Jona bechtolt and claire l evans dating - ann-estetyka.info
Jona bechtolt and claire l evans dating. There was a backlash and the band later apologized. Recode spoke with Evans about her book and the overlooked. Jona Bechtolt & Claire ann-estetyka.info Of Yacht by Black Devil Disco Club feat. Jona Bechtolt & Claire ann-estetyka.info on Amazon Music. Stream ad-free or purchase CD's and. Earlier this week, the band, made up of Jona Bechtolt and Claire Evans – who are also a couple – put out a message on Facebook claiming.
There is no fundamental negative associated with the concept, only what we apply. Evans, who regularly writes and edits short form fiction, has been championing the book Gold Fame Citrus, set after the water wars in California. The book, and others likes it, are part of a growing genre within science fiction called cli-fi, which seeks to explore a time beyond plentiful resources, when global warming has altered the face of both humanity and the world itself.
She regularly commissions writers from outside the science fiction community—with backgrounds in journalism and nonfiction—to write about the future of their respective beats. A music journalist might write about the future of music.
A food writer might tackle the end of food. And an environmental writer might break down what the world could look like inor evenyears.
That curiosity about widespread change is at the core of what makes YACHT, but it's also something they've considered locally. The two visited Portland just a few months ago for a friend's wedding. The changes, they recall, were staggering. I mean, the whole city is just so chameleonic. So where most of the money come from? Selling albums and performing live shows? Is the band interested in going to those lengths to get its message across?
What is the research process like for the band? I think our general strategy for research is, as soon as we decide we want to make a project based on a certain idea, we open up our minds to that idea. We become aware of it. For the triangle thing, for example, once we decided to start using triangle iconography, we saw triangles everywhere. Once you start thinking about that kind of thing, you just see references to it everywhere in culture.
By the time a few months have passed, you have amassed an entire library of ideas as well as films and pictures. Yeah once we put our minds to an idea, the perception is totally shaped to that idea and we start picking up on all types of things from every angle.
Does that inspire you to actively research or is it more just a process that happens? Where we are today is largely because of the Internet and the way it's been able to connect us both in terms of traveling, meeting people, outreach and sheer inspiration and collaboration. We don't use social networks just to use them. We use the ones we like and avoid the ones we don't like. We don't see it as a task. Continuing with the technology theme, do you guys think you could create art without technology?
We have and always will. We like to use all the tools at our disposal. That includes our minds and our hands and physical objects that we can mold in space and time, but also since we have access to digital tools, we use those. Jona, are you at the point where you can just hear a drumbeat, for example, in your head and quickly create it through technology organically?
That was part of the reason I started YACHT into see if I could make my ideas materialize faster than ever through the use of technology and computers. I was looking at some of the press shots you guys did for Shangri-La, and it seems to present you in a kind of childlike state.
YACHT’s Claire L. Evans on Coming Back to a Changed Portland | Portland Monthly
Is maintaining a childlike outlook important for your art? No one's ever said that. I've never thought about that. Yeah, that wasn't a conscious effort, but that's cool. We definitely, almost against our will, project a childlike look to us. We're always carded wherever we go for alcohol and sometimes even rated R movies!
People ask us how old we are and are always surprised when we tell them. We have an awareness and an awe about the world we drum into ourselves. We're always trying to be curious and keep the psychedelic floodgates open to always be surprised by things.
We're generally both very optimistic people.
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That, maybe, has something to do with it. That doesn't mean we aren't dark as shit. You guys tour pretty constantly. Do you feel like nomads?
Has that altered your perception of home? I've been touring since I was years-old with very little breaks in between each year, so it feels like normal life to me. It's all that I know professionally, and it's all that I like to do. When I'm in one place for more than a few months, I start to feel itchy and crazy when I think about the road.
It's shocking how easily the human psyche adapts to always being on the road. You freak out and you miss home, and then you reach a second plateau when you don't feel like you ever need to be there.
You get back to your house, and everything around you is dead weight. They're just taking up space. Do you have possessions that help ground you and give you a sense of home? I try to be incredibly minimal, but there are some things that we like to bring with us to give us a sense of space. Scents, smells, candles, stuff like that. One of your goals is to create a full sensory experience through your art. Do you guys think that the way technology splits our attention erodes people's ability to have that finite experience?
It hasn't eroded it, I think it has made people react more strongly to the sensory when it's presented to them, as it is more alien to daily life than it used to be.
People are more blown away by physical contact, by a direct moment in time shared with other people.