(CIRKUMFLEKS)Magazine

2. 2012 

(C)M 

photography 

design 

music 

art 

fashion 

digitalisme

Cover: 

Luca Kronos Cassara with Safin & 

Safin. 

OPS! 

In the next issue of our special 

guest - Luca Kronos Cassara 

Hello! 

Finally, we are ready to give our next issue 

(CIRKUMFLEKS) Magazine. 

This column originally planned with a different 

text, but at the last minute I decided to change 

it all. 

Firstable, I want to do is apologize for the delay 

which has occurred with the release of this 

issue. 

Secondable, is of course to thank everyone 

who sent in their work. Number of received 

works was so great that we were confused .... 

We can not issue a bottomless magazine, so 

we decided that the magazine will be published 

more than once a month, but twice. Therefore, 

if any of the authors do not find his work here, 

do not worry, they will appear in the next issue. 

Thirdly, the editors have decided that we will 

periodically release special editions. One of 

these special issues is now being prepared. 

Forthable, in this issue you will not find links to 

our collection of traditional music ... 

But once a month, we will provide you such 

collections. 

And last but not least, thanks to all the readers 

who emails us. Unfortunately sometimes we 

are not able to respond quickly, but that does 

not mean that your letters are not important to 

us. 

I hope you enjoy this issue. 

With the best wishes 

Ed Safin (editor) 

(CIRKUMFLEKS)Magazine 2.2012

RELATIONSHIPS 

between TWO 

A man and a woman. A 

woman and a man. Two 

completely different 

worlds. 

He often does not 

understand the logic of 

her actions. She ... 

she usually does not 

try to understand him. 

The man in his life 

guided by reason. The 

woman lives with the 

heart, feelings, 

emotions. 

Man - is a child who during his life path, developing and 

changing. To the Women all are given at birth. She is in the 

process of life simply need to remember it. 

Remember that is her nature be wise and attentive. She possesses 

intuition and the ability to see right through, especially through 

men. 

She sees him in his true colors, all his flaws. She's set up is 

very critical of the man with whom she goes through life. But she 

did not think that she herself is not perfect and that there are 

things in it that can also irritate her partner. 

In most cases, he and she, fell in love with each other, they 

forget or do not even come up with the idea that their life 

together, their relationship - it is not something static, 

unchanging, but it is a process where all parts moves, and 

changing. Where is the ideal woman in the process of living 

together remembers all the gifts given to her at birth, where she 

remembers her uniqueness. She is an inspiration and a generator of 

life for her loved one. She is full of love and understanding. 

She is the one to creates a mood, the atmosphere in the family. 

What will be her world, her family, her man - depends on her. The 

man cares, protects, loves, and provides. 

When love is born after a period of falling in love, it's 

important to remember, to the both sides, that everything that is 

born, is born will grow and will develop. Remember that he does 

not necessarily understand her, but to accept. 


And for her - to 

understand him. The 

purpose of the 

relations of two loving 

people - is a gradual 

transition from the 

human selfish feeling 

to the true love, when 

in the first place is 

not a feeling 

experienced to the 

other person, but the 

person itself, the 

person that they love. 

His well-being. When we 

fully accept the other 

person as hi is. 

The path to this goal - 

that what life is 

about, is not easy, but 

filled and interesting. 

Life, in which we move 

closer and closer to 

each other, we approach 

the divine love, we 

open ourselves to the 

light. 

(Svetlana Safin, second editor) 


Nadejda Efremenko 

Taylor Allen 

Jlivia Rodrigue 

Damian Chmiel 

Jenna Lee Mason 

Angie Mahecha Jimenez 

Andres Gallardo Albajar 

Cheryl Moore 

Kristina Varaksina 

Josh Rossi 

Ylenia Salaris 

Francesca Reinero 

Jurgena Tahiri 

Nicolene van Staden 

Victoria Bolkina 

Talos Buccellati 

Julia Benard 

Dead Head 

Alexandra Banti 

Rachele Maggi 

Sietske Hoekstra 

Editorial Office: 

Ed Safin 

Svetlana Safin 

Alisa Levi 

cirkumfleks@gmail.com 

Cover: 

Luca Kronos Cassara with Safin & Safin.


My name is Nicolene van Staden (better known as 

Nicky) and I live in Yeovil, UK, with my husband 

Graham. 

I discovered photo manipulation 4 -9 years ago. I was 

amazed at how far I could stretch my 

imagination and then re-create it for everyone to see. 

There was no limit. Anything was possible. 

Soon I was creating design after design and I started 

to showcase my images on facebook, Deviant 

Art and Shadowness.com where I got a lot of 

encouragement and support. 

I believe in putting my ‘all’ into my artwork. Some 

pieces take me days to finish, some take a little 

longer and only until its perfect, do I showcase it. 

I enjoy designing Art work and book covers. 

I have a mixture of designs and I don’t stay in one 

mood for too long. I express myself using different 

colours and emotions. 


A very professional and friendly 

service. 

by: Ninfa Hayes 

When I first contacted Nicolene 

Lorette Design regarding a 

possible commission for my 

book cover I had no idea what 

to expect as this was the first 

time I'd ever considered photo 

manipulation. 

What I found was an amazing 

service. 

Nicolene Lorette Design offered 

me professionality, a friendly 

and open approach to all my 

ideas and ultimately, the perfect 

cover for my book. Nicolene is a 

talented and dedicated artist 

and her work reflects her 

passion. I was over the moon 

with the final product and she 

was also flexible to my Budget 

needs, as well as open for 

discussion whenever I wanted to 

try something different. 

I highly recommend Nicolene 

Lorette Design's services and 

will be using her work and 

fantastic insight again. 

Whether you are looking for a 

book cover or for a gorgeous 

print to display proudly in your 

home, Nicolene Lorette Design 

is the place for you :) 

Ninfa Hayes 

(Author of "Bites") 



NICOLENE LORETTE DESIGN 


Cell: +44 7746082754 

Home: +44 1935509104 

http://about.me/nicolenelorettedesign 

https://www.facebook.com/nicolenelorettedesign 

http://waterfall24.deviantart.com/ 

http://shadowness.com/waterfall24/ 

OPS! 

