View allAll Photos Tagged PATHOS
Your Ethos
Your Pathos
Your Porthos
Your Aramis
Your Brut Cologne
You're writing home
You are hopeless
Your hopelessness
Is rising around you, rising around you
You like it
It gives you something to do
In the day time
Hey buddy, you need a hobby
You are tired of moving forward
You think of the future
And secretly you piddle your pants
The puddle of piddle
Which used to be little
Is rising around you, rising around you
You like it
It gives you something to do
In the night time
Well, you travel to bars
You also go to Winchell's Doughnuts
And hang out with the Highway Patrol
Sometimes you'll go to a pizza place
You go toSharkey's to get that
American kind of pizza
That has the ugly, waxey, fake yellow kind
Of yellow Cheese on the top...
Then you go to Straw Hat Pizza,
To get all of those artificial ingredients
That never belonged on a pizza in the first place
(But the white people really like it...)
Oh well, you'll go anyplace, you'll do anything
Oh you'll give me your underpants
I hope these aren't yours, buddy...
They're very nice, though
You'll go to Santa Monica Boulevard,
You'll go to the Blue Parrot
No problem, you'll go anyplace
You'll do anything
Just so you can hang out with the others
The others just like you
Afraid of the future
(Death Valley Days, straight ahead)
The future is scary
Yes, it sure is
Well, the puddle is rising
It smells like the ocean
A body of water to isolate England
And also Reseda
The oil, in patches
All over Atlantis, Atlantis
You remember Atlantis
Donovan, the guy with the brocade coat,
Used to sing to you about Atlantis
You loved it, you were so involved then
That was back in the days when you used to
Smoke a banana
You would scrape the stuff off the middle
You would smoke it
You even thought you was getting ripped from it
No problem
Ah Atlantis, they could really get down there
The plankton, the krill
The giant underwater pyramid, the squid decor
Excuse me. Todd
The big ol' giant underwater door
The dome, the bubbles, the blue light
Light, light, light, light
Blue light blue light
The seepage, the sewage, the rubbers, the napkins
Your ethos, your pathos
Your flag hole, your port-hole
Your language
You're frightened
Your future
You can't even speak your own fucking language
You can't read it anymore
You can't write it anymore
Your language
The future of your language
Your meat loaf
Don't let your meat loaf
Heh, Heh, Heh
Your Micro-Nanette
Your Brut
Cologne
(Frank Zappa)
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri
©1976 by Ed Passi
—inside the old Alcatraz federal penitentiary, Calif. My perspective was of an “end-of-the-road” vanishing point convergence—an aura of a dark, terminal fate.
[TriX film400/NikonFTN]
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
I will put up one piece every Monday, Thursday and Saturday for the next three weeks.
by Garrett, my 12-year-old stepson. Thought bubble reads: "When they ask you what you want to be when you grow up in preschool, they say it as if you have a choice."
I shot this after my first visit to the O. Winston Link Museum in Roanoke, Virginia. If you aren't familliar with "OWL's" photographey you should be! His work in black & white, especially with night photography, stands alongside any of the greats of the early-mid Twentieth century. Gritty, full of contrast and capturing all the beauty, irony and pathos of his subjects, his most famous work documented the last gasp of the steam-era in railroading. But his are far more than pictures of trains... they are memoirs of an era he saw passing when the rest of the world was focused on what was coming. Anyone interested in light, in photography can learn from Winston Link. He truly is in a rare class of select artists.
I was inspired to turn my vintage Contax on a caboose ("cabin car") near the museum. A small tribute to a great man.
Here's a "link" to the musuem, or do an on-line search ... you'll be glad you did!
(Looks best when viewed large.)
Pathos, inhabited since neolithic times its Roman mosaics are considered among the most beautiful in the world. They include:
The House of Dionysos, dating back to the 2nd century A.D. The house is named “House of Dionysos” thanks to the many depictions of Dionysos, the god of wine.
The House of Theseus, also 2nd century, geometrical decorations as well as mythological representations.
The House of Aion, dating back to the 4th century, Five mythological scenes: "The bath of Dionysus", "Leda and the Swan", "Beauty contest between Cassiopeia and the Nereids", "Apollo and Marsyas", and the "Triumphant procession of Dionysus".
The House of Orpheus
Dating back to the 3rd century A.D Three mythological representations worth seeing, “ Orpheus and his Lyre”, “ Hercules and the Lion of Nemea” and “the Amazon”.
