View allAll Photos Tagged Pulsating
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out,
the mist slowly rises
like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley,
two hundred feet below, just east of Dog Falls.
Life here is so abundant,
from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down
these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze
confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves,
but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a
quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own
and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel
its stupendous splendour,
again and again!
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out,
the mist slowly rises
like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley,
two hundred feet below, just east of Dog Falls.
Life here is so abundant,
from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down
these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze
confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves,
but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel its stupendous splendour, again, and again!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
This 45-meters long, 4 meters high and 6 meters wide tunnel made from 50,000 pulsating LEDs with sequenced lights reflects the patterns and colours of the Northern Lights .
It was the longest light tunnel in Europe. However a 50 metre at tunnel at Vevey, Switzerland has now this year usurped it :(
MADE EXPLORED!!
HI TO ALL
its been a long break for me this month. kinda busy lately. i'll be active very soon. and will provide you guys the best photo of mine. hopefully. lol..
several exposures digital blend. (DRI TECHNIQUE). blue hour and sunset combined together. and tweak in photoshop. have a great day to all.
Hazel eyes that sparkle
Well into the night
Skin tender and pulsating
Into what seems so right
Holding onto you ever so tightly
Your essence quivering from excitement
From dusk into twilight
you can view some of my best photo here THE GALLERIA
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A rare sighting of this super rare, priceless and highly endangered (kena threaten) tailless cuckoo. Thought to be extinct at the turn of the century when one of these freak was sighted perching on a CB (chee bye) tree just outside Elvis's Pub (China Town, SG) on Independence Day in 1945. As far as records shown, this is the second sighting since the second world war, WWII. I'm sure there are more world wars ahead if this species continue to be sighted especially in SG and especially among the CB photographers here. The first sighting was however, in a faraway Jalan Bersar toilet a long long time ago, too long to remember and there's no point mentioning.
In fact this sensationally enigmatic bird is long suspected to be a close relative of a very strange thing called Archaeopteryx (missing link between dinosaur and modern bird. The anatomical characteristics between the 2 are almost identical except for one major difference in their respiratory system in which one take in oxygen and expel carbon dioxide while the other take in money and expel laughing gas) this strange creature possess feathers just like a modern bird but with a mouth full of very sharp teeth just like the cuckoo shown above. The set of 32 sharp teeth always get the job done in amazing ways. Feathers first evolved as a means of temperature regulation, inadvertently providing the wonderful possibility of flight. A 200 million year old fossilized remains of this creature suggest that it possesses advanced flight feathers which bear close resemblance to the Long-legged bare-backed Cuckoo shown above and thus for sure it's able to fly like a housefly. It also shared many characteristics such as long sexy legs, bare back, 2 boobs, long hair, nice butt, nice smell, nice shape, tasty, crunchy, smooth complexion, contour body and most strikingly of all, able to stand on just 2 legs with or without heels. This is a clear indication that she is a bipedal vertebrate and having the ability to walk upright and wear dress. A far cry from its ancestors which could at the best of their ability only crawl in small circles on the floor and could fart a little bit along the way. But exactly at which stage of the evolutionary ladder when she starts to develop such unique and impressive characteristics remains unknown and often hotly debated among the brightest brains in the scientific community. One such bright sunny brain is Professor Humpty Dumpty from the University of Hornytown. He had devoted his entire life studying a 220 million year old fossilized remains and has make a startling discovery that the remains were actually leftover chicken bones from last night's dinner xyz***!!F__K!!KNN.
However it's hypothetically accepted that once the position of her butt had evolved sufficiently to line up with her skull within an angle of 13deg from her spine or in simple terms when all of her 206 bones have anatomically fall into their correct place to take the form of half a cuckoo she would begin to stand upright and able to walk and run in circles probably able to jump and sings twinkle twinkle little stars along the way. Fossilized records had showed that this happens around 135.25 million years ago and still happening today at 4pm. Incidentally, by looking at this bird you are watching evolution unfolding in real time right before your very eyes.
However, scientists are still missing 2 critical components needed to establish the link between the 2 creatures to be the same exact species....the elusive number 2 left butt cheek bone and the left nipple bone If anybody happen to come across these 2 missing items, please alert the ICI (International Cuckoo Institute) The 2 cuckoo scientists on duty will be glad to provide protocol on the handling of artifacts with great paleontological significance such as these.
Birds like this one is one of the immensely successful evolutional outcomes of nature, a cornerstone to the trail of life on the planet.
In the beginning of time (some 150 million to 220 million years ago), there was only one single most successful design of living thing on our primitive world known as the sexysaur. One fine day, this group of hopelessly overweight organism decided to go air borne. In order to achieve that, they dramatically reduced their size and started to develop wings and took flying lessons. The possibility of flight opens up numerous window of opportunities greatly enhancing the survival of the species and thus securing a successful path in the process of evolution. The ability to fly allows them to travel over great distances in short period of time to places otherwise unreachable in search of food or mate, sight seeing, look for loss pets, search for food court, or serve as quick getaway from nasty flightless debt collectors. The perfect strategy that results in the successful evolution of bird species in the world.