My art is Copyright 

All my works are registered and protected by safecreative.org / 

MyfreeCopyright.com ©Nicolene 

van Staden 

You may not modify, reproduce, copy 

edit or publish my own works without my written permission. (I give 

permission for my work to be 

showcased on (Cirkumfleks) Magazine ) My work does not belong to public 

domain. 



http://wallphotography.wordpress.com/ 

Lady first! Kodak Petite (ca 1929) 

Regardless of which era, camera manufacturers are keen on expanding the 

user base, hope that their products reach the hands of every home. Traditionally, 

photography-related products most are male-oriented; therefore many camera 

manufacturers are competing to expand the female market. Letʼs take 

“mirrorless camera” as example, Panasonic introduced the worldʼs first m43 

camera G1 in 2008, the advertisement in Japan was positioning the product in 

favor of female users. In fact, this is not new, as early as almost one hundred 

years ago, Kodak has targeted the female market, launched a camera which is 

specifically for the ladies – the Kodak Petite. 

To produce a camera for ladies, manufacturers have to take some efforts on 

color and pattern. The trick now, most of them change the cameraʼs color to pink 

or with some cartoon characters printed on, such as Hello Kitty or Disney 

characters. But this would never be the strategy in 1929; because the women 

could enjoy photography in 1920s were ladylike or wealthy ladies. 


Therefore, the appearance of the camera must be able to express elegant 

feeling. Kodak Petite can certainly do this, palm-sized camera covered with 

simple motif of patterns. The folding bellow part is a touch of gray. The delicate 

impression makes you love this camera at first sight. Really, I first saw this 

camera in Norway Oslo film museum; I knew I had to have this camera in my 

collection. 

This Kodak Petite is being displayed in Oslo Film Museum 

According to the 

advertisement of Kodak in 

1930, Kodak Petite was 

Paris-inspired. The color 

mentioned above is just one 

of the series. The Petite was 

available in blue, green, grey, 

lavender, and old rose. The 

folding bellow part was also 

with matching color. 

I very much admire Kodak in 

that era, because of their 

innovative spirit and 

willingness of achieving the 

ultimate. The product line was 

very broad, with continuous 

improvements and new 

features. Based on the Kodak 

Petite, the company decided 

to introduce the camera gift 

box sets called “Kodak 

Ensemble” and “Kodak 

Coquette” during the holiday 

seasons. 

In addition to the elegant Kodak Petite, there were also a mirror, a compact and 

a lipstick in the box! Yes! A mirror and some cosmetics (supplier: House of Tre- 

Jur) were bundled in a camera gift box! You may feel that this is very strange, but 

try to imagine in the old days, taking pictures was not easy. The girls hoped 

makeup before shooting, it absolutely makes sense. 

If you look closely, you will find that there is a metal-made pen at the front of the 

camera. Obviously, this can not be a stylus for touchscreen. In fact, it is used to 

enter notes on the film. To do it, you have to use a special film called autographic 

film (A-127 film for Kodak Petite). 


Kodak Ensemble 

Kodak Petite (1929) – Back 

Autographic film consisted of a 

tissue-like carbon paper 

sandwiched between the film and 

the paper backing. When 

shooting, open the small window 

at the back of the camera, the 

photographer can then “write” 

something, such as time, 

location, date. After development, 

the information will appear in the 

photo edge. It is a very smart 

design, can be said that the 

original version of the exif record! 

Regarding the functions of this 

camera, it can be said is extremely 

simple. Only “I” or “T” shutter speed 

can be selected. “I” means “Instant 

shutter” provides around 1/30s 

exposure time. “T” for “Time”, keeps 

the shutter open until the shutter 

release is pressed again, it is used 

for longer exposure. In addition, 

Kodak Petite has four different 

aperture size selections (about f/8, 

f/16, f/32 and f/64), the largest one 

is numbered as “1”, and “4” is the 

smallest. 


Autographic film window 

“I” or “T” shutter 


4 different aperture size selections 

Finally I met “her” in a camera market in Paris, and the condition is good. So now 

“she” is a member of my collections. 

Kodak Petite (1929) 


Owning the camera is not difficult, but it is not simple if you want to revive it. Firstly, 

there are some small pinholes in the corners of the folds of the bellow, must be 

patched. In addition, the 127 format film has long been discontinued by Kodak in 

1995 (for those who are interested in different film specifications, please visit here), 

need to find another film instead. I am not going to explain how to deal with those 

difficulties in this article, letʼs enjoy the photos taken by the camera which is full of 

feminine! 

“Mask” – Kodak Petite + Fujifilm instax mini film 


“Window” – Kodak Petite + Fujifilm instax mini film 

“Desk” – Kodak Petite + Fujifilm instax mini film 


Details of the Camera: 

Camera model – Kodak Petite 

Type – Folding viewfinder 

Year built – ca.1929 

Lens – simple meniscus lens 

Shutter – Rotary shutter 

Shutter speed – “I” or “T” 

Made in USA 

“Red” – Kodak Petite + Sensor from Olympus EPL-1 


http://cirkumfleksmag.blogspot.no/ 


http://cirkumfleksmag.com 



http://www.behance.net/JurgenaTahiri 

I was born and raised in Albania.I have 

always been interested in art.I started 

taking photos a few years ago and since 

than i couldn't stop anymore. 

I'm currently studying graphic desing but 

i'm a freelance photographer too.I'm deeply 

in love with illustrations and 

photography.I'm more interested in 

conceptual photography.This serie was 

inspired by Franz Kafka -Metamorphoses. 






Tryad - I See 

Djoss - Long Night 

Pea Sized - Stop 

Think 

Ed[og]Lys - Vision 



www.zoographico.it 

I am an illustrator and graphic 

designer based in the North West 

of Italy. I work in children 

illustrations, book covers, 

brochures, design, packaging, 

corporate identity, creative design 

and everything related to 

creativity! 

I always aim for top quality, not 

only in the art itself, but also in 

assisting my clients with 

everything is needed to get their 

product done. 

My style takes advantage of a 

great many techniques; this to suit 

the needs of the client. 

If you have any questions or 

queries or you just want to say 

hello please do not hesitate to 

email me!! 











http://cirkumfleksmag.blogspot.no/ 












Josh Rossi 

www.joshrossi.com 

When I was a young boy I was obsessed 

with art. I was born in Florence, Italy. 

