View allAll Photos Tagged Confronting
Flaxman’s ‘St Michael Overcoming Satan’, North Gallery Petworth House.
Leica MP with Super-Angulon 21mm (v2 @3.4), Kentmere 400 in Rodinal 1:25 for 7.5 mins.
Trent'anni di tecnica nella costruzione di rotabili a due piani si incontrano nella stazione di Canzo-Asso (CO); a sinistra vediamo la EB 850-14 in sosta domenicale, mentre a destra è presente il TSR R6 041, pronto a partire per Milano Cadorna.
Confronted by a vicious, aggressive wild animal, a courageous citizen puts his life on the line… Unfortunately, however, it doesn't go well. Entombed in a body-cast, he may never walk again and must dine through a rubber hose. Timetable for recovery: there is no timetable… He's been admitted to l.t. Invalid Care.
In China.
Finalmente sono riuscito a fare una panoramica della graziosa stazioncina di Iseo con un meteo super, ma soprattutto senza rotabili nella nuova terrificante livrea Trenord.
In questo caso si confrontano quindi materiali di tre generazioni con tre livree diverse.
Olivia confronts some alternate personalities at the Pdxstrobist shoot at Skate World in Hillsboro, September 21, 2008.
Lighting: I honestly can't remember if this was ambient or if I had my sb-800/umbrella firing. The light in that corner was pretty good all by itself.
Tutti i diritti riservati © Utilizzare la foto senza autorizzazione del proprietario è illegale.
© Please do not use without my explicit permission. Ask me!
© All Rights Reserved
RIPRODUZIONE RISERVATA
Gianni Armano Photo
-----------------------------------------
"By confronting us with irreducible mysteries that stretch our daily vision to include infinity, nature opens an inviting and guiding path toward a spiritual life." ~ Thomas More
Came across this one yesterday while I was still sorting through this past fall's images from Yellowstone & the Grand Tetons, and it reminded me of an infinity pool, reaching out as far as the eye can see, and spilling over into the infinite beauty that surrounds it. Photographed along the Upper Terrace boardwalk in Mammoth Hot Springs....can't wait to see what it looks like at the end of next month, as each season offers such a unique perspective of these amazing thermal features. Must view large to really appreciate.
Have a fabulous week....and thanks as always for stopping by to visit :-)
More Photos on MOCpages: www.moc-pages.com/moc.php/444871
As many of you know I love Castle building, it's so easy to pack in detail with that theme, which is why it's one of my favourite things to do when building. So Castle and Marvel in the one vig? Why not! I've had the Doom figure lying around since I bought the set it came in, so what's that... 2013? Man 5 years now. Anyway yes super glad I finally got to use this figure in a MOC. For me collecting figs is fun, it's nice to have them sure, but it's only worth it when I can put them in a MOC. So I used this MOC as a way to display some other figs that I have yet to come up with concepts for MOC's to put them in. The Sentry figure is from bigkidbrix, if you are wondering ;)
But yeah, love building throne rooms like this, makes me want to do more, it was great fun to combine two of my favourite themes in the one vig like this. Would love to do it again!
----------------------------------
Couple final things:
I have a Flickr, take a look if you wish:
www.flickr.com/photos/bencossy/
Also check out my Youtube for weekly videos:
www.youtube.com/user/GreebleGod
And I post pretty much daily on Instagram, so check that out:
Please don´t hesitate with any comments, questions or criticisms...
Till Next Time
See Ya~
Au-dessus des étangs, au-dessus des vallées,
Des montagnes, des bois, des nuages, des mers,
Par delà le soleil, par delà les éthers,
Par delà les confins des sphères étoilées,
Mon esprit, tu te meus avec agilité,
Et, comme un bon nageur qui se pâme dans l'onde,
Tu sillonnes gaiement l'immensité profonde
Avec une indicible et mâle volupté.
Envole-toi bien loin de ces miasmes morbides ;
Va te purifier dans l'air supérieur,
Et bois, comme une pure et divine liqueur,
Le feu clair qui remplit les espaces limpides.
Derrière les ennuis et les vastes chagrins
Qui chargent de leur poids l'existence brumeuse,
Heureux celui qui peut d'une aile vigoureuse
S'élancer vers les champs lumineux et sereins ;
Celui dont les pensers, comme des alouettes,
Vers les cieux le matin prennent un libre essor,
- Qui plane sur la vie, et comprend sans effort
Le langage des fleurs et des choses muettes !