The Long-legged bare-backed Cuckoo display above is one of its success story for which she serves as a living testimony. No other species, subspecies, antispecies, funnyspecies or even nonspecies is as successful as this sexyspecies.
Those that did not buy the idea happily went extinct some 65million years ago (this group of idiots become known as the dinosaurs)
Those that took to the sky, took their success, secrets, tactics, riddles and technology with them. Those folks became the birds that we know today including the one shown above.
In fact, in the history of evolution, the earth has underwent not one but several mass extinction brought on by either very violent natural causes or of extra-terrestrial origin such as a massive asteroid impact. The most recent is 65 million years ago (in geological time scale is just about during the last Christmas when you are about to have the first bite of your favorite Christmas pie when a stone the size of a football stadium hit the earth with incredible devastating consequences). In that geological instance, the big boys dinosaurs are completely annihilated, leaving behind their descendants flying above us today and some left-over bones for us to ponder. Destructive and violent as it sounds but such occurrence actually accelerates and assist evolution by wiping out the out-of-date, out-of-fashion, out-of-steam, incorrigible, bossy, stingy, rude, smelly, noisy, inconsiderate, oversize, unreasonable, difficult to control, impossible to tame, obese, unfriendly, grumpy, uncooperative, busybody, potential terrorist, all talk no action, indecent, big bully and out-of-money dominant life forms and provide the possibility of diversification in the development of new and improved life forms or organism. Our very own existence is the eventual outcome of such destructive forces. Prior to this, we are just a bunch of noisy little apes wondering around the plains of Africa looking for berries to eat.
One burning riddle scientists are still trying to figure out is that why this particular cuckoo has taken evolution not 1 not 2 but hundred of steps further and go wingless yet fully capable of flight. Perhaps this is an adaptation to the strange combination of high sugar bubble tea/apple pie diet and the lack of horny ground predators in sg. Nevertheless, it's clear that birds have evolved from dinosaurs (some might have even developed from sexysaurs, a kind of horny dinosaur that refuse to be annihilated 65 million years ago despite being hit by a massive meteoroid from an amusement park across Wall street) and this bird has came a long way transforming from a 40 ft ferocious meat-eating T-rex to a bird-sized gentle bubble tea sucker.
Looking at the image, not much eye contact though. But back contact is not bad too. This one comes with my favorite original contour body, rosewood fretboard on maple neck, sexy G-string, synchronised tremolo and locking tuner by Fender. Wonder if she is a brood parasite. I certainly would not mind if she visit my nest, I would be more than happy to provide full gps coordinates of my nest : 3rd stone from the sun
Additional note :
130 million years of gradual speciation had resulted in a pair of long slender cuckoo legs that is covered with gorgeous fair smooth skin instead of scales found in other bird or bird-like species. This gives the animal a huge evolutionary advantage over a pair of stupid scaly legs. That would allows her to attract more horny male species resulting in higher number of nesting cycles, hence more offspring, especially horny female chicks..the more the better
This is the only cuckoo and for that matter the only bird species which spot the longest hair on the planet. These what looks like human pubic hair is in fact very fine strands of crystallized radioactive carbon 13.13 isotopes. The phenomenon is a result of a combination of factors. One such combination is the excessive exposure to male species not of her own kind during her most horny period.
This is a direct result of a hypothetical condition known as Reset Windup. In engineering term, Reset Windup is a situation whereby the cuckoo's brain is overloaded with corrupted data during an attempt to correct an excessive amount of error information accumulated in her hippocampus as a result of some serious horny misjudgment As a consequence, the inner lining of her skull's tissue is heated up by the contaminated fluid to extremely high temperature and pressure. In a response to such deadly situation, her brain would then starts to drain off the deadly sexy fluid thru' the follicles thus allowing the internal pressure to falls back to its normal level of 13000 PSI (Pound per Sexy Inch) at ambient temperature. Million of years of evolution has equipped this cuckoo with a super brain capable of processing tremendous amount of data in a very short period of time with self diagnostic, self troubleshooting, self stimulating and debugging function. This special abilities allow the cuckoo to correct the mentioned deadly condition incredibly fast thus protecting her brain from serious hardware, software as well as underwear injury. Otherwise she could be a mad cuckoo or worst, dead cuckoo with a living but very corrupted brain. For any other bird species, the result would be undoubtedly 100% fatal. Even panadol can't help either.
The sexy sticky yellowish fluid subsequently cools and crystallize into the black-colored hair-like particles suspended from her skull as shown in the image.