When I hit high school I saw no need to 

pursue art and so I dropped it and got into 

other things. After high school I got an 

internship with a film production company 

and started getting more into film. When I 

was 22 I realized that I wasn’t satisfied 

with what I was doing so I needed a 

change. I decided that advertising was a 

lot more exciting and chose to go to Miami 

Ad School and thats where my passion for 

photography came in. At school I had to 

rely on my own skills to produce print ads 

and online media. What I leaned toward 

was photography and that is when I 

started getting into compositing. I realized 

that I could actually create the images that 

were inside my head. I never thought that 

was possible before. I became literally 

obsessed with ad photography. I would 

stay up every night until 2 or 3am studying 

my favorite photographers. I would study 

every single detail and try to recreate what 

I saw. It took me a year and a half before I 

decided to put my style out there to the 

public. Once I put my work out there for 

people to see I got a surprising response. 

People loved it! I dropped my 9 to 5 job 

and have been working full time doing 

what I love ever since then. Whenever I 

create an image I try to think of a story 

behind it. I want my viewer to get into the 

picture and imagine a whole story. What 

brings me joy is when I can inspire others 

to do bigger and greater things. My studio 

is currently located in Salt Lake City Utah. 
















http://edoglys.com 


http://issuu.com/safinned 



http://www.behance.net/kristinavaraksina 

Kristina Varaksina is a Russian 

photographer currently living 

and getting Photography MFA 

Degree in San Francisco, USA. 

In her photography she 

explores human psychology by 

telling stories and creating 

imaginary worlds. She loves 

working in black & white and 

limited color palettes. 

San Francisco, CA, USA. 


www.facebook.com/ 










Cheryl Moore 

http://cherylmoore.wordpress.com/ 


A Worm is a Bird and Other Bad 

A Worm Is A Bird And Other Bad Things, was 

originally published in SFF e’zine, which is 

unfortunately no longer with us :( Anyway I thought it 

a shame my story died in that way, so have 

resurrected it for you to read. It’s from the steampunk 

issue 5. I hope you enjoy it as much as I did writing it. 

RIP SFF e’zine… (SFF e’zine by Peter Saga) 

Amongst the ruins of her ship, crawls Captain Isabel Deckard. She can see 

Paris, blazing. They’ve reached Europe. “A woman’s no substitute for the real 

thing!” She looks towards a shadow turning into a man, can see the 

smugness on her first mate’s face as he offers his hand, to mock her. 

“M’lady!” 

She growls, “This is no time for blame, Mr. Bailey.” She scrambles to her feet, 

pushes him away, and points towards the sky. “I suppose men can fight 

gravity? An unnatural gift if that were the case!” Through the smog and dust 

of falling debris, they see more Zeppelins plucked, like fledglings crashing to 

the war torn streets, once the cultural hub of Paris. 

She barks, “Mechanical worms! The laws of science have reversed the 

natural order of things. We’re living in a land where worms eat birds!” She 

grabs his hand. “Run, Bailey. Or are you immune?” They run far enough away 

to see the full damage to the Zeppelin. A home for five months to twenty crew, 

burnt beyond the survival of anyone trapped inside. But Deckard didn’t earn 

her place without the respect of her men, or most of them, at least. She 

begins to turn, in hope that others were fortunate enough to be thrown from 

the cabins. “My crew!” 

Bailey screams, “Captain, get back!” A tremor underfoot begins to break the 

ground beneath until the ship is taken, sliding into a place deeper than it was 

designed to venture. It was made for the sky, not for the depths of earth. They 

run, avoiding death, like insignificant specs in a landslide. “It’s chaos!” cries 

Bailey, dragging his captain, sensing her reluctance to leave her ship. 

Other ships are being plucked from the sky. More worms drag a once proud 

army into graves, marked only by the craters left behind. The mechanisms 

screech, like living creatures, driven by human pilots, trained for terrestrial 

conquest. Deckard takes some explosives from her coat, more for comfort 

than use. “The world’s turning to ash, and the sky even more so.” 

Mr. Bailey draws his rifle. “It would have been kinder, if we’d died with the 

others.” 



Dwarfed by their enemy, the two of them run between the shrapnel from 

exploding Zeppelins, amongst the falling debris of their once proud fleet. “We 

fell two hundred feet and survived, Mr. Bailey. Maybe we yet have purpose in 

this terrible series of events?” She points towards the Flight Academy, a giant 

amongst the Parisian landscape. “The project, Bailey. There’s a chance it’s 

not damaged.” He calls, “What project?” 

She dodges the back end of a molten statue, as it shakes loose from the top 

of a building, the cause of its crumbling, quite obviously, another fallen ship. 

She drags him into a side alley with buildings still attached and points 

towards the Flight Academy. “It’s said the French government were working 

on a way to drag these worms from the ground, just like they’ve plucked our 

ships from the sky.” She grins. “A reversal of physics sounds much more 

palatable than death, wouldn’t you say, Mr. Bailey?” 

He smiles at last. They run, towards the Flight Academy, a dream of 

something to cure this infestation speeding them past the dangers all around. 

Flashing by are all the possible avenues for failure, the alternatives, which 

shadow victory, the chance that death will take them, sooner, like everyone 

else around. 

As they continue to run, Captain Deckard, hollers. “It’s three streets away, we 

can get there. It’s supposed to be in the lower levels.” 

Bailey isn’t so hopeful. “What if this project’s gone?” 

She growls at him. “I lost eighteen good men and women back there. Don’t 

make me regret you survived!” 

He stops and waves his arms at the chaos, pulling her backwards. “But look 

around you! If this miraculous project existed, these worms would be in the 

sky already!” 

She pulls him forward, and they begin running again, but she takes a second 

to reply. “If it’s gone, we’ll flee the city. Watch the world crumble as we get 

drunk on French wine.” She ducks as shrapnel from an explosion skims close 

to her face. “If we survive this, I’ll gladly join you. But not yet.” 

They speed up, as the rain turns to ash. It would have been spring, but this 

carnage has stripped Paris of its season. Apart from the cherry blossom, 

which fall between the cracks. Pink tears, from trees mourning for the tourists 

who worshiped their beauty, before the worms came. Deckard slows, as they 

reach a row of cherry trees. She stops to reflect, to watch events beyond her. 

Death doesn’t discriminate, doesn’t care about daughters or husbands, or 

those left behind. It’s rolling back its eyes and laughing as it reminds her of 

New York; of a place she never wanted to look back on. 