**
Les Fleurs du mal : Elévation
C.Baudelaire
My grey cat confronted this stray or neighbor cat (not sure). I approached and the confrontation ended
Barnett Newman (American, 1905-1970)
Vir Heroicus Sublimis "Man, Heroic and Sublime" (1950-51)
MoMA (Museum of Modern Art) New York City.
Elizabeth confronted Maddy, Crafty Rat store owner, who informed Elizabeth that while she was busy creating scrapbook pages and a memory box, Poppy Parker had come in and purchased the blue Squish.tish trench coat. Chrissy Daughtery had stopped by and later purchased the tan trench coat. Her opportunities to own another trench coat were gone for now.
Elizabeth: "I would have known that Poppy was here!"
Poppy's outfit: Vintage Barbie shirt, Laboutique Beatles tote, and Squish.tish pants and coveted blue trench coat.
“Confront them with annihilation, and they will then survive; plunge them into a deadly situation, and they will then live. When people fall into danger, they are then able to strive for victory.”
~Sun Tzu
Carnival days, where demons are confronted; rites meet with evil spirits and masks pass-by with roles to enact calibrations of taboo and ideas of evil - these are all very human asides. A cathartic, 'pedagogic' and transgressional frame upside down and inside mankind's regular flow of chatter, concentration and laughter.
Man's past journeys through Ice ages, over arid deserts and across sea distances have included elements of unknown that can, and could kill or maim. A cultural and emotional outlet for cathartic shudders, for practiced courage, abject belittling and chip-shifted fear made sense for prehistory, native history and history.
The trap of a 'transport dragon' (an idea I promote in past posts) where clans crisscrossed the white of the reindeer landscape inside a tactical structure, asked for a suitable noise for the moment when predators such as circling cave lions approached for a final attack. The noise came as the spears from inside the transport dragon's light wood frame flew, and the noise was the scream. A real functional and terrified scream that became embedded inside the personality strategies of our species : finding the trigger for this scream being a career plot for some mischievous Youtubers and diverse film makers. There are arguments that the definition of Civilization is a point when humans can take hold of their emotions and control them - the rowdy and the noisy here being 'uncivilized'. With this logic, Romans elites who let others die for their spectacle and their power without a skip of the heart were 'civilized' rather than 'subhuman'. Contrast this with people who take to a full scream at the slightest creepy event - a surprise spider's web in the face, a fly that lands on an arm or a lizard that scurries under a table, and maybe we can see another end to a human spectrum of emotion. Here, the wealth of 'normal' human behaviours are within these extremes - able to be scarred and to scream, tempted to transgress into a 'Halloween' every now-and-then without loosing track with the serious side of being a studied and at times laughing character. Seeing Halloween as a carnival island of transgression that is rooted in our deep prehistories takes us to the above montage...
For this image I took a photograph from the permanent exhibition at the 'Le musée de la Castre' in Cannes. As far as I understand, this archaic demon masque was originally from Tibet. Whilst the profound details of the rites will greatly differ from today's international halloween (often reduced to knocking on doors and blackmailing for sweets) the most obvious difference is in the quality of the mask's production. This mask of fur and stitch is very old yet still 'alive'. A significant proportion of the world's Halloween masks (and the statistics of the number manufactured each year must be boggling) end up in bins as refuse once the night has disappeared to memory. Taking the time to make a demon mask that you bring out every year seems to be the better of the two options. Is it not time to find courage from native and prehistorical skill sets and fine tune our skills to make our own credible masks of temporal fear, screaming and horror? And the masks in the world's bins fall down 'staircases of culture' with Edvard Munch's 'Skrik' (The Scream) repeated as Wes Cravan's 'Scream' before being glutted as 'the plastic scream'. Guy Fawks is repeated as a nightmare of Churchill's 'V' (for Vendetta) before marching to join 'the plastic scream'. Heavy garden and market Pumpkins, so apt for winter soup and shimmering spooky glow, are pressed out in bright sheen as yet another 'plastic scream', and so on, and so on, and so on. It is one thing to enjoy a shared carnival of fear, but using plastic seems to add an element of nightmare that stays after the indigestion from the sweets has long gone away.
AJM 30.10.18
#467
Pentax K3 with a Takumar 50mm Macro plus copyright free images for the background montage.
