View allAll Photos Tagged Lattu
Location : Rohomotganj, Sirajganj
The boy was so shy... It was hard for me to make him come in front of my lens! But at last I could... :) I went to my childhood days when I was taking this pic... Those days when I myself used to play with Top (in Bengali: Latim or Lattu)... Isn't it a journey through the memory lane where the Lattu is spinning and the boy behind it is no one else - but me! Oh... so nostalgic!!!
> 'Láttu reiði þína rigna yfir þá og skolaðu þeim í sálarfljóti.'
> 'Let your fury rain down upon them and wash them away in the river of souls.'
[ lelutka evo x. heaux. velour. ladybird. the white crow. doux. lotus. lunar. ]
Aella Corentin of Riverside Falls. <3
this was another one shot at dilli haat. i intend to post process this picture soon. just a bit busy. after i saw my last picture being used, i was quite upset. anyone using this picture anywhere, please inform me. just in the good spirit..
A top (also called spinning top or spin-top) is a toy that can be spun on an axis, balancing on a point.
Shot at City Market. The kids spin the Tops on floor and then use the thread to flick the Top from the floor (while it is still spinning) and pop-up on their hand. Unfortunately, his hand got cropped in the frame.
PLZ SEE ON BLACK (press L)
i was returning from the top of the hillock and found these three workers going to their work, Lattu Pahar ( Top Hill) at Simultala, Bihar
Svetlana Kopystiansky. Metropolitan Museum, New York.
Image taken during: www.metmuseum.org/press/exhibitions/2013/everyday-epiphanies
Exhibition Location: Joyce and Robert Menschel Hall for Modern Photography
Press Preview: Monday, June 24, 10:00 a.m.–noon
Since the birth of photography in 1839, artists have used the medium to explore subjects close to home—the quotidian, intimate, and overlooked aspects of everyday existence. Everyday Epiphanies: Photography and Daily Life Since 1969, an exhibition of 40 works at The Metropolitan Museum of Art, presents photographs and videos from the last four decades that examine these ordinary moments. The exhibition features photographs by a wide range of artists including John Baldessari, Philip-Lorca diCorcia, Fischli & Weiss, Jan Groover, Robert Gober, Nan Goldin, Elizabeth McAlpine, Gabriel Orozco, David Salle, Robert Smithson, Stephen Shore, and William Wegman, as well as videos by Martha Rosler, Ilene Segalove, Brandon Lattu, and Svetlana and Igor Kopystiansky.
Daily life, as it had been lived in Western Europe and America since the 1950s, was called into question in the late 1960s by a counterculture that rebelled against the prior “cookie-cutter” lifestyle. Everything from feminism to psychedelic drugs to space exploration suggested a nearly infinite array of alternative ways to perceive reality; and artists and thinkers in the ’60s and ’70s proposed a “revolution of everyday life.” A four-part work by David Salle from 1973 exemplifies the artist’s flair for piquant juxtaposition at an early stage in his career. In depicting four women in bathrobes standing before their respective kitchen windows in contemplative states, Salle goes against the grain of feminist orthodoxy—revealing a penchant for courting controversy that he would expand in his later paintings; pasted underneath the black-and-white images of the women are brightly colored labels of their preferred coffee brands, with the arbitrarily differentiated brands signifying an insufficient substitute for true freedom in the postwar era. Martha Rosler’s bracingly caustic video Semiotics of the Kitchen and Ilene Segalove’s wistfully funny The Mom Tapes complete a trio of works investigating the role of women in a rapidly changing society.
In the 1980s, artists’ renewed interest in conventions of narrative and genre led to often highly staged or produced images that hint at how even our deepest feelings are mediated by the images that surround us. In the wake of the economic crash of the late 1980s, photographers focused increasingly on what was swept under the carpet—the repressed and the taboo. Sally Mann’s Jesse at Five (1987) depicts the artist’s daughter as the central figure, half-dressed, dolled-up, and posed like an adult. Mann often created these frank images of her children and caused some controversy during the culture wars of the late 1980s and early 1990s. However, her photographs of her children are remarkable for the artist’s assured handling of a potentially explosive subject with equanimity and grace.
