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It’s a good thing the sunrise on December 2nd had so many facets. Otherwise, you’d be tired of looking at it by now.
Another chilly, rainy day on Monte Sano. The camera wouldn't even get out of the truck. This picture from the archive is from the east overlook at Monte Sano State Park in Huntsville, Alabama.
Nikon D7200 — Nikon 18-300mm F6.3 ED VR
70mm
F8@1/2
ISO 400
GND filter
DOL_3645.JPG
©Don Brown 2022
A polymer clay monster head sculpture. It has an eyelet for cording to be worn as a pendant. I like to use various beads, bits of glass or those cheesy plastic faceted gems to use as eyes and ther details...
Its interesting how times have changed? Etihad which operates 3 daily flights into Heathrow started out using just Airbus A330-200's but today, all 3 flights are now under the hands of their growing fleet of Airbus A380's, however it doesn't stop their Airbus A330-300's and Airbus A340-600's deputising whilst their Boeing 777-300ER fleet are no longer as common as they once were...
Etihad's Airbus A380 fleet is regarded to have the most luxurious interior currently flying in the sky, and since Etihad is now sending their Airbus A380's regularly into Heathrow and soon enough, Sydney and New York, they are certainly raking in the money for the Gulf carrier.
Currently, Etihad operate 4 Airbus A380's with 6 more left on-order as well as 5 options... Let's compare however to neighbour Emirates who's fleet of Airbus A380 stands at 67 and unsurprisingly is continuing to grow!
Alpha Papa Charlie was delivered new to Etihad Airways in May 2015 and she is powered by 4 Engine Alliance GP7270 engines.
Airbus A380-861 A6-APC on final approach into Runway 27R at London Heathrow (LHR) on EY17 from Abu Dhabi (AUH).
Black clay, amazonite, variscite beads and silk thread.
Available in my shop. See link in my profile.
Since Etihad introduced their new livery in 2014 on their brand new Airbus A380's and Boeing 787 Dreamliners, the airline has been in the process of repainting their fleet into brand new colours, the wide-body fleet has mainly seen their Airbus A330-200's and Boeing 777-300ER's being repainted first...
Etihad revealed their first Boeing 777-300ER in new colours in September 2015, now 6 have since been repainted into the new livery... Compared to the old livery, the new colours is certainly a major improvement! The list of Boeing 777-300ER's in new colours are as follows:
-A6-ETA/B/C/D/E/F
Etihad has quite a large presence at Manchester, the airline operating 2 daily flights between Manchester and Abu Dhabi. During the summer, both flights are in the hands of 2-class configured Boeing 777-300ER's, the winter schedule sees EY15/16 utilising Boeing 777-300ER's, whilst EY21/22 utilises Airbus A330-200's.
Currently, Etihad operates a fleet of 34 Boeing 777's which includes 5 Boeing 777-200LR's, 24 Boeing 777-300ER's (5 on-lease from Jet Airways) and 5 Boeing 777F's. Etihad have options for 12 Boeing 777-300ER's, and orders for 1 Boeing 777F, 8 Boeing 777-8's and 17 Boeing 777-9's.
Echo Tango Foxtrot is one of 24 Boeing 777-300ER's currently in service with Etihad, delivered new to the carrier in December 2009 and she is powered by 2 General Electric GE90-115B engines.
Boeing 777-3FX/ER A6-ETF on final approach into Runway 23R at Manchester (MAN) on EY21 from Abu Dhabi (AUH).
2x Facet
1x TC Barry M
Ahh, se minha câmera conseguisse captar a beleza desse esmalte. Tô me sentindo muito phyna com ele! haha Que cor elegante..amei muito!
Bjos***
The multiple facets of Second Life have always fascinated and passionated me and I’m still amazed by the will for diversity and creativity in the pixels incarnation.
The idea that each avatar is the projection of a real person somewhere on this planet is dizzying… That these avatars can communicate in real time using their own appearance, directly from their imagination, culture, personality, desires is fantastically rich.
It is true that we encounter here Narcissus syndrome, but still something else that ego is at work here, I think.
Are we not just looking for our secret self, this being hidden in each of us and who accompanies us all along our lives, do not we give to him through our avatar the opportunity to express its relevance or his impertinence?
I would like to show the meeting with this entity humano / Virtual ... find the spark of life, the detail, the feature that brings life to the inert, and witness this phenomenon by deploying a series of portraits ..
If anyone recognizes his avatar and doesn’t want to appear in this serie, I will remove the photo, if someone wants to add his name I will add it :)
Les multiples facettes de Second life m'ont toujours fascinée et passionnée et je reste émerveillée par cette volonté de diversité et de créativité dans l'incarnation des pixels.
