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“How should we be able to forget those ancient myths that are at the beginning of all peoples, the myths about dragons that at the last moment turn into princesses; perhaps all the dragons of our lives are princesses who are only waiting to see us once beautiful and brave. Perhaps everything terrible is in its deepest being something helpless that wants help from us.
So you must not be frightened if a sadness rises up before you larger than any you have ever seen; if a restiveness, like light and cloudshadows, passes over your hands and over all you do. You must think that something is happening with you, that life has not forgotten you, that it holds you in its hand; it will not let you fall. Why do you want to shut out of your life any uneasiness, any miseries, or any depressions? For after all, you do not know what work these conditions are doing inside you.”
~Rainer Maria Rilke~
Letters to a Young Poet
Tom Otterness American, 1952 -
Creation Myth , 2014 2012
Memorial Art Gallery Centennial Sculpture Park, Rochester, New York
mag.rochester.edu/centennial-sculpture-park/about-artists...
en.wikipedia.org/wiki/Tom_Otterness
issuu.com/marlborough/docs/1014_otterness_interior_inter_...
Metamorphoses Book I: Zeus and Io
The painting represents the themes of the imprisonment and the liberation of Io. The young woman is represented on the left, seated on a stool. Her face is characterized by two small horns on the forehead: they identify Io metamorphosed in a heifer. Even the cow painted behind her confirms her identity. Hermes is standing in the middle of the scene, with his left foot resting on a rock. The god is portrayed in the act of offering a "syrinx" - panpipes - to Argos. Here the naked giant is seated and holds a “pedum”. This attribute characterizes Argos as a shepherd.
Hermes, disguised as a shepherd, complete with panpipes, strikes up a conversation with Argus and entertains him with stories, during which more and more of the guard ’ s eyes close in sleepiness. When Argos wants to know the origin of the panpipes, Mercury starts to tell the story of Syrinx and her metamorphosis into reeds – halfway through which Argus falls asleep completely and has his head cut off by Mercury. In Ovid's account Ovid, Met. I, 713-722, the syrinx is the fulcrum of the narration because, this musical instrument is used by Hermes to sent to sleep and then behead the guardian of Io. Hera transferred Argos’s eyes to the tail of the peacock, her favorite bird.
… talia dicturus vidit Cyllenius omnes
subcubuisse oculos adopertaque lumina somno ;
supprimit extemplo vocem firmatque soporem 715
languida permuleens medieata lumina virga.
nee mora, faleato nutantem vulnerat ense,
qua collo est confine caput, saxoque cruentum
deieit et maculat praeruptam sanguine rupem.
Arge, iaees, quodque in tot lumina lumen habebas, 720
exstinetum est, centumque oculos nox occupat una.
Excipit hos volucrisque suae Saturnia pennis
collocat et gemmis caudam stellantibus inplet.
“When Hermes was going on to tell this story, he saw that all those eyes had yielded and were closed in sleep. Straightway he checks his words, and deepens Argos’ slumber by passing his magic wand over those sleep-faint eyes. And forthwith he smites with his hooked sword the nodding head just where it joins the neck, and sends it bleeding down the rocks, defiling the rugged cliff with blood. Argus, thou liest low; the light which thou hadst within thy many fires is all put out ; and one darkness fills thy hundred eyes.
Saturnia [Hera] took these eyes and set them on the feathers of her bird, filling his tail with star-like jewels.”
Translation: Frank Justus Miller, “Ovid - Metamorphoses”
Source: exhibition note
Fresco From Pompeii, Isis Temple
AD 60 – 79 (4th style)
Naples, “Museo Archeologico Nazionale”
Exhibition: “Ovidio: Loves, Myths & Other Stories”
Scuderie del Quirinale, Rome
Thomas believed that floaters planted seeds on peoples heads and grew flowers that they could harvest as they flew by on a warm, hatless Summer day. He was told this by his uncle who grew a Thackery bush from the top of his head and almost met his demise while standing too close to topiaries. An overzealous landscape architect nearly sheared off his left ear.
Escaped from the sinking island of Atlantis, the Atlanteans look for a new home under the guidance of their new leader, Kastor. These crack soldiers are the last of once-great city. Can they rebuild their civilization?
These are the Atlantean human infantry units from the the legendary Age of Mythology franchise (Titans Expansion)! As a faction, the Atlanteans are all about quality over quantity. Their workers are more efficient than other cultures' and their infantry have the option to become heroes, giving them an attack bonus against myth units. Also, their god powers can be used three times, instead of just once. Atlantean units are more expensive than other cultures' and count for more population. So, choose your building queues wisely!
From left to right: Citizen, Contarius, Murmillo, Fanatic, Destroyer, Turma, Arcus, Katapeltes, Cheiroballistra, Oracle.
Background: Hesperides Tree. Hesperides Trees are available to worshipers of Theia in the Heroic Age. They can be used to summon dryads -- useful in a pinch!
Blue Reincarnation Narcissus by Jaisini
The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.
In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.
The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.
In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.
“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.
“Blue Reincarnation” (Oil painting) by Paul Jaisini
New York 2002, Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
China is a country with a reputed culture. With culture, comes their beleif in a lot of mythical figures and stories.
Lujing Lu area, Guangzhou,China.
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I'm trying to accumulate photographs that are true to the city and the country.
[Minimal editing and slight crop]
Debunk the Cancer Myths
I don't have the right to cancer care
Truth:
All people have the right to access proven and effective cancer treatments and services on equal terms, and without suffering hardship as a consequence
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Sheet, decorated with hammered representations in panels. From top to bottom:
1.Two heroes and
a female figure
2.Orestes killing Clytemnestra as Aegisthus tries to flee
3.Abduction of Antiope by Theseus.
Bronze sheet of the archaic period.
Around 580 BC.
From a Cycladic workshop.
Olympia, Archaeological Museum
Debunk the Cancer Myths
There are no Signs or Symptoms of Cancer
Truth:
For many cancers, there are warning signs and symptoms and the benefits of early detection are indisputable.
Find More Information:
* RECOGNISE SIGNS AND SYMPTOMS
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* All our posts tagged cancer, infographics, World Cancer Day 2014.
Inspired by a Japanese Myth. The Creator of the eight Japanese islands, nature, the seasons, the mountains, and the Gods of land and water died from a high fever after giving birth to the God of Fire. 145th MMM The Elements Challenge