The House of Four Seasons
This house lies north of the House of Orpheus. It was named after the mosaic that represents the personification of the four seasons, which dates back to the first half of the third century A.D.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The North Carolina Museum of Art has a large display of sculptures of French artist Auguste Rodin (1840-1917). This is my favorite. When I was there, the late afternoon sun coming in made every photo almost impossible. Neither the color nor the black and white convey the full impact of this masterful depiction of anguish. I never realized how much emotion can be conveyed in bronze. This viewing experience has enhanced appreciation of sculpture in general and of Rodin in specific.
Edward III, King of England, claimed authority over France at that time. In 1346 he began an 11-month siege of the port city of Calais in an early battle in the Hundred Years’ War. Unable to take the city by attack, Edward decided to starve the city into submission. His plan succeeded. He would spare the lives of the citizens of Calais if six of its prominent leaders would come to his encampment; they would be barefoot and without headwear, nooses around their neck, and hand over the keys to the city and beg for mercy. Six burghers ultimately volunteered in this act of selfless heroism. They expected to be executed but were saved through the intervention of England’s pregnant queen, Philippa of Hainault. She feared the killing of the burghers would be a bad omen for the birth of her child. Pierre de Wissant is one of those six burghers.
To honor this act of self-sacrifice, the city of Calais commissioned Rodin in 1885 to execute a monument. His finished work was The Burghers of Calais (Les Bourgeois de Calais). Rodin used the head of Pierre de Wissant alone in a larger-than life sculpture. The modeling of the head was done in 1884-1885 and enlarged in 1909. The figure in the North Carolina Museum of Art was cast in 1980 by the Musée Rodin.
The bust shows Pierre de Wissant with parted lips, eyes nearly shut, head leaning slightly to the side, and an elongated neck—all features contributing to the pathos of the situation of self-denial and sacrifice. His features reveal the emaciation resulting from the effort to starve out the city. His decision shows in the facial agony to sacrifice his life for his fellow citizens. Rodin remarkably creates a human being in flesh and blood using only bronze.
See also www.flickr.com/photos/universalpops/5714783308/ and www.flickr.com/photos/universalpops/5714221433/
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
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Ok, I will be honest with you. I had a complete and utter lack of inspiration today so here is a random picture of a gnome fixing a clock. The unsettling thing is this was taken at a kid's winter play land ... "Christmas at the Park" in downtown San Jose. Sleep tight.
These fragments of an equestrian statue probably represent Nero. The execution tinged with a certain pathos reflects a sensibility that was different to that of the classical-style portraits of the Julio-Claudian family. It also reveals the origins of the work, which was found in Asia Minor, as well as the absolutist tendencies of the reign of Nero, who craved an imperial role like that of the Hellenistic monarchs.
The identity of the figure represented in this work has been disputed. The particular arrangement of the slightly parted bangs favors the hypothesis that it is a prince of the Julio-Claudian family. There is general agreement on the name of Nero, by comparison with coin portraits, though on the coins he does not wear this hair style. Further comparison with other portraits would enable this probable identity to be confirmed; but, after the "damnatio memoriae" established by Roman Senate, only a few remnants remain of the images of this emperor - some portraits of him as a child, and statues saved from destruction by their geographical distance (perhaps the case of these fragments found in Turkey).
Source: Louvre WEB Site
Roman marble portrait
About 50-70 AD
From Cilicia, Turkey
Paris, Musée du Louvre
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I met this cool little kid in the mountain town of Dazhai near the Longji rice terraces. During my short stay there he became my little shadow and would go around leaving mischief in his wake. He was very curious about my camera which gave me plenty of opportunities to photograph him in his natural state. There was something very innocent about his humble farming life that I wanted to accentuate through this picture.
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I was visiting my family a couple of weeks ago in Folsom, so I brought them with me on a brief photo excursion. On the opposite side of Highway 50 there is a huge open area full of hills and rolling pastures. I found this awesome path leading to nowhere and I stopped to get a picture of it. I can only assume this is where the Smurfs live. Well, maybe not the Smurfs who got their own TV show, but perhaps their distant non-commercially-adept cousins.