L'idée que chaque avatar est la projection d'un individu bien réel quelque part sur cette planète est vertigineuse. Que ces avatars puissent communiquer en temps réel utilisant cette apparence qui leur est propre, directement issue de leur imagination, culture, personnalité, désirs est fantastiquement riche.
Il est vrai qu'ici nous rencontrons le syndrome de Narcisse, mais tout de même quelque chose d'autre que l'ego est à l'oeuvre ici, il me semble.
N'est-on pas tout simplement à la recherche de notre moi secret, cet être caché en chacun de nous et qui nous accompagne tout au long de notre vie, ne lui donnons nous pas à travers notre avatar la possibilité d'exprimer sa pertinence ou son impertinence?
J’ai voulu montrer la rencontre avec cette entité humano/virtuelle… trouver l'étincelle de vie, le détail, la particularité qui apporte la vie à l'inerte, et témoigner de ce phénomène en déployant une suite de portraits..
Si quelqu’un se reconnait et ne veut pas apparaitre dans cette série, je retirerai la photo, si au contraire quelqu’un veut ajouter son nom je l’ajouterai :)
Details of an interesting lamp, made of paper sheets.
© ALL RIGHTS RESERVED
None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!
Part I of my project "Commissioned Work": I asked a couple of friends to suggest me a topic for a photo. One of bluelliot's assignments was "Photograph anything in Ottakring."
Thaliastraße, Vienna (Austria).
Inspired by Polaroid package designs from the 60s. This is just a test where I wanted to experiment with some simple geometric overlays to see if I could mimic the facets of a diamond.
©2008 James White. All rights reserved.
Don't use this image on websites,blogs or other media, without my explicit permission. View On Black
14. And here they are. See how easy that was!? I left the gold faceted bead at top somewhat matte...I didn't buff it very hard.
The rainbow doughnut www.flickr.com/photos/34443858@N07/5253667042/in/photostr... was done the same way as these but I made an effort to make my slices in the same direction.
Find the first image in this tutorial here:
www.flickr.com/photos/34443858@N07/5260163226/in/set-7215...
With the S17 schedule due to come to an end, the airlines are now preparing for the W17 as either demand will increase or decrease overall. For Etihad, who serves Manchester twice daily have decided to generally retain the same capacity from the previous season.
The S17 schedule has thrown up some interesting aircraft allocation for Etihad's second daily flight (EY21/22). Generally, Boeing 777-300ER's are scheduled during the summer, however Airbus A330-200's and 2-class Boeing 787-9's have been scheduled on selected dates. Even the odd Airbus A330-300 and Airbus A340-600 have been appearing.
Etihad's Boeing 787's have proven to be the most illusive in terms of getting photos... Until now that is! Etihad's Airbus A380's and Boeing 787's when introduced back in 2015 unveiled a new standard for cabin interiors, regarded as the best in the world. Both aircraft were also the first to feature Etihad's brand new livery designed by Landor Associates.
Initially, the first 5 Boeing 787-9's with Etihad have been delivered with Economy, Business and First Class interiors, replacing Airbus A330-300's and Boeing 777-300ER's on certain flights... More recently, the newest Boeing 787-9's have been delivered without First Class, with just Economy and Business Class seats. These have been utilised to replace Airbus A330-200's and Boeing 777-300ER's.
Manchester has seen Etihad sending in Boeing 787-9's sporadically over the S17 schedule, however there is every chance of them reappearing as Etihad are well-known for swapping around the schedules last minute. EY21/22 is expected to operate with Boeing 777-300ER's for the entire W17 schedule, but is subject to change.
Currently, Etihad operates 17 Boeing 787's, all of which are Boeing 787-9's. The airline have 25 Boeing 787-9's and 30 Boeing 787-10's on-order.
Bravo Lima Papa is one of 17 Boeing 787-9's in service with Etihad, delivered new to the flag-carrier in July 2017 and she is powered by 2 General Electric GEnx-1B engines.
Boeing 787-9 Dreamliner A6-BLP on short finals into Runway 23R at Manchester (MAN) on EY21 from Abu Dhabi (AUH).
Flake Type: Stellar Dendrite
Size: App 4mm
Device: Canon SX130, LBS, SS2, no crop
Settings: P Mode, ISO 80, EV -1/3
Luminance: LED flashlight thru the blue metallic slide
A note to SS2 users: you'll notice that spoke tips to the left of the flake drift out of focus . . . this is because the camera was not parallel to the flake . . . i neglected to check the preview . . . so when shooting flakes with SS2, remember to check the preview before you sweep the flake from the slide.
This was taken in the Catalina Mountains, Tucson AZ. Occasional breaks in the clouds allowed for this dramatic light, but this required a lot of waiting around.
Using a Yashica-Mat 6×6 TLR (not the 124G), Ilford Delta 400. The negative was “scanned” using a Nikon D7000 and edited in Lightroom/Negative Lab Pro.