Anyway, regardless of the vast number of strange combination of factors, long hair is always better than no hair (botak) for this particular species..
A recent discovery of a set of fossilized upper jaw bone by Professor Robin Hoody (Swordsman University) lies buried for 200 million years
under a 7-Eleven store at Wall Street belonging to this species has revealed something extraordinary. At some point in its evolutionary past this creature has possessed something out of anybody’s imagination, venom yes 100% pure venom no joke.
It is evident by its 2 enlarged front teeth still attached to the jaw structure after 200 million years by a tiny piece of pre-historic Wrigley's Spearmint Chewing Gum. It has evolved to generate and store huge amount of venom ready to inject into her lucky prey victim just for one single most important purpose, kill the bargirl.
Traces of fossilised DNA in her mouth indicates there are at least 2000 complex chemical components of various type of toxin in her venom composition.
Each component has evolved to perform a very specific task, some of which makes the victim laugh and dance in circles fully naked while others destroy the blood structure turning it into a thick straw berry chicken soup which halt blood flow resulting in a joyful death. Both methods are extremely effective in taking the lives out of its living victims
Together they form a very potent Hemotoxin cocktail cough syrup which design to kill its victim in miniseconds in one single bite sometimes 2, depending male or female sexually active prey.
How and why at one point in time this sweet and gentle creature has developed such a nasty defensive/offensive mechanism is still a subject of intense study and would remain so for the next 200 million years until some smart Alec comes along figure that out and comes up with a rational explanation follow by a possible resolution.
However, recent studies show that this creature has given up its deadly chemical weapon sometimes between 100million and 50million years ago for something that is less nasty and deadly, a pair of boob-like airbags which attached to her chest. (subsequently the patent for the generation of the deadly venom has been sold to Poseidon (sea god) which he then deploy on some of his cheeky sea creatures such as Cone Snail, Box Jellyfish and Blue ring octopus to kill innocent cold blooded prey items under the sea and is met with huge success as a result of its extreme toxicity which could deliver instant death to their victims. They would become the world's most venomous animals. There are plans to expand its venom producing plants to China taking advantage of its cheap labour and free WIFI.
The reason for that is largely due to the extreme seasonal/environmental change which has impacted the behavior of her aggressive fast moving prey items. The greenhouse effect has caused her prey items to become more sluggish, stupid, lazy, groggy, grumpy, inconsiderate, abusive, unreasonable and most importantly loses their ability to run fast which eventually lead to their demise. (this is exactly
what 's happening to us currently)
As such, advance predator such as this female cuckoo, which is designed to be predatory at that moment in the evolutionary history also changes her predatory instinct. She can then focus her energy into more mating cycles instead of wasting her resources to generate venom of such complexity to bite and kill fast running sexy preys which has became obsolete since. Instead of biting her victim to death she seduce them to die for her. This method only works on male prey items for obvious reasons. Concurrently, she also give up the idea of large prey predation and devote to eat something more manageable in size such as tiny worms and occasionally a Big Mac or 2.
The male cuckoo however, is non-predatory from the very beginning of time and only eats fresh buttercake and drink lukewarm pure pussy juice.
highlight :
The absence of the usual tail feathers has revealed an extraordinary appealing organ which is usually well hidden from sight known as a butt and it grab me by the throat. This piece of juicy, extremely elastic, hand woven, shiny, safe-to-use, easy to wash, irresistible, often unusable, machine washable, microwave safe, warm & smooth, carefully calibrated, 100% sterilized, tasty, sometimes slightly salty, highly aromatic, at times problematic, robust, extremely stable, low in fats, high in proteins, low in cholesterol, sugar free, mostly playable, top quality, reliable, highly maneuverable, a little bit tricky, insect-resistant, a little bit slippery, weather resistant, water proof, solid and at the same time soft to touch organ (wish my bolster has all these qualities) allow her to sit comfortably on the eggs during incubation period and simultaneously preventing her from falling out of the nest when she farts in her sleep. Usually Cuckoo would build their nest more than 3 meters up on the tree and as such, this job is considered to be working at height. Risk assessment must be carried out and PPE (personal protective equipment) such as safety harness, hard hat, safety goggles, ear protection, safety pussy shoes, super glue, luggage bags, tooth pick, sun block, ladder, fishnet stocking, perfume, tampon, reader digest, fire extinguisher, speargun, shopping bag, manicure, moisturizer, hamburger, 7-up and parachute is required by law. However, in view of her super ass which is also a shock absorber and a pair of boob-like tissue which double as a parachute, she is well exempted from all safety equipment including toilet roll. It also has a build-in AI temperature and pressure control system which intelligently adjust to the optimal settings in the course of the incubation period for best comfort, stability, safety, gas exchange and heat transfer. Another amazing feature is that it can be programmed to switch off when the butt is not in use for incubation during which it can be used for other more functional purposes such as attracting a mate, for hire or just showing off.