“Isabel?” Bailey grabs hold of her, “What’s wrong? Why have you stopped?” 

She doesn’t answer. He takes her hand, as if they are no longer Captain and 

mate, but two people, caught up in something horrific. “Come on, run!” There 

is some sign of life. A few survivors scramble from the wreckage of fallen 

Zeppelins. Bailey, points at the nearing Academy. “We’re almost there!” 

She nods, allowing him to cauterize the memories, as the bouquet of present 

events filter into her, leaving New York where it should be. She becomes 

something better and braver. “I’m sorry. Yes, of course.” She looks at the 

world as it is now. Civilian’s clamber about, searching for the quickest exits, 

for unbroken bridges connecting them to the country, allowing them to run 

away from Paris, into the suburbs. Those who haven’t been swept into the 

Sein, or the other unmentionable places, beneath civilized structures. 

She motions to the Flight Academy as they sneak past another worm, too 

gigantic to register them as a threat. As if they’re fledglings, already chewed 

by a cat, and doomed to starve. “There it is!” They stop, outside the large and 

tattered entrance. Its gates have been blown off. Craters and Zeppelin’s litter 

its foundations, just like everywhere else in the city. The main building is 

steaming, the Zeppelin hangars lined with skeleton ships. 

Bailey mutters, “We’re too late!” 

Deckard regains her authority, as if it’s a natural part of her. “Let’s look inside 

first, before we reach that conclusion.” She signals to the carnage, to the 

dead all around. “This is genocide. I can’t give up, until I know for sure, that 

we’ve lost.” 

Bailey nods. “You’re right, but I’d rather be in the country, drowning myself in 

wine and women!” 

Despite this, they sneak towards the main entrance, using the cover of trees 

and their own slight of foot. Five months on board the Zeppelin hasn’t robbed 

either of them of their stealth. In fact they have set foot in many foreign lands, 

but nowhere as strange as Paris looks now. “Get back!” whispers Deckard. 

She pushes Bailey into the foliage, as something lumbers out of the security 

doors, leading through to the Academy foyer. They squat, as the thing is 

followed by others, all of them shaped like men and women, bound in some 

sort of mesh, distorting them into something less than human. “What the hell 

are they?” 

What used to be flesh is pressed so tightly to the mesh that it looks like little 

fatty eyes, bursting through. Their features appear like worms, walking on two 

legs. Bailey whispers, “Look at their boots!” They both look down as the 

parade of human worms march past, with the same boots as themselves. 



The two survivors crawl back further, allowing the last to march past. Deckard 

whispers. “Now we know why no one’s saved us!” 

She moves swiftly, dragging Bailey towards the entrance. “Something’s 

changed them. We’ll have to do it ourselves!” 

Bailey holds back. “I’m not going in there with those things! You’re mad, 

woman!” 

Deckard doesn’t smile. “Then run away, knowing a woman saved you. 

Remember me if you see worms flying, during your orgy, because I’m not 

handing our world over to them!” She drags him backwards, as another troop 

of human worms march past them, out onto the streets of Paris. “You’ll be 

court marshaled for desertion.” 

He spits, “That’s if you’re not turned into a worm, Captain!” 

Before she can lecture him about his attitude the ground shakes, more 

violently than it had when their ship was taken. They cling to the branches of 

their hideaway, unable to move, predicting another metal worm emerging from 

the grounds. But something different appears. Steam, followed by the smell of 

sulphur, bursts from a fissure, making the human worms open fire. Their 

bullets ricochet, slicing holes through the surrounding area, as an enormous 

metal bird takes shape and grows into something beautiful. The flying 

machine opens fire, turning the sky red for a moment. It bears the colours of 

France, the colours of Europe, the seals of Queen Victoria and president Félix 

Faure. 

The mechanical worms, for miles, begin to turn as the steam and the sounds 

of churning cogs, the workings of two great nations, arise, from the earth. As 

if they sense it’s not as flimsy as a Zeppelin. “It’s bullet proof, Bailey!” Cries 

Deckard. “But is it worm proof?” She laughs, and turns towards him, but his 

eyes are wide, dead man’s eyes, staring at the blood, seeping from a tiny 

wound in his stomach. He crumbles, “Bailey?” She has no time for him. She’s 

lost better people today. She wipes off his blood, takes out her gun and waits, 

as the mechanical worms burrow their way towards Her Majesty’s flying 

machine. She whispers. “The project. This must be it!” 

The sky begins to fill with mechanical worms, lifted out of their burrows, with 

no hydrogen to give them flight. Her Majesty’s ship is the source of their 

levitation. They become specks, floating upwards, becoming so distant that 

Deckard finds it hard to see any trace of them other than the devastation 

they’ve caused, tiny spots of light, thousands of small explosions, as the 

mechanical worms burn up in the earth’s atmosphere. Instead of trees 

mourning, the sky begins to weep, the remains of worms, silicon ashes spat 

out by the atmosphere. “It works!” She cries, but too loud, as something 

grabs her foot. She twists round, aiming her gun, at what used to be Bailey, 

his face contorted into an inhuman mess. His death must have triggered 

some horrid transformation. She fires, and falls out of her hideaway, 

scrambling into the courtyard towards Her Majesty’s ship and the troop of 

human worms in between. 



She feels the ashes falling, takes out her pack of explosives and hurls them at 

the troops, scattering some, disabling others. In some rage for survival, she 

sprints across the grounds towards the flying machine, waving her hands, 

hoping that someone inside will see she’s still human. “Open up! Stop!” 

A hatchway opens and a ladder falls out from the base. A man’s voice calls in 

broad French, “Are you infected?” 

She scrambles towards the ladder and clings on as the ship leaves the 

ground. She’s used to being at the helm, not clinging for her life below. “I 

don’t think so!” She clambers upwards, and the man’s hand hauls her onto 

the deck. The hatch closes. Her eyes adjust to the unnatural light. 

The man, dressed in a cleaner’s overalls, smiles and shakes her hand. “A 

Zeppelin Captain!” He looks relieved and says in fluent English. “We’ve got a 

crazy scientist piloting this ship! We need you at the helm, Ma’am. Unless you 

fancy a world full of worms?” He adds, “We’d better get up there. The world’s 

a big place to save and we’ve only got one ship!” 