... I focused on the reflection on the screen of my little boss below...
.... looks like pereption of a facet of life .... which depends on what the focal point is ....
...Wish you all a good focus on your lives...
Many thanks for you visits and comments....suggestion and advice are really wellcome....
See you soon..
รูปนี้ผมโฟกัสที่เงาสะท้อนบนหน้ากระจกเจ้านายน้อยของผมครับ..ได้รูปนี้ เหมือนชีวิตของเรานะครับ ..... ดี..ไม่ดี...สุข....ทุกข์...ขึ้นกับมุมมองของแต่ละคน...
ขอให้ทุกคนมีความสุขกับมุมมองของชีวิตนะครับ.. .
แล้วเจอกันนะครับ..
Pongsak
#explore 14 July 2009
flickriver.com/photos/javier1949/popular-interesting/
Centro de Expresión e Innovación de Nuevas Tecnologías de Madrid
“Catedral de las nuevas tecnologías” Nave Boetticher
C. Cifuentes, s/n. Villaverde Cruce Madrid
Nave Boetticher: Ingeniero: Manuel Cámara Muñoz: 1949 - 1950
Reforma y ampliación: Concurso: 2006. Arquitectos: José María Churtichaga, Joaquín Lizasoain, Rolf Brülisauer y Mauro Doncel. Colaboradora Ophelia Mantz.
Obras: Lizasoain-Churtichaga arquitectos 2010 - 2012.
La nave Boetticher es una de las cinco que formaban el complejo industrial, dedicado fabricación de ascensores y escaleras mecánicas, turbinas para la producción de energía eléctrica, equipamiento de puertos (grúas…), compuertas para pantanos y centrales hidroeléctricas, etc., que Gustavo Boetticher y José Luis Gómez Navarro levantan en Villaverde en la década de1940, y cuyos primeros edificios se construyen según proyecto firmado en 1940 el arquitecto Ricardo Gómez Abad con la colaboración del ingeniero Eduardo Torroja. Por ello, pese a no encontrarse el proyecto de esta zona concreta de la fábrica, y dada su espectacular estructura de hormigón armado con dimensiones de 140 x 42 m y más de 20 de altura, se ha considerado autor de la gran nave de producción del conjunto al ingeniero Eduardo Torroja junto al arquitecto Ricardo Gómez Abad, autores del resto del complejo fabril. De hecho era conocida como Nave Torroja, también como La Catedral por sus dimensiones e interior impactante. Hoy según un estudio encargado por el Instituto Torroja (del CSIC), que consideraba que el diseño estructural de la nave conocida como “la Catedral” no tenía las características propias de la obra del famoso ingeniero, puede afirmarse que fue obra del ingeniero Manuel Cámara Muñoz.
Construida entre 1949 y 1950, su gran estructura de hormigón armado resultó muy novedosa en plena posguerra. Constaba de tres naves, de tipología basilical, una gran nave central, definida como un espacio diáfano cubierto con una bóveda de cañón rebajada, dividida en 16 tramos integrados en un sistema constructivo que se apoya en las dos laterales (de menor tamaño y altura), concebidas a modo de contrafuertes y sustentadas, a su vez, por un entramado de dobles pórticos de hormigón. Los muros de cerramiento y los testeros eran de fábrica de ladrillo.
En 1992 la empresa Boetticher y Navarro quiebra y comienza una larga historia de abandono y progresivo deterioro de sus instalaciones, pese a haberse protegido, por el planeamiento municipal, la nave principal como edificio singular siendo obligada su conservación. Grafiteada, usada como refugio por mendigos y convertida en campo de voleibol cubierto por los inmigrantes, hasta que en 2003 la antigua fábrica y sus terrenos pasan a pertenecer al Ayuntamiento mediante un convenio urbanístico. La parcela de más de 68.000 m2 recalifica su uso industrial pasando a ser el de equipamiento singular, y se proyecta la rehabilitación de la nave para Centro de Expresión de Nuevas Tecnologías. En 2006 el Ayuntamiento junto con el Colegio de Arquitectos convocaron un concurso de ideas para la recuperación de la nave, concurso que es ganado por el proyecto “Banda Ancha” presentado por el equipo formado por José María Churtichaga, Joaquín Lizasoaín, Rolf Brülisauer y Mauro Doncel, con la colaboración de Ophelia Mantz. Aunque estaba prevista su inauguración en 2008 no se puso la primera piedra del nuevo conjunto hasta 2009 y se concluye en 2012. La recuperación incluye una serie de construcciones anejas entre las que destaca una icónica torre. En 2015, con las obras concluidas, aún permanece sin uso.