Hence, this multifunctional multicoloured butt is indeed a staggering marvel of engineering bearing the hallmark of a product from nature manufactured to the highest quality and safety level which surpass all standards set by horny mankind
If you wish to have one installed, please contact Dr Hairy Cock mobile 88813888
Just in case you can't reach him. Just drop by at his workshop located at no. 13 Manymorecocks Street. He is sure in, 24/7. There in his ISO certified, digitally hygienic, explosion proof, terrorist-free, tax free, high-security, air-tight, earthquake-proof, anti-tsunami, mold-free, worry-free, cyber secured laboratory, you can find him busy at his work dismantling, assembling, designing and constructing a wide range of butts for an endless range of applications. His latest project which I'm not supposed to tell is a space butt mounted on a cuckoo just like the one display above and send the entire package to Mars. This highly classified scientific experiment is to test out the theory of cuckoo colonization in another planet outside of our own. In addition, the program is also design to seek out the origins of the Martians. Where do all these idiots would possibly come from? Have they evolved from kind of strange ancient microbial life or imported from another screw-up planet by some screw-up aliens on holiday and how they manage to evolve so unsuccessfully to become the present day Martians living in such a hostile place with no air, no water, no shops, no food court, no casino, no WIFI, no YouTube, no convenient stalls, no porn, no where to go except hiding under thick layers of red sand waiting for a sexy earth cuckoo to drop by once every few million years.
Unlike mother earth where we are all too familiar with, Mars has yet to install an atmospheric curtain around the red planet due to budget constraints of the stingy Martians. Without which, the cuckoo from earth would not survive for long no matter how good is her mating and incubating skills. No air means dead cuckoo. In order to overcome that, the future Mars cuckoo would need to evolve to develop a self- sustaining internal oxygen compartment which allows the generation and storage of oxygen gas. The solution, to convert her 2 existing boob-like organs into gas chambers each capable of storing 50 tons of O2 gas with provisions to generate and store an additional 50mg of Nitrogen/hydrogen sulfide mixture, 2.5mg of horny gas and a little laughing gas as well. With the well-thought system in place, we never need to depend on the cunning Martians for air. They overcharge every time. One major engineering problem pin down but still thousands more to go.
Another major issue is the lovely solar winds from the sun.
Without a magnetic curtain (generated by the earth's core) to repel them just like mother earth does, the deadly UV rays, cosmic rays, X rays, grandma rays, grandpa rays, stink rays, funny rays and a whole range of high energy nasty charged particles will soon strip the cuckoo external plumage exposing her naked body. That would prove fatal not for the cuckoo but for the Martians. The Martians for the longest time have never seen a naked cuckoo before and that would certainly blow their minds turning them into headless Mars bars. They must find a solution to this sticky problem fast otherwise the 2 remaining martians would be annihilated staring at the naked cuckoo all day long with the solar wind gently blowing.
However, this cuckoo has one super trick up her sleeve. Not only does her 2 boob-like organs able to generate and store gases they also double as electromagnetic flux generators. The resultant sexy magnetic field forms a cocoon-like shield wrapping all around her, protecting her fragile body from the deadly solar winds radiate from the sun's surface especially during a sunspot when the radiation is at its peak.
Apart from the protective function, the magnetic flux also create a spectacle of colorful aurora called Assrora in the region around her ass. This is a result of the intense magnetic forces interacting with the highly active stream of chemically complex mixture of gases exiting her bottom especially after a heavy meal of garlic and anions. At times, bright streaks of lightning can also be seen resulting from the excessive build-up of cheeky-charged particles discharging to the ground below follow by a series of ass splitting banshee screams.
Final conclusion :
Charles Darwin and Alfred Wallace both came up with the Theory of Evolution through Natural Selection independently. Hat off to you guys.
Both are immensely successful in the development of their "The Origin Of Species" thesis thru keen observations of the natural world.
(but that did not shed light on why my boss crucified me for an incompetency that i never agree during the course of work despite after working diligently for half a million years. I am completely devastated. It's like a bullet thru' my brain. They forced me to take over a super hot potato and swallow it without a single drop of water, that really hunts. But life have to go on. I pray that one day justice will prevail and cleanse my name )
Sadly, both somehow missed this cuckoo. Has Alfred Wallace discovered this cuckoo during his field trip here in 1854 things will never be the same.
This cuckoo would provide all the materials he needs to formulate his theory and the answers to all the intriguing questions that he is dying to know about the origins of species and will undoubtedly be way ahead of Charles in that regards.
He would be able to see this cuckoo evolving right before his teary eyes in real time which otherwise would take millions of years, too slowly to be observed, study and recorded by any living human being.
