrangements to perceive physically in the butterfly colour spectrum were not altered. The point was to give the butterflies and their people a chance to have a future in a time of mass extinctions.
Que caches-tu? Qu’est-ce que tu cache?
Tit for Tat (La Peine du Talion)
France, 1906. Dir. Gaston Velle (Pathé Frères), 4 min 30 sec
Nature’s Fairest (Het schoonste uit de natuur)
France, 1912. Dir. unknown (Gaumont), 3 min 15 sec
France,
Transformation (Métempsycose)
France, 1907. Dir. Segundo de Chomón & Ferdinand Zecca for Pathé Frères, 3 min
Flowery Spring (Printemps Fleuri)
France, 1912. Dir. unknown (Pathé Frères), 5 min 38 sec