¿Cómo se transforma una nave de industria pesada, tan siglo XX, en un templo de tecnofilia? "Nuestra apuesta fue no construir nada dentro", dicen Lizasoain y Churtichaga, los arquitectos responsables de la remodelación. "Propusimos una plaza flexible, un gran vacío: no queríamos hacer nada para poder hacerlo todo". El espacio es enorme -140 metros de largo, 40 de ancho y 20 de alto-, "de esos que ya no quedan en Madrid". El reto: que el monstruo no quede desangelado. "El quid era conservar su crudeza pero crear un lugar agradable". "Respetamos sus arrugas y sus cicatrices, pero los muebles le darán alegría y los chispazos de color la cargan de energía". Se pueden ver en la colorista celosía vertical que rodea el inmueble -y que los arquitectos llaman "los pelos"- y en los espectaculares lucernarios. Delante de la nave han construido una torre de oficinas diáfanas que sirve "de faro", ese que se supone llevará al degradado barrio de Villaverde a buen puerto tecnológico.
La propuesta ganadora respeta la nave como elemento central, añadiendo además otros espacios, conserva y restaura la estructura original de la nave y su valor arquitectónico, realzando la amplitud de sus dimensiones y la fuerza de su presencia en el paisaje urbano, planteando una obra estéticamente impactante, acorde a la importante función que tendrá en toda la ciudad.
El nuevo complejo está compuesto por varias zonas diferenciadas, destinadas a distintas facetas de la promoción de la tecnología y de la innovación, tanto para los ciudadanos como para empresas y profesionales. En torno a la vieja nave, se construye una amplia zona congresual, que consta de un salón de actos, con capacidad para 1.000 personas y equipado con la más moderna tecnología, así como de varias salas multifunciones. En esta zona se posibilitará el encuentro de profesionales en conferencias y congresos de carácter eminentemente tecnológico. La antigua nave Boetticher se dedicará a actividades de divulgación y exhibición de las nuevas tecnologías, informática, telecomunicaciones, ingeniería, nano y biotecnología, nuevos materiales, y sus aplicaciones a la vida diaria de las ciudades, las empresas y las personas. También se dará espacio a exposiciones temporales e itinerantes de la misma temática y se creará una “Innovateca”, que se constituirá como un auténtico “almacén digital” de información y conocimiento sobre multitud de aspectos relacionados con la innovación y las nuevas tecnologías al alcance de todos los ciudadanos y empresas de España.
Un edificio de seis alturas, situado en plaza norte del complejo, se destinará a “Factoría de Innovación”, un “centro de alto rendimiento” en innovación destinado a fomentar la cultura innovadora y la creatividad en las empresas. Junto a la factoría estará el “Escaparate de la Innovación” que se situará en un lateral de la calle interior del complejo tecnológico. Estas dos zonas contribuirán a que el centro se convierta en un polo de innovación con importantes efectos de desarrollo económico en el distrito.
Se ha utilizado acero para los refuerzos de la nave, se han rehabilitado más de 27.000 m2 de estructura y además se han empleado micropilotes para su cosido. En cuanto a instalaciones de telecomunicaciones se han tendido 8.184 m. de fibra óptica, más de 35 km. de líneas y circuitos eléctricos, 146.200 m. de cableado de altas prestaciones y 150 puntos de acceso wifi. También, se han utilizado energías renovables, instalando 61 paneles fotovoltaicos con una superficie de captación de 99,3 m2 y un sistema geotérmico de apoyo, formado por 11 pozos de más de 100 m. de profundidad cada uno.
Todo el conjunto se ha rodeado de una celosía vertical de colores, los de la fibra óptica, símbolo de las nuevas tecnologías, azul, verde, gris, naranja… gama que sirve igualmente para la decoración interior y en las medianeras interiores se han conservado alguno de los graffitis existentes.
www.cspcoordinacion.com/index.php/en/projects/singular-co...
artedemadrid.wordpress.com/2015/10/12/nave-boetticher/
www.lacatedraldelasnuevastecnologias.com
elpais.com/diario/2011/10/08/madrid/1318073064_850215.html
elpais.com/tag/boetticher_y_navarro/a/
www.arqueologiaypatrimonioindustrial.com/2010/05/lacatedr...
www.espormadrid.es/2008/12/en-marcha-el-centro-de-nuevas....
patrindustrialquitectonico.blogspot.com.es/2012/02/antigu...
www.madrid.es/UnidadesDescentralizadas/UDGParticipacionCi...)Contenidos/02_2.PlanesEspec.DistYDesa/D_7.Villaverde/7_1_4/PROYECTO%20NAVE%20B%C3%96ETTICHER%2017%2010%2007%20(PEI).pdf
from an SGU dorm laundry room. Don't worry SGU, students, prospective students, parents and faculty... it isn't actually this grungy.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.