Observing this cuckoo in real time doing the real things is like travel back in time doing the fake things. The technological innovations that nature has put into this bird is simply mind blogging. Such example is the transformation of the black bill into a CBlips, the boob-like objects in disguise, the extraordinary butt, from rock to rocket, from wings to no wings to chicken wings, from feather to fair skin, from bird-eyes to human-like eyes, from bird smell to sexy smell, from scaly legs to sexy legs, from dinosaur to sexysaur last and not least the state-of-the-art Fart propulsion system. In order to fully digest all her natural wonders of evolution, he probably have to dissect this human-like cuckoo to have a detailed look of her from the inside, outside and backside. I’m sure he is able to unlock more secrets and unravel more mysteries about this cuckoo and for that matter evolution itself. I’m sure he would exclaim after a detailed analysis of this cuckoo …damn it, this thing is a super delight...and damn hot !
This will also shed light on how other species evolve, half evolve, strangely evolve, little bit evolve, anyhow evolve or successfully fail to evolve. Evolution as we know today will never be the same again. All the books on evolution that we know about will have to be re-written for the sake of one bird, the Long-legged bare-backed tailless Cuckoo....sweat !
(have a good look at the specimen shown above. However, for safety reasons male reader is advised not to pay too much attention at one particular highly evolved piece of hardware known as the butt. It was reported that a curious male reader has suffered a phenomenon called pulsating eye-ball syndrome after having stared at the arousing object for 13mins straight without blinking leading to a massive short-circuiting of the brain cells which in turn causes the affected eye-balls to expand and contract at an alarming rate. If the condition is not treated promptly, the eye-ball would invariably turn into fish-balls)
In the image, there is a red color pillar with a grey color onion shaped object situated at the left side of the cuckoo. This strange looking structure is actually a mini nuclear missile which runs on radioactive plutonium13.13. Its function, however is not to deliver a massive destructive force to its enemy but to serve as a quick getaway transportation for the cuckoo in distress.
In the event of an emergency such as uncontrollable large scale fire or a horrible horny riot that ever to break out in the vicinity , this wingless cuckoo would then be able to jump onto the device right away, hold it tight like a bolster and launch herself away from any imminent dangers by licking the onion vigorously. A perfect escape strategy.
The last time a cuckoo ever try this out is yesterday 4pm when a stray exploding firecracker drop 4ft away trigger a responsive reaction. The cuckoo immediately swing into action and ride on the damn thing. The missile take off successfully saving the cuckoo's life. However, at 10,000ft in the air, the combustion chamber, a major component of the device suddenly blow up due to excessive temperature build up and blow the poor cuckoo's ass into 13 pieces. The cause of the incident was traced to a pair of faulty 'o' ring which served to isolate the cuckoo's fart gases from coming into contact with the rocket fuel source of highly compressed laughing gas.
The mixing of these gases created an phenomenon known as Shaky-ass where the highly excited male air molecules build up inside the cuckoo's butt starts to vibrate so violently that it leads to the catastrophic breakup of her ass. She survived the incident after having her badly damaged ass sew up in the Smithsonian Institution's gift shop. The repair job takes over a month to complete during which the out-of-action cuckoo is confined to doing blowjob. To blow away the curious Big-eye flies which gather around her injured butt just to watch.
To prevent such tragedy from happening again, it is mandatory for all female wingless cuckoo species to install titanium heat shield to protect their butt. As from yesterday, under the bizSAFE WSH regulation those cuckoo which deem vulnerable to the potentially fatal Shaky-ass condition and do not have sufficient protection for their asset will have their butt confiscated by the long and horny arms of the law. The better quality butts would then be used to installed in sex toys for the cuckoo sex industries to boost the declining birth rate. The resulting buttless cuckoo which have lost their sexual appeal to their male counterparts will have to be scraped or convert to sex slaves for a group of very horny male hyena in the singapore zoo and to be consumed as snack then after.
I'm not too sure if this particular cuckoo conform to the specific requirement unless an intimate butt inspection is being carry out to determine if the protective shield is of the right material and dimension to offer full protection to the entire butt and not half a butt or quaterbutt
For new installation, please contact Mr Hairy Maniac at 999111
For repairs/overhaul/replacement or unconditional sniffing contact Mr Spill Gates at $$$$123
For spare parts, you seriously run out of luck
One final and most important note (I promise) :
Cuckoo species are infamous for their brood parasitic behavior. Most cuckoo parents would leave their parental duties from incubating the eggs to feeding their own young
entirely to another species If this young cuckoo chick needs help, I won't mind to feed this hot freak until she is mature enough, tame enough, wild enough, hot enough, cheeky enough to fend for herself and at the same time providing her with the best TLC I could afford to give this poor chick a head start in life.
But please don't tell my wife about it....otherwise the consequence is unimaginable. I'll be put into an exceptional evolutionary transition transforming from a human being into a single cell organism in a brink of an eye. Literally nothing left.
