Please answer this: The following article contains an answer for the question: What are the first names of the only two remaining members of Orb? , can you please find it? After two more EPs on Kompakt, the Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. By this stage, Allmusic observed, Thomas Fehlmann had become the primary creative figure in the Orb, "inhibiting Alex Paterson's whimsical impulses". Because of this, Okie Dokie was considerably more focused and less "goofy" than Cydonia and Bicycles & Tricycles. Fehlmann's trademark hypnotic loops and delays made him the centre of Okie Dokie production and, according to Pitchfork Media, made it "difficult to say where [Paterson] is in the picture". The Orb's releases with Kompakt gained them back much of their musical credibility with the press and showed that they could "age gracefully".In August 2006, the founders of the Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. The album featured appearances from Smiths' guitarist Johnny Marr and comedian Simon Day. Beken described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based" compared to the members' previous work. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mixed critical reactions, with reviewers such as The Sun comparing the album favourably to the music of DJ Shadow and Royksopp while other publications, such as The Times, called it "Orb-lite" and proclaimed it to be "Deep Forest-style sludge". Soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo. Paterson and Beken reunited in 2008 as High Frequency Bandwidth, an ambient hip hop group on the Malicious Damage label.
++++++++
Answer: Alex

Please answer this: The following article contains an answer for the question: Whose other entries were preferred by the judge awarding the prize? , can you please find it? Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism...
++++++++
Answer: Bellette

Please answer this: The following article contains an answer for the question: Who is Paraiti to her tribe? , can you please find it? White Lies is a story about the nature of identity: those who deny it and those who strive to protect it. Paraiti is a medicine woman. She is the healer and midwife of her rural, tribal people - she believes in life. But new laws are in force prohibiting unlicensed healers. On a rare trip to the city, she is approached by Maraea, the servant of a wealthy woman, Rebecca, who seeks her knowledge and assistance in order to hide a secret which could destroy Rebecca's position in European settler society. If the secret is uncovered a life may be lost, but hiding it may also have fatal consequences. So Paraiti, Maraea and Rebecca become players in a head on clash of beliefs, deception and ultimate salvation.In the Extras of the DVD, Witi Ihimaera, tells how his mother took him to Paraiti, a tohunga/healer who cured him of a breathing problem. In writing the story, he wanted to honour the various tohunga in Maori life. In 1907, the New Zealand government brought in The Tohunga Suppression Act, thus outlawing natural healing for Maori. Some people believe the author of the book drew on the life of Anglo-Indian actress Merle Oberon, and the hiding of her true ethnic origin.
++++++++
Answer:
midwife