It seems she does have purpose, after all. “Looks like the laws of science 

have shifted in our favour. Show me to your deck, Monsieur!” 

Without introducing himself, the cleaner disappears up a spiral stairway, “This 

way, Captain!” 

She follows, swaying as the ship ascends, hoping that the rest of the crew is 

more qualified. It’s a difficult climb, with the gravity shifting. She’s not used to 

such swift takeoffs as Zeppelins were designed for gradual flight, not the 

obvious maneuvering this ship is capable of. She feels sick, remembers 

herself falling as her own Zeppelin crashed from the sky, as a worm ate 

through the gasbag. For the first time since her daughter and husband died, 

she feels completely helpless. New York is so far away, but the smell of 

burning fuel; mixed with the blossom in spring air, encourage such cruel 

memories. A dead woman’s life has no place amongst the living, and certainly 

isn’t appropriate onboard a ship capable of such potential. “Not now, Isabel.” 

Shaking off the emotion, she reaches the hull, peers up at the new space, 

through the floor hatch. It’s empty, save the cleaner, but she can see the crew 

through an open doorway, to the control room. 

The cleaner holds his hand out to help her to her feet, a rare gentleman, with 

misguided chivalry. “Captain?” 

Deckard marks him as a hopeless romantic at best, but accepts his gesture 

gracefully. “Thank you, Monsieur?” 

He looks sick, as the ship enters some turbulence, but replies. “Christophe 

Lautrec.” He motions towards the cabin. “Let me introduce you to the others.” 

She follows him through to where two more people sit, a man and a woman, 



both of them fluent French speakers. Unfortunately French was far from her 

mind as a girl. She didn’t need it in London. 

The conversation dies, as she enters, and both glance at her as the cook 

begins to boast. “She’s a captain! We were right to pick her up! I told you!” 

Deckard assesses the hierarchy. The cook is obviously at the bottom as the 

woman teases him, using English to include her new companion. “Ah, 

Christophe thinks he’s saved the world, he’ll clean it of worms, but if we get 

out of here alive he’s going to end up cleaning the ship, just like before, while 

we destroy these worms!” 

There is underlining tension, as Christophe retorts sarcastically. “That’s so 

sweet of you, Genevieve. I feel so worthwhile!” She assumes there’s more to 

this relationship. Sexual politics had its place on her own ship, and she can 

sense the chemistry between them. 

Deckard looks at the jumble of alien controls, and the hopeful expressions on 

the faces of her new crew. She says in her best Captain’s voice, to establish 

her dominance, “Isabel Deckard, former captain of The Birmingham.” She 

keeps calm, but inside, the woman who knows nothing about advanced 

technology, panics. Captain Deckard takes her place, beside the old man 

piloting the contraption. 

He offers his hand. “Professor Yuri Moreau!” He looks precarious and 

frightened, as if he’s never flown a ship before. 

She glances at him, and asks. “You built this thing?” He is perspiring. “Yes, 

but I’m not a pilot!” She can see why he’s so scared, as more worms begin to 

break the surface of the earth. The ship weaves around, like a mouse 

avoiding snake strikes. 

He yells. “Tirer, Genevieve!” Genevieve looks hardened, Deckard can sense 

military, her eye patch and attitude give her away, despite civilian atire. She 

takes hold of a machine gun, begins blasting the worms, lifting them out of 

the ground, as they had before, screaming, “Die!” Deckard steps in, takes the 

machine gun on the opposite side, as more worms strike at the ship. 

Professor Moreau clambers over his seat, muttering, “We should swap!” and 

pulls her from the machine gun, so that she is sitting at the ship’s helm. She 

quietly panics as she realises there are no rudder or elevator wheels, just a 

strange looking handle bar, which forced the ship to plummet, when Moreau 

removed his hands. He screams at her. “Grab the joy stick! Pull her up!” 

Deckard grabs hold of it as the ship nosedives, and growls at him as the 

earth spins rapidly nearer. “You’re crazy!” 

Moreau replies, “You’re a captain!” 

“Of a Zeppelin!” 



The controls feel heavy, but she pulls them down until the ship stops 

vibrating. It stabilises, and begins to climb upwards as she steers it. 

Genevieve lets out a cry of relief, still firing indiscriminately at anything that 

moves outside of the ship. She says to Deckard. “Stay just below the clouds 

so I can see anything that crawls from the earth, and blast it into the sky.” 

Deckard smiles, for the first time, in a while and jokes. “Are you always this 

dramatic?” 

Genevieve grins, and says quite coolly. “It’s been a dramatic day!” 

Deckard looks outside, along with the others. There are worms all around, 

being elevated, broken up and burnt, like before. It’s like a fireworks display, 

during daytime. She hasn’t been to one of those since she was Genevieve’s 

age. She was a civilian back then, but things change. She concentrates on 

steering, despite the worm’s sudden aversion, but turns to Moreau, the man 

with the brains. Hopefully. “Professor, any plans?” 

He nods, and points towards the horizon, where the land swiftly turns from 

earth to sea, revealing how fast this ship travels in a matter of moments. He 

mumbles. “Head South, towards Antarctica.” 

She waits for an explanation, but Moreau stands up, motions for Christophe to 

take his place beside the machine gun, says absently. “Just point and shoot!” 

Christophe pulls a face as Genevieve laughs at him. “Pretend it’s a mop!” 

Deckard focuses on steering southwards, across the Mediterranean, as 

Professor Moreau sits down, perspiration dripping down his forehead. He 

wipes it with a handkerchief and lights up a cigar. He’s a man who looks like 

he’s had a few heart attacks in his long lifetime. Antarctica is where the first 

worms appeared. It’s a no fly zone, in fact no Zeppelins came back from there 

with human crews, or so it was rumored. “Antarctica? You are mad!” 

Professor Moreau looks quite the opposite, as he watches the worms burning. 

“You should know as a Zeppelin Captain, this infestation originated from 

there.” 

She nods. “Yes.” 

The first sign of North African land, skims by, as the ship accelerates past the 

Sahara, past South Africa, every worm flying upwards, as this ship drags 

them to their death, like a reaper, calling locusts back to heaven by the 

millions. She warns. “Antarctica’s supposed to be impregnable!” Her own 

ship had been diverted from that region, several months ago, when the 

plague first broke out. 