Irène Millett
Masque
œuvre initiale en plâtre d'Antoine Bourdelle (1861-1929)
1917-1923
Pâte de verre colorée réalisée par Jean Cros à la demande d'Antoine Bourdelle
Donation Rhodia Dufet Bourdelle, 1992
Paris, musée Bourdelle
Comme l'a fait Rodin, Bourdelle demande au céramiste et maître-verrier Jean Cros (1884-1932) de traduire certaines de ses sculptures en pâte de verre. En juin 1917 il lui confie la réalisation en pâte de verre du portrait d’une Américaine fortunée, Irène Millet dont il a modelé un buste en plâtre coloré (1916). Le résultat ne le satisfait guère car il estime qu'il ressemble trop à un masque funéraire gréco-égyptien. Le musée des arts décoratifs à Paris a consacré en 2024 une exposition à Henri Cros (voir Album). La plupart de ses masques de femme en pâte de verre apparaissent figés à première vue en raison probablement des contraintes techniques et de l'absence de modelage mais Henri Cros, un artiste proche du symbolisme, parvient néanmoins à insuffler une vie intérieure à ses œuvres et à leur donner une poésie immatérielle.
www.navigart.fr/bourdelle/artwork/emile-antoine-bourdelle...
----------
Salle "Affinités électives"
Exposition "Rodin / Bourdelle. Corps à corps"
Musée Bourdelle, Paris
À travers plus de 160 œuvres, dont 96 sculptures, 38 dessins, 3 peintures et 26 photographies, la confrontation Rodin / Bourdelle donne à voir, avec une ambition et une ampleur inédites, les fraternités et réciprocités comme les divergences et antagonismes de deux créateurs, de deux univers plastiques, porteurs des enjeux majeurs de la modernité... Extrait du site de l'exposition
www.bourdelle.paris.fr/visiter/expositions/rodin-bourdell...
Finalmente una E464 nuova livrea in Toscana!!! Qui vediamo la 578 della DTR Emilia Romagna in spinta a un REG Bologna - Prato in deviata per il binario 7, capolinea dei treni appunto da Bologna (foto fatta al volo visto che il regionale è sbucato da dietro un merci)...E con questa foto torno attivo anche su flickr, dopo essere tornato attivo su youtube ;)
Prato Centrale 27/02/2015
Lago Maggiore. Italia. 2015.
Often life confronts us with alternative ways to achieve the same purpose.
Some are faster. Some more tortuous. Others are revealed later wrong.
In this case, it will be the right way to reach the Monte Rosa? In a dreamlike, surely, there wouldn't be a more suitable access: two tracks submerged seem to indicate a secret and mysterious route to reach the mountain, which is reflected in the waters of Lake Maggiore, colored by a misty dawn in early November.
Spesso la vita ci pone davanti a strade alternative per raggiungere la stessa meta.
Alcune sono più veloci. Alcune più tortuose. Altre ancora si rivelano in seguito errate.
In questo caso, sarà giusta la strada per raggiungere il Monte Rosa? In una dimensione onirica, sicuramente, non vi sarebbe accesso maggiormente indicato: due binari sommersi sembrano indicare una rotta segreta e misteriosa per raggiungere il Monte Rosa, il quale si specchia nelle acque del lago Maggiore, colorate da una brumosa alba di inizio novembre.
Née en 1994 à Donetsk en Ukraine, Sasha Zaitseva a grandi dans une famille russo-ukrainienne où elle a « ressenti le dualisme culturel comme norme ». Ce n’est qu’en 2014, lors de la guerre civile ukrainienne, qu’elle réalise porter deux héritages culturels séparés. Avec ses Kalina venok, des couronnes tressées de fleurs, elle pense le rôle des signes et objets culturels dans la formation de l’identité. La même année elle participe au Salon d’Automne International à Tel Aviv (Israel). Depuis elle expose en France et au Danemark (Musée de Greve, 2021). Elle est lauréate du prix UNESCO 2018 « Exprime toi : la culture, un agent de la paix ». Elle devient membre de l’atelier des artistes en exil en mai 2022.
Born in 1994 in Donetsk, Ukraine, Sasha Zaitseva grew up in a Russian-Ukrainian family where she “felt cultural dualism as the norm”. It was not until 2014, during the Ukrainian civil war, that she realized she was carrying two separate cultural heritages. With her Kalina venok, braided crowns of flowers, she thinks about the role of cultural signs and objects in the formation of identity. The same year she participated in the Salon d'Automne International in Tel Aviv (Israel). Since then she has exhibited in France and Denmark (Greve Museum, 2021). She is the winner of the 2018 UNESCO Prize “Speak Yourself: Culture, an Agent of Peace”. She became a member of the workshop of artists in exile in May 2022.