The story of CB leaf :
According to historical records which date back to the early days of the SAF (sg army). Soldiers were strongly discouraged from using a particular type of plant for camouflage purpose in the course of field craft training. It was green and it was big and best of all it looked like a pussy. It was extremely hard for your enemies NOT to spot you from miles away because you looked just like a gigantic green moving pussy.
This is the infamous CB leaf. scientific name : Chee Bye leaf, common name : simpoh air plant
uncommon name : plant more leaves
Christian name : Chai tow kway (fried carrotcake) leaf
Hokkien name : CB leaf also
Cantonese name : also CB leaf
Malay name : CB leaf sama sama
Alternative name of the plant around the globe :
Indian name : roti prata curry leaf
Japanese name : Love that pussy leaf
Chinese name : make more pussy leaf
European name : eat the pussy leaf
American name : play that funky pussy leaf (til you die .......♫♫ ♪)
North Korean name : Rocket pussy leaf
Martian name : space pussy leaf
Mexican name : hot pussy leaf
Russian name : freeze pussy leaf
African name : Serengeti pussy leaf
Australian name : Kangaroo pussy leaf / Down under got pussy leaf
Thai name : Tom Yum pussy
Singapore name : Chilli pussy crab
Terrorist name : bomb that pussy
English name : pussywillow
Hungary name : Budapussy
Italian name : Pastapussy
Mongolia name : Magnolia icepussy
James Bond name : Octopussy leaf
Musical name : Pussy note in F major (with accidental)
Airplane name : Fly Pussy Fly
IT name : Fire Pussy Wall
Vacation name : Annual pussy leave
Technological name : acute erotic Pussification misalignment
Medical name : unkeratinized stratified squamous - epithelium......nevermind
Family name : Miss Pussy Leaf
WI-FI name : pussy 5G
Nickname : Lan Jiao (Lan bird)
Hieroglyphic name : dunno how to read
Fakename : Pussy Sham Leaf
Brandname : Brand essence of Pussy
Atomic name : Uranium Pussy 235 Leaf
Roadname : Missy Pussy street
Story name : 3 little pussy pigs
Ancient name : Rivers Of Babylon(there we sat down)
Alcoholic name : Johnnie Woker black pussy label.
Song name : Stairway To Heaven (Dazed and confused)
Band name : ZZ TOP (just got back from pussy's)
Astronomy name : Milky pussy way
Botanical name : Bellis perennis pussykickapoo
Biblical name : Caiaphas&pilate_Q_gsus
Technical name : Electromagnetic pussy excitation
Guitar name : Fender stratocaster vs Gibson les pussy
Biology name : multicellular pussycitation
Cosmology name : Supermassive black hole (there is one in every galaxy including ours. There is one found in our company known as the BOSS or more appropriately SMAH (SuperMassive AssHole)
Mystery name : Shroud of Turin. relics of Crucifixion & resurrection of the Lord.
Electrical name : High tension busbar juice
Arabic name : ساق طويلة كس زهرة
Electronic name : VLSI (Very Large Sexy Integration)
Archaeological name : Archaic pussy
Baby name : Cinderella, little glass pussy
Hebrew name : נֶחְמָד מודיע אלמוני flou(-ə)r
Thai name : ดอกไม้ หี
Surname : Ah Lian (aka pussy lian)
SG Lockdown name : Circuit Breaker, stay home stay safe, stay D (steady).
Controversy name : Documentary Hypothesis
Lost gospel name : Q source oral tradition
...
extra info :
This is a female featherless bird species (male species has got absolutely no interesting features and therefore nut thing worthy to talk about)
Only 4 species known to have existed in this world.
I got 3 of them and the forth one is still at large.
Believe to be hiding in a place far far away. A place so remote that even MRT+LRT+SBS bus can't reach.
I'm determined to track her down one day, shoot her and post her in flickr backside....i mean ...website.
What actually happened :
This group of people/photographer together with their supposedly hired model came by while I was busy shooting the Stork-billed Kingfisher hunting beside a small pond.
Out of nowhere a lady came over accusing me for trying to shoot their model and thus scaring her demanding me to move off from the area. I was rather taken aback and pissed off at her rude remarks. I then reminded her that this was a public place. I shoot my bird while you guys shoot your model. In fact I think the appearance of this huge group of people really impacted my photography.
It was at this moment that I decided to do exactly what they were accusing me.....shoot their fucking model !
A subject that was last on my list. I turn my lens away from the king and started framing this girl which I soon found her to be more appealing than my kingfisher. (Damn it I should have devoted my time shooting girls instead!)