During the following decade, artists created photographs and videos that confused the real and the imaginary in ways that almost eerily predicted the epistemological quandaries posed by the digital revolution. Meanwhile, a trio of recently made works by Erica Baum, Elizabeth McAlpine, and Brandon Lattu combine process and product in novel ways to comment obliquely on the shifting sands of how we come to know the world in our digital age.
Everyday Epiphanies: Photography and Daily Life Since 1969 is organized by Doug Eklund, Curator in the Department of Photographs at The Metropolitan Museum of Art.
The Metropolitan Museum’s website will feature the exhibition www.metmuseum.org.
Jorge González, actor que interpreta al padre de los niños, en el camarín del Teatro Pedro de la Barra
After the death of Cell, Goku is back in Other Worlds, and meets the Grand Kai, and tells Goku that he needs to back to Earth but to New Mexico in the year 1815 to to see Atrus in his new home called Tomanha. It turns out that the Grand Kai was one of the five Guild Masters of D'ni.The Grand Kai was the Guild of Maintainers. He sends Goku to Tomahna to see Atrus because Atrus has written a linking book called, Releeshahn (The New D'ni) after he and his wife Catherine found the D'ni survivors traped in the caverns. Atrus tried to rebuild the city of the D'ni, but he decied to wrtie a new home for the D'ni. Since the Grand Kai can't go, Goku must go to Releeshan, since Goku and Atrus are now friends and all.
The Grand Kai sends Goku back to Earth in 1815 in the desert of New Mexico and Goku flies to Atrus's new home, Tomahna. During that time in Tomahna, Goku sees Catherine and her new baby daughter, Yeesha. Then, Catherine was talking to Goku about Atrus. She told him that Atrus wasn't feeling like himself over the past few months. He thinks that someone is spying on him and that some of his Journal books have been moved around in his study. Like if there was someone who's been reading his books, and then he changes the lockpads in every door in the house, and that some of his linking books have gone missing or some of them were just laying on the floor. Goku was concerned. After talking with Catherine, Goku goes back into Atrus's study wait even longer. He had a lot of thoughts about Atrus' safety. He was walking around the study looked around him and then, he saw a letter to Atrus. What Catherine told Goku was right. Someone has been linking in and out of Atrus's study.
And finally, Goku sees Atrus again, after helping him out of D'ni and rescuing Cahterine from Atrus' evil father, Gehn. Atrus tells Goku about Releeashahn and Atrus gives Goku a journal about the age. As Atrus and Goku were about to get ready to link to the new age of the D'ni, someone links into the study, sets it on fire, and he steals Releeshahn from Atrus and links away to another age, then Goku follows this person to get the book back while leaving Atrus behind. Goku ends up in another called, J'nanin. Then he races towards the person who stole Releeshann, but the man went into a strange building on top of a tusk and closes the door. Goku tries to open it but it's locked. Goku was marooned, but it's up to him to get Releeshahn back. Then, King Kai talks to Goku and warns him about the age of J'nanin the person who took the Releeshahn book. He tells him that the age of J'nanin is and once was a learning age. It turns out that Atrus and Bardock wrote this age that Atrus's sons, Sirrus and Achenar when they were children. J'nanin contains three different linking books that takes them to three different main learning ages, also these have different puzzles in order to learn and how get out. The first age is called, Edanna, the Age of Nature, the second age is called, Amateria, the Age of Dynanic Forces, and the third one is called, Voltaic, the Age of Energy. The linking books to these age are located in three different tusks, and in J'nanin, it too contains puzzles to get inside the tucks. And then, he tells him about another linking book that goes to another age called, Narayan, the Age of Balance, but this age, it contains a civilization in which the people of Narayan are peaceful, and it's also another learning age for Sirrus and Achenar to visit. But to the Narayan linking book, they have to find three different combinations that are in the three main learning ages. Once they completed an age, there is a symbol that that helps unlock an egg-shaped cage the contains the Narayan linking book inside the building on top of the main tusk in J'nanin. But Narayan is also a learning as well. Once you arrived, there are different ice shields that surrounds one of trees of Narayan which is a linking spot. There's a different combination to shut down the shields, and to go to Narayan.