On our way back to civilization, the sun was setting over a nice hill so I waited to catch the light just right for this shot. The clouds seemed to explode off of the hill and I almost expected to see the silhouette of the next evolution of man coming up over the horizon. However, Neom (next evolution of man) did not make an appearance. Perhaps next time …
The heart ay's the part ay That makes us right or wrang. Know, prudent, cautious self-control is wisdom's root. The rank is but guinea's stamp. The man's the cowd for a' that. To make a happy fireside clime to weans and wife. Tha't the true pathos and sublime of human life. Copyright © by Scott A. McNealy Photographer. www.noboundaryphotography.co.uk
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
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It was my second day in the mountain village of Dazhai and I had very quickly gotten used to randomly walking into houses with none of the usual pesky repercussions (such as being thrown in jail or chased away with a cleaver). This particular house was owned by the Tofu Man. When my guide, Bart, and I walked in we just made our way through the massive three-story wooden house into one of the smaller rooms where Tofu Man was already hard at work cooking the tofu.
He had been expecting us, and when we entered the steam-filled room, he beckoned us to sit down on the tiny wooden stools next to the little fire pit. I sat down and he looked at me with all seriousness and suddenly burst out a mad cackle before going back to work. The light from the fire danced on his face as he intently stirred the pot, looking like a mad scientist working on his Franken-fu. When he was done cooking, he took the pot into another room and poured the content into a large white mesh and hand-strained the water out of the tofu until it was a solid white mass. When it was all done, he produced a bowl out of one of his pockets, looked at it inquisitively and decided it was clean enough for this interloper and served me up some yummy tofu. Mmmm.
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Today I realized that I have a lot of Jelly to share with you and at this pace it is going to take me another month to get them all up so I am revising my plan. I am going to put a new piece up every Monday, Thursday and … wait for it … Saturday! I am sure you like Jelly as much as the next guy, but no one wants it to sit idle for too long. It starts to smell, you know? Anyway, here is the next piece in the collection.
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I have always been fond of traveling and want to make sure that my children not only have the opportunity, but also the desire to see how people around the world have adapted to live their lives. When my daughter was a wee three months old we flew to Hawaii to visit relatives and give the baby her first taste of living off the fat of the land. My wife had spent many summers there and she told me about a Buddhist temple in the Honolulu mountain tops where anyone is welcome to visit and join their weekly meditation jams.
We arrived fashionably late and I had to sprint up the stairs and into the hall, making for an interesting time as the monk was instructing everyone to focus on their ever slowing breaths. I used to meditate regularly so it didn’t take me long to calm down and slide into Lala Land. I will go into more specifics on the actual meditation session in a later post, but after it was done I met up with my family outside as the sun was setting.
We spent a few minutes walking around and I kept looking for interesting things to take pictures of when I saw a restricted-looking section of the temple that caught my interest. There is something about restricted access that makes you want to go in even more, right? Well, I was in the middle of planning out my trespass strategy when a monk walked up to me seemingly from no where. I looked at his face and it was clear that he knew exactly what I was up to. His calm and friendly gaze held a very powerful sense of knowing that made me feel somewhat transparent and defenseless. I introduced myself and he did the same but I did not quite catch his name. I thought he said it was “Whoameye” but he kept looking at me and saying it over and again. I finally realized that he was actually asking me, “Who am I?” I was a bit confused by his question so I just repeated it and he said, “Exactly, this is what you should ask yourself every day.” He proceeded to tell us how important it is to keep asking this question of yourself and gradually peel away the layers of what you think you are to get closer and closer to the core. “Am I, what I wear? No. Am I what I feel or think? No. Keep asking, keep going … ”
He then told us that he was on his way to the main temple to do his daily prayer and asked if we would accompany him. I was ecstatic! We followed him to this great temple with elaborate ceilings, wooden floors, candles and a Buddha shrine, and sat down along the wall while he began to pray. I was expecting a contemplative moment of silence but instead he began to chant. Buddhist chanting is basically a rhythmic vocalization of prayer and although I did not understand the actual words, I understood the feeling of devotion in what he was singing. When he was done, he came over to my wife and asked our daughter’s name. He then said, “She is 98 days old, right?” He was only two days off … she was exactly 96 days old at the time. He said he wanted to dedicate a prayer to her and then he went back and stood in front of Buddha and began another chant. After he was done, he came to us and looked at our little girl and said, “She is very blessed and will have no hardships in this life.” Thank you, Whoameye! =)
About This Photo
I did not have the proper lens on my camera for the low light conditions inside the temple and I was shooting hand held so the photo had a bit of noise. The colors were warm and interesting, but I decided to process this in black and white because it took care of most of the noise problem and also gave it some nice contrast and definition. I also like the timeless feel of black and white photography and feel that it lends itself to this photo.