Moreau continues, “I didn’t plan to be onboard, when this day came, but if we 

can find the factory, maybe we can survive long enough to stop production.” 



Deckard retorts, “That’s very encouraging!” 

Christophe and Genevieve say together, “Icebergs!” 

Moreau jumps out of his seat. “Stop the ship!” 

Deckard has no idea how to stop. “How?” Genevieve flips a control, and the 

ship hovers over the open ocean. 

Moreau points at something in the South, jutting from the water, a hundred 

miles high, so high in fact, its peak skims the clouds. “There it is!” He 

screams, at Genevieve, “Sergeant Lambert, full power to the anti gravity 

device! I want to wipe these things off the planet!” It looks like a giant 

iceberg, but it’s teaming with holes, and inside can be seen billions of 

mechanical worms. 

Deckard says, almost to herself, out of shock, “A worm factory!” 

Genevieve begins firing, at the giant factory, as the mechanical worms team 

out, towards the tiny ship. The anti gravity device lifts the worms upwards, 

until they cascade like a carpet of serpents, mechanical bones crunching as 

the atmosphere burns them into innocent flashes. 

The factory remains intact, sitting quite smugly as if it has some awareness of 

its menace. Deckard steers the ship nearer, past stray worms, as they 

pummel against the sides, making the ship spin, into unwelcome turbulence. 

Moreau cries, “Force fields!” Everything inside goes dark, steam bellows from 

the engine, before the power returns, and the generator charges the force 

field, making the worms ricochet off the sides, into the sky. 

Deckard hollers, “How do you plan to destroy it?” 

Moreau removes his cigar. “The opposite of ice, Captain, good old fashioned 

fire!” 

The ship emits another noise, and the crew covers their eyes, as a light, 

sweeps all trace of the landscape. When the whiteness fades, Deckard hears 

her companions screaming, but in euphoria, rather than its opposite. She 

joins them, watching as the ice factory crumbles into the ocean, little worm 

workers tumbling, like in some apocalyptic painting she saw in The Tate as a 

girl, although God has no part in this, machine induced justice. She laughs, 

“Looks like it’s bird over worm, machine beats machine.” She sits back, with 

the others and remembers Paris burning, toasts her crew, silently, and hopes 

there’s enough left of the world to call this victory. 



Andrés Gallardo Albajar 

http://www.behance.net/andresgallardo 

About myself...My name is 

Andrés Gallardo Albajar, im 

from Spain, but im currently 

living in Estonia. Graphic design 

and photo manipulation is one 

of my passions, although Im not 

a professional in the field. I just 

love doing it in my free time. 

And im also getting hooked in 

photography and other art 

expressions as well. During my 

professional life I have been 

involved in advertising, culture 

management and fashion, and 

all this has influenced me and I 

guess it reflects in my works. 

Being featured in Cirkumfleks is 

a really great opportunity for me 

to show my works, and 

hopefully get some feedback 

from other designers and 

design freaks. 

You can check my portfolios in 

Behance http:// 

www.behance.net/ 

andresgallardo and also in 

Cargo Collective here http:// 

cargocollective.com/ 

andresgallardo 



















http://www.jennaleemason.com 

Jenna Lee Mason is a graduate 

of Wheaton College in Norton, 

Massachusetts where she 

earned her Bachelor of Arts. She 

has been recording her dreams 

for the past three years and has 

found inspiration through the 

metaphorical imagery that fills 

her creative mind. Her fine art 

photography is a series of selfportraits 

in which she alone 

creates the sets, props, make up 

design, and final product. 









San Francisco, CA 

http://www.jennaleemason.com 

http://www.flickr.com/photos/jennaleemason/ 

http://jennaleemason.smugmug.com 

http://www.tumblr.com/blog/jennaleemason 

http://www.behance.net/jennaleemason 


Damian Chmiel 

http://www.behance.net/DamianChmiel 

Hi world! 

My name is Damian. 

I am a young Web Designer and 

Digital Artist from Poland. 

My first contact with computer arts 

was 2 years ago when I was 14 

years old. 

I started like a web design 

continued as digital art and 

branding. 

I have a great desire to be 

professional Web Designer, Digital 

Artist and something like a 

Branding. 

I have always been interested in 

drawing, photography and 

modeling and I also want to try to 

work out these three areas in free 

time. 

I have been using photoshop for 

the past two years developing my 

skills by trying new things to create 

an original, modern and 

professional style of my art. 

I have been practicing almost 

everyday with photoshop, illustrator 

and maxon cinema 4d as well as 

the use of the pen on paper. With 

my art I try to take basic themes, 

ideas to try present them in a new 

style and attractive way. 






Olivia Rodrigue 

http://www.oliviarodrigue.fr 

After being interested in cinéma 

and music, I did some 

advertising studies with the 

willing of becoming an art 

director. But my passion for 

photography brought me to 

Gobelins, l'école de l'image, a 

well reputed french school. I 

start my second and last year of 

studies this year with the aim of 

being a professionnal 

photographer and retoucher. 


Birds 

of 

prey 














Quicksand 

(Cheryl Moore) 

I try to escape 

but youʼre like quicksand 

fiction draws me 

I become lighter 

can visit places 

far beyond the traps youʼve made. 

I have to thank you 

for allowing me to see something beautiful 

an imagined life 

I try to escape 

but youʼre like quicksand. 


A Warning To My Past Self 


I live my life through the eyes of others, 

trying to write myself out of existence. 

It sounds dramatic 

but the girl I used to be 

would be horrified to see 

what sheʼs become. 


Your Brutality 


Your brutality shapes itself like confetti 

An innocent gift, sprinkled in the rain 

It clings, a sticky cluster of mashed up colour 

Giving the impression you care 

But I can see through you as the sky darkens 

You become someone wicked 

(CIRKUMFLEKS)Magazine 2.2012 

http://cherylmoorestoriesandpoems.wordpress.com


Taylor Allen 

www.gtallen.com 

Taylor is a photographer and 

filmmaker from Northern New 

Jersey. He wants to be an 

astronaut. 

VIMEO: vimeo.com/taylorallen 

TWITTER:! ! @gtallen 

INSTAGRAM:! @taylor 







http://n-efremenko.livejournal.com/ 











bolkin.kiev.ua 

Victoria Bolkina is 23-years-old 

photographer, based in Kyiv, 

Ukraine. Finalist of Fashion 

Forward awards 2012, held by 

Harper's Bazaar Ukraine. 