Later, while I was reviewing the pics that I decided to do a write-up on this rather unexpected encounter. Inject a little humor, married it with a little avian flavor, spice it up with a little archaeological excitement, mix it with some astronomical reasoning, stir it with a bit of engineering logic, fix it with a dose of interplanetary space exploration, sprinkle with lots of nonsensical bullshit and turn it into something amusing.
100KV 07092018 1550
200KV 20122018 0808
300KV 24022019 2200
400kv 29052019 0100
500kv 01092019 0100
600kv 27022020 0100
700kv 12032021 0100
800kv 08042022 0100
1006022 25062024 0849
Just an amazing sight watching these birds dance and pulsate in the air just before coming into roost under Aberystwyth Pier
Poem.
Golden Cherry,
Yellow Larch.
Orange Birch.
Bronze Ferns.
Upright, bottle-green Spruce.
Stately, cone-laden, Scots Pine.
Bushes of Gorse and Broom.
Rock-faces.
Hills.
Mosses.
Algae.
Fungi.
And a mist “melting” into an Autumnal sky.
Forests can be sterile,
too uniform.
Not here.
A lavish, richly painted canvas.
Atmospheric.
With an ambience of pulsating,
multi-coloured, vibrant life.
💥💥💥💥💥
Oh Deer and WetCat wants to tell you what they want, what they really really want
Transport yourself back to the electric energy of the 90's rave scene with a new release made exclusively for Anthem!
Picture a pulsating rhythm vibrating through yourt core. The glowing lights bringing you to the exact place (and time) you wantn to be at.
You just entered the Rave Realm.
💥💥💥💥💥💥
This backdrop includes:
💥 PBR versions of the backdrop
💥 15 single bento poses (8 for male, 7 for female) from WetCat!
💥 Headphones in PBR and no PBR versions. Rezzing when seated or as decor in the pack
💥 Sticklight beacelets and necklaces because sticklights is life!
💥💥💥💥💥💥
What have I accomplished here these few years?
What kingdoms have I conquered?
What innovations have I added to the betterment of humanity?
What women and children have taken shelter with me?
What goods have I given away?
What great ideals have I held on to and passed on?
What aspirations lead me to reach higher?
How many hours have I spent dreaming?
Sat upon the rocks?
Delighted in the fragrance of flowers?
Wandered under the majestic sky?
Romanced with brooks and trees?
Danced with the celestial music of the great Heart?
Laughed at my own foolishness?
Here are my treasures
The songs of my soul:
The mighty rock that pulsates,
The gentle flowers that love and blossom.
These echo the Joy of Creation
I AM That I AM.
©Ganga Fondan, 2015
Listen to Creation. It calls to us. People say "What is my calling?" It is inside of us. It sings day and night. We have forged an artificial path which pains us and we have lost harmony with life. What is this calling we seek? Every part of nature returns us to our Truth. This path is the greatest undertaking of all. Only listen and reclaim the song. Hold it in the palm of your hand and know that we don't own anything. How could we own anything we already are?
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
I don't need this many eyes to know when you're trying to pull the wool over mine.
So your heart's blown open
Pulsating in your ear
The beat is insincere
I'll tell you a secret
Let's make this perfectly clear
There's no secrets this year
--Silversun Pickups, "There's No Secrets This Year"
________________________________
Hair: MOON She Waits (@ No. 21)
Hairbase: [ef] Eskimo Fashion
Horns: The Horror! Horror's Dream (@ Oneword)
Skin + Appliers: *League* Aria in Walnut
Body: Maitreya Lara Mesh Body
Eyes: [Buzzeri] Arcane Eyes in Honey
Eyeliner: {S0NG} Ink Eyeliner 5
Lashes: Mon Cheri Falsies
Lips: Swallow Innocent Lipstick in 15 Medium
Nails: Maitreya
Hands: Maitreya
Dress: PEQE Areth in Tan (@ Oneword)
Pose: GLITTERATI Hips 6 (edited)
Location: Dragonlolth
________________________________
( location landmarks/slurls available at my tumblr)
Northern lights spread across the night sky in rural Price County, Wisconsin in early morning of April 24, 2023. Here a corona and multi-colored beams paint the sky above a slumbering farm in Spirit. The active G4 geomagnetic storm created amazing shapes in pulsating light. In my imagination, this image resembled a guardian angel watching over this farmer's family.
Artist unknown, 1941.
Pulsating drums and rapturous dance, a brilliant cover from pulp era Brazil.
A bit of digging gave me no clue into the O Globo artist on this 2nd July issue of X-9. Most if not all issues of X-9 knocked off American pulp covers. If this has an American precursor, I'm not familiar with it, but wish I was. A bit of plastic glare remains at the top of the issue, as it was encased in one of those horrid CGC boxes in a recent Heritage auction.
Amongst the skyscrapers of downtown and the cables of the Golden Gate, a waning full moon makes a punctual entrance into the summer sky. San Francisco, California.