Goku finally understood what was going now. But then, King Kai tells him about the person who took the Releeshahn book. He tells him that this person who took Releeshahn was a man named Saavedro and he's an old friend of Atrus and Bardock. When Atrus and Bardock first visited Narayan before Sirrus and Achenar could come, they the people of Narayan where they were nice, and that's when they met Saavedro. He showed them their culture, religon, and lifestyle. The lattus trees is what keeps Narayan alive and well. They were amazed! Then a few years later in past before the events of Myst, Sirrus and Achenar visited Narayan to see them. They were delighted.
But then in the year of 1795 after Bardock left Atrus and Myst, Atrus's sons grew but became more evil and greedy. They decided to conquer the ages of Myst so they steal treasures and killing innocent people and destroying ages and linking books and then, they took over Narayan and told the people of the age that the trees are gonna die and that their civilization would be betrayed and go to war. Then Saavedro went after the Atrus's sons and defeat but then, they set up a trap for him by following them back to J'nanin. They changed the combination to ice shields as wel, but Saavedro didn't know that. He linked to J'nanin and captured him and tortured him by burning every single Myst linking books and other linking books from the worlds of Myst in front of him. They took everything he had. Including his wife and his two daughters. Then, Sirrus and Achenar linked back to Myst while the linking book fell into the ocean. He couldn't get it back. But when he went back to Narayan, he could could get the ice shield combination right. He couldn't go home. The only linking book that was left, was the J'nanin book. He was now in exile, and he's been in J'nanin for the 20 years now until today where Goku is now. Goku now knows the truth about Saavedro and the ages of J'nanin and Narayan.
King Kai tells him to be careful when it comes to Saaverdro. Over the past few months, Saavedro was working on a plan to have his revenge on Bardock, Atrus and his family. He blames both Atrus and Bardock on what the boys did to him and his home, and he thinks that they change the shield combination as well. And Goku also learns that it was Saavedro who kept linking in and out Tomahna and reading Atrus's journals in the study. And maybe Atrus knew too, because he accidently visited J'nanin about a year ago because that the age was alone, but he didn't know that Saavedro was there. That's how Saavedro linked to Tomahna alomst every night. And King Kai warns him, not to help Saavedro. Goku had a lot on his mind now. He then reads Atrus's journal about Releeshahn, and as he was reading, he noticed that it hardly talks about the age. Just about was going on for the past 9 years after the events of Riven and that some of the passages in the journal are bolded. Goku thinks that Atrus's journal might have some clues and hints to get Releeshahn back and he had no choice but to confront Saavedro to get the Releeshahn book from him and help to get him out of exile and finding a way to get him back to his family on Narayan as well.
And as it turns out, Narayan was one the burned linking books in the Myst library back on Myst. In order for Goku to get the Releeshahn book from Saavedro, Goku must explore J'nanin, find some clues, then he must go through the three learning ages of J'nanin. Looks like he's going to school. Then he has to get to the Narayan linking book, and he must restore Narayan setting Saavedro free, and taking the Releeshahn book back to Atrus so that Atrus can show Goku the home for the D'ni, and for Goku to approve Releeshahn for the Grand Kai.