Specialize in fashion and 

beauty photography. The main 

aim is to bring own sight into 

fashion photography. Having 

master's grade in painting, 

Victoria considers herself as an 

artist and strives for artistry in 

conventional photography. 

www.facebook.com/bolkina 

www.behance.net/bolkina 












http://www.talosbuccellati.com/ 

Talos BUCCELLATI works and 

lives in Paris. 

His experience is a transitioning 

between editorial work, 

personal projects and 

commercial assignments. 

Italian photographer, born in 

1976 in Genova, Italy, he works 

in the Editorial industry and he 

is specialized in portraits and 

documentary. Before becomes 

a professional photographer, he 

has obtained a degree in 

Geography and a Master's 

degree with a scholarship in 

Peace Building Management, 

with a Geopolitical 

specialization about 

Afghanistan, Pakistan, Iran and 

Iraq and he has worked for 

several Italian universities, in 

International Cooperations and 

for the United Nations. He has a 

passion for all aspects of 

photography and has a special 

interest in portraiture and 

documentary as a means of 

communication and 

documentation. 



SELECTED EDITORIAL CLIENTS 

Ninja Magazine, Private 

Magazine, Vanity Fair, L'Uomo 

Vogue, L’Express, New York Post, 

People, Daily Mail, l’Espresso, 

Rolling Stone. 

SELECTED ADVERTISING 

CLIENTS 

Ferrari s.p.a., Current TV, Sky 

Cielo, Wordhotels-Ripa Hotel four 

stars, Muccassassina. 

PAST COLLABORATIONS 

Grazia Neri photoagency (Milan 

based) portraits assignments 

Soldi & Donadello - photographers 

agent (Milan based) advertising

EXHIBITIONS 

2012 Work & Play, Cortona On The Move – 

OFF International Photography Festival, 

Cortona, Italy [solo] 

2012 Work & Play, Marcovaldo book shop, 

Paris, France [solo] 

2012 Till the last drop, selected portraits - 

Centre Culturel Valery-Larbaud - Vichy, 

France. [group] 

2012 Rencontres Gares aux Editions 

Descartes & Cie, Maison de l'Architecture 

Paris, France. [group] 

2011 Work and Play - Spazio Eventi 

TopMarrket, Genova, Italy. [solo] 

2011 People leaving a mark, Multimedia - 

Slideluck Potshow (SLPS) - Milan, Italy. [group] 

2011 Rinascimenta, selected portraits - Centre 

Culturel Valery-Larbaud - Vichy, France. 

[group] 

2011 Rolli - "Rolli Days" - Palazzo Ducale - 

Genoa, Italy. [solo] 

2011 Till the Last Drop - "Senza|Atomica"-"Le 

Pagliere", Firenze, Italy. [solo] 

2011 Till the Last Drop - Studio304 - Brooklyn 

New York, US. [group] 

2010 Musica Zingara - Palazzo del Lavoro, 

Cgil, Alessandria, Italy. [solo] 

2009 Musica Zingara - Festival della 

Letteratura Migrante, Camogli, Italy. [solo] 

2009 Homeland, Giardiningiro, Torino, Italy. 

[solo] 

2008 Musica Zingara - Studio TopMarket, 

Genova, Italy. [solo] 

2004 Musica Zingara - Genova Capitale 

Europea, Lebowsky Gallery, Genova, Italy. 

[solo] 

2003 Musica Zingara - Palazzo Privato, Rome, 

Italy. [solo] 





HONORS, SELECTIONS 

CORTONA on the Move 2012 - International 

Photography Festival 

- Selected for the Off Circuit 

FLAH - EXPO PRIX PHOTO DE LA VILLE DE 

VICHY 2012 

- Finalist, Vichy, France 

Récits de gares et stations 2012 

- Selected, Ville & Transports en Ile-de-France, 

Paris, France 

Slideluck Potshow (SLPS) 2011 

- Selected 

FLASH - EXPO PRIX PHOTO DE LA VILLE DE 

VICHY 2011 

- Finalist, Vichy, France 

Premio Fotografico 2009 - Italian Association of 

Professional Photographers 

- Second prize, celebrities portraits 

- Honorable Mention, kids advertising 

Cool-book.tv 2009 - Italian Association of 


- Honorable Mention 

Premio Fotografico 2008 - Italian Association of 


- Honorable Mention, celebrities portraits 

Look-book.tv 2008 

- Honorable Mention 

Snapshot-AltaRoma 2006 

special prize as young photographer 





(CIRKUMFLEKS)Magazine 2.2012 




Julia Bénard 

http://arkus3.wix.com/ark2 

My name is Julia Bénard, born 

17 April 1992 in the south of 

France. I use the pseudonym 

Ark.Us. to sign creations, and it 

has a specific meaning in 

relation with colors (I will not 

say more). When you I was little 

I colored, drew, recopied my 

favorite fictional characters ... 

etc. Like all kids my age but I 

sometimes draw weird things 

that did not represent much. I 

owed it to my uncle who drew 

me full of mixtures of random 

elements and abstract forms. I 

was in awe of him. That's why 

when my pencil was on paper I 

was not trying to represent 

reality but I wanted to let 

express what I had in mind, 

always with colors. And it is this 

technique that remained. 


However, came at a time where I had to steer my graduate studies, I had to 

make a choice. Out of the question to work in the medical profession does not 

really appeal to me until I read something on the internet on graphic design. 

Immediately I liked it and there was a school not far from me. 

So, in 2010 I did a year of Upgrade Applied Arts High School in La Grande 

Tourrache followed by the first year of BTS Visual Communication (option 


It is since 2010 that I started to really draw. I never took lessons. Then I 

discovered photography, which I also really enjoyed especially when the photos 

are themed or so when my subject is nature. I always wanted to combine the 

two, that is what I try to do recently with a graphics tablet (which often helps). 

In short, my drawings are my feelings, my thoughts, my dreams, everything that 

happens in my head. Photography expresses emotions, or represents themes 

that I like. The digital can be a mixture of all this, the comic part of the character 

representing the imagination present in the photograph. I have many plans for 

the future such as the creation of t-shirts, jewelry, products etc. I would really 

like to be known as an artist. 