(Releeshahn is only shown in Myst V not in Myst III)
Exhibition Location: Joyce and Robert Menschel Hall for Modern Photography
Press Preview: Monday, June 24, 10:00 a.m.–noon
Since the birth of photography in 1839, artists have used the medium to explore subjects close to home—the quotidian, intimate, and overlooked aspects of everyday existence. Everyday Epiphanies: Photography and Daily Life Since 1969, an exhibition of 40 works at The Metropolitan Museum of Art, presents photographs and videos from the last four decades that examine these ordinary moments. The exhibition features photographs by a wide range of artists including John Baldessari, Philip-Lorca diCorcia, Fischli & Weiss, Jan Groover, Robert Gober, Nan Goldin, Elizabeth McAlpine, Gabriel Orozco, David Salle, Robert Smithson, Stephen Shore, and William Wegman, as well as videos by Martha Rosler, Ilene Segalove, Brandon Lattu, and Svetlana and Igor Kopystiansky.
www.metmuseum.org/exhibitions/listings/2013/everyday-epip...
Exhibition History of “Incidents” (1996/7), 14:56 min video/sound installation:
1997 "L’Autre. 4e Biennale de Lyon, Art Contemporain," Lyon, France. Curated by Harald Szeemann, (cat.).
1997 “2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach
2000 Folkwang Museum in Essen, Germany. Curated by Klaus Biesenbach
2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown
2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
2000 “Igor and Svetlana Kopystiansky” Museum Sztuki, Lodz, Poland
2000 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond.
2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curators Loretta Yarlow/Gregory Salzmann
2005 “From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.” AGNSW, Sydney. Curated by Anthony Bond.
2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
2008 “From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
2009 "Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d’Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
2009 “False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
2009 “From the permanent collection. Roman Opalka, Brice Marden Igor and Svetlana Kopystiansky and Rachel Whiteread,” AGNSW, Sydney. Curated by Anthony Bond.
2009 KunstFilmBiennale, “From the collection of the Center Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
2011 “Energy and Process. Igor and Svetlana Kopystiansky. Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
2012 “Igor and Svetlana Kopystiansky: Incidents (1996/7),” From the permanent collection. MoMA, New York.
2013 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23-May 26. MMK Frankfurt. Catalogue.
2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curator Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
2014-2015. Collection Display. MMK Frankfurt, Germany.
26 Childhood Game Khel - Bachpan ki Yaadain - Mere Bachpan ke Din - Kanchey - Gilli Danda - Bittu Paari - Paildush - Kho Kho - Lattu - Chupan Chupayi - Baraf Pani - Laal Pari Aana - Pani ki Pistol - Water Ball - Kagaz ki Kashti - Kagaz ka Jahaaz - Dost - Friend - Saima Asif Shaikh - Saima Jamshed Shaikh - S.J.S
The Mirror Mountain and boat... something like that for a title of that one?
Flateyri - Snow Avalanche broke whole harbour.
Vonandi þurfa þessir sjómenn og landvinnufólk ekki að bíða í margar vikur og fær bætt vinnutap fram að því að þau fái nýjar græjur. Þetta sýnist mér t.d. ekki viðgerðhæft... en hvað gera tryggingarnar? Ég myndi allavega ekki vilja treysta bát sem hefur farið svona... það tekur langar tíma að gera við hann og spurning um styrk eftir það. Skipta þarf öllu rafmagni út og vélin hvað þolir þetta að vera í kafi lengi... þetta var aldrei hannað sem kafbátur... Hvað með tekjutapið á meðan? Það eru margar spurningar sem leita á hugann að sjá eyðilegginguna þarna sem er gríðarleg, fleiri myndir á leiðinni, góða nótt kæru vinir.
Ef þú veist um einhverja miðla sem vilja birta mynd eða myndir láttu þá vita. Gott væri að fá uppí kostnað.
Fleiri myndir til, þetta er fyrsta Raw bátamyndin sem ég set inn.
Netfang arnthorr@yahoo.com og s. 899 9498
Lattu Pieter, a head of the Honitetu village poses for photograph, traditional leader is called the 'raja' or king and he has authority to manage the village and its forest territory in Osi island, West Seram regency, Maluku province, Indonesia on August 24, 2017.
Photo by Ulet Ifansasti/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org