My influences are diverse: abstract art, pop art, street art, nature, animals (many 

birds), robots, vintage dreams, American Indians ... etc. 

Urls : 

Website : http://arkus3.wix.com/ark2 

Facebook page : https://www.facebook.com/pages/Ark-Us-/115025235174714 

Deviant Art: http://arkus83.deviantart.com/ 

Behance : http://www.behance.net/Arkus 

500px : http://500px.com/Arkus83 

Society6 : http://society6.com/ArkUs 

Spreadshirt : http://arkus.spreadshirt.fr/ 

Twitter : https://twitter.com/Arkus83 






http://cirkumfleksmag.com/download/ 


Dead Head 

http://www.behance.net/deadhead 

Hi my name is Dead Head 

I started doing graphic design 

about 6 or 7 years ago just for fun. 

The first illustrations I did were 

very simple, but very beautiful for 

me. I used to hang them on my 

bedroom walls to watch them glow 

during the night when I lit the UV 

lights. Actually they were colored in 

only 3 or 4 colors that could react 

under the UV lights, and most of 

them were things like some black 

images with colored vectors or 

white splatters on it. 

The first artist I met was Junko 

Mizuno from "Pure Tranceî bacík in 

2006 I think, and then I met 

Simone Legno from Tokidoki and I 

follow them since then. 

I remember that they were the only 

references I had for a long time. 

And then I started to discover 

many other artists and styles and 

Iíve found my own path and my 

persona. But I got to be honest: I 

always wanted to design things like 

Juno or Simone. 

Some people call my designs 

disgusting because of the blood, 

the anatomy or fresh meat. But, I 

think I just show how we are inside 

or what we eat every single day. 


For me thereís not too much to say about my art, itís all already there, everything I could 

put out my brain is there. 

But Iíll try to explain! There are millions of things that inspire me, from the cutest things to 

the bloody. But I am mainly inspired by human anatomy, exploitation movies, street art, and 

comics. As you can see my illustrations are very dark and bloody and some of them 

feature raw meat, magical symbols and things like that mixed with old paper textures. I 

love things with aged look as they were really printed in paper many years back, this is 

another thing that comes from old horror movie poster that I really, really love! 

Thereís no political or ideological purpose behind my illustrations, I donít want to shock 

anyone, but I canít deny the fact that I just design those things the way I think they really 

are 







Twitter: @DeadHeadGraphic 

Behance: http://www.behance.net/deadhead 

Facebook: (page) Dead Head 

Email: Deadheadinfo@gmail.com 


DOWNLOAD FREE 



www.alexandrabanti.com 

I'm a french student in Visual 

Communication and graphic 

design. 

I'm fond of Illustration and 

photography. The thing I like in 

the visual communication is to 

illustrate, create a picture and 

convey emotions. 

I have had my personal drawing 

style for 3 years, and I've 

started photography for 1year. 

My drawings let me express my 

feelings, the things I can't 

express with words. 

I'm interested in every things in 

art, so it is very difficult for me 

to choose only one way. I'd be 

interested in working in fashion 

photography but also in 

illustration. 




Location: Toulon, France 

Blog: alexandrabanti.com 

Facebook page: https:// 

www.facebook.com/ab.fellowworld 










We encourage all kind of digital 

artists to submit their work for 

consideration. All submissions will 

be carefully reviewed and 

scheduled for upcoming 

(CIRKUMFLEKS)Magazine 

issues. (CIRKUMFLEKS)Magazine 

has a quarterly basis and only 

happens because you create 

amazing art and wish to share 

them. 

Please follow these guidelines 

carefully, when submitting your 

stuff: 

• send the best works from 

your portfolio. There’s no 

limit. 

• size should be min. 2000 

Pixels @ 150-300 dpi. 

• saved as .tiff or jpg in highest 

quality. 

• label your files: 

name_lastname_#.extension. 

• add your name, your location 

and your URLs (website, blog, 

social networks, …) in a 

textfile. 

• add a bio and photo of 

yourself. These information 

will be shown on the website 

(!!!). 

• use this email-subject: 

name_lastname 

Submit your works to 

cirkumfleks@gmail.com 


Rachele Maggi 

http://www.flickr.com/photos/rachelemaggi/ 

I was born on 12th june 1987 in 

Italy,I've always had a passion 

for art since childhood .I've be 

searching for something that 

would make express my inner 

twisted world for long, 

something that would alleviate 

my depression.Finally I found 

photography,the only thing that 

makes me feel really good I 

started taking photographs 

when i was 16,for fun, and it 

has become my passion after a 

couple of years. As I started 

university, in 2008, I dedicated 

myself completely to 

photography 

with the intention of making it 

my job . Now i'm a freelance 

photographer based in Rome . 

Distinguishing features: a 

passionate love for Ophelia , for 

redhead models and for 

androgynous beauty. 



flickr : http://www.flickr.com/photos/rachelemaggi/ 

photovogue : http://www.vogue.it/photovogue/ 

Profilo/d1b1ddae-afa5-42d4-8702-3ae9976b34a5/ 

User 

facebook page : https://www.facebook.com/ 

RacheleMaggiPhotography 













http://www.behance.net/Stash78 

My name is Sietske Hoekstra 

from the Netherlands. About 5 

years ago I bought my first 

digital camera, so I began to 

shoot. 

Immediately it felt really special 

and after a while people 

recognized a own style.... Most 

of my work contains a story of 

emotions. My style can be very 

dark and surreal. When a 

viewer recognizes a feeling a 

story or a concept behind it, it 

does gives me great joy, 

motivation and inspiration. 

Lately I'm getting deeper into 

exploring the world of photomanipulations. 

It Is really 

satisfying to open photoshop 

and create a surreal story, or 

just to make a beautiful scene... 

Feel welcome to see my my 

work... Cheers. 













14 

October 

Next Issue (CIRKUMFLEX) Magazine 



Taylor Allen 

Jlivia Rodrigue 

Damian Chmiel 



Andres Gallardo Albajar 

Cheryl Moore 


Josh Rossi 

Ylenia Salaris 






Julia Benard 

Dead Head 


Rachele Maggi 


Cover: 

Luca Kronos Cassara with Safin & Safin.

(CIRKUMFLEKS)Magazine

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