I have negotiated a truce with the heat waves. Under its terms, they are allowed to continue scintillating, and I must diligently attempt to capture their distortions to the best of my abilities. In this shot, a 3.2 second exposure shot at 2400mm, focused near infinity, everything becomes more blurry with distance due to the pulsating atmosphere.
Usually, at such a slow shutter speed, all of the fine features of the moon would streak, because at this focal length, it moves through the frame at about 30 pixels per second. But, in this case, so low in the sky, the moon was totally wavy anyway, so it didn't matter! Yay!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Hongkong Island Street Photography - the old Tram still going on. One of the most fascinating Experience you can make in this so modern and pulsating City. Take a Ride..!!
Historic Facts:
Hong Kong's tram system was inaugurated using electric trams. It has never used horse or steam power.
Timeline
1881: Tramway system is proposed for Hong Kong.
1901: Proposal is accepted by Hong Kong Government.
1902: Hong Kong Tramway Electric Company Limited founded.
1902: Name changed to Electric Traction Company of Hong Kong Limited.
1903: Construction of a single-track system began, from Kennedy Town to Causeway Bay. The route was later extended to Shau Kei Wan.
1904: Bodies of the first fleet of 26 tramcars were built in the United Kingdom. They were then shipped in pieces to Hung Hom to be assembled. The tramcars were all single-deck. Ten tramcars were designed for first class passengers and the others were for third class passengers. The first-class compartment was enclosed in the centre with two long benches on both sides, with both the front and back ends open. Seating capacity was 32 passengers. The third-class tramcars were open-sided, with six sets of benches running crossways, back to back, seating 48 passengers. Tram fares for the first and the third class were 10 cents and 5 cents respectively. Initially, the company planned to divide the trams into 3 classes, but subsequently only first and third class were chosen for ease of operation.
1910: Name of the company changed to The Hong Kong Tramway Company Limited.
1912: Owing to strong passenger demand, the first double-deck tramcar was introduced in 1912. The tramcar had an open top design, fitted with garden-type seats. The first class occupied the upper deck and one-third of the lower deck. Ten new tramcars were constructed.
1922: Electricity was contracted and supplied by Hong Kong Electric Co. Ltd (HEC). Company name changed to Hong Kong Tramways Limited.
1925: Enclosed double-decker trams replaced open-top trams.
1932: North Point Depot came into service.
1941: Japanese Occupation took place. Very limited tram service was provided. Only 12 tramcars were in operation daily from Causeway Bay to Western Market. One single-decker tram was used as freight transport.
1945: After three years and eight months of Japanese Occupation, all 109 tramcars still remained, but only 15 were operational. By October 1945, 40 tramcars were back in service.
1949: Single-track system was replaced by double-track system in August.
1950: Tramways undertook an extensive re-design and started building its own trams. Tram bodies adopted a "modern" design.
1954: North Point Depot closed and Russell Street Depot expanded and renamed Sharp Street Depot.
1964: Three locally made trams added, including the first single-deck trailer.
1965: Due to passenger demand, 10 single-deck trailers was introduced. The trailer was attached to the back of ordinary tramcar and designed to serve first class passengers only. The maximum capacity was 36 persons for each trailer.
1966: As trailers were well accepted by passengers, 22 single deck trailers were deployed in the fleet during 1966–67. Although trailers played a significant role in the tramways, they were finally withdrawn from the service in 1982.
1967: The last trailer built by the company.
1972: Class distinction abolished and flat fare introduced.
1974: The Hong Kong Tramways Limited acquired by Wharf Holdings
1976 – Drop-in coin boxes were installed on trams. A coin-box was fitted at the front exit, near the driver. Passengers had to drop in the exact fare on leaving the tram. Rotating turnstiles were fitted at the entrance, which is located at the rear of a tram. Conductors were no longer needed and most of them retrained to become motormen.
1986: Tram refurbishment has begun.
1989: Sharp Street Depot closed and terminus function split between Sai Wan Ho and the Whitty Street depots.
1992: Two double-deck trams made by Tramways were exported to the Wirral Tramway, Birkenhead, in the UK.
1992: Point Automation System deployed and points man system for altering the direction of tram manually was abolished.
2000: Coloured destination blinds had begun.
2000: Tramways launched the new "Millennium" tram on 24 October 2000, which was designed and manufactured by its own engineering team. The success of this tramcar marked an important milestone in the history of Hong Kong Tramways.
2001: The Octopus electronic smart card payment system introduced on trams.
2004: Hong Kong Tramways celebrates 100 years of service.
2007: Route map was re-installed on each tram stop. New driving panels were introduced in November.
2008: Air-conditioning was installed on antique tram #128.
2009: 50% stake and operating rights obtained by Veolia Transport RATP Asia (now RATP Dev Transdev Asia); followed by full ownership in 2010.
2011: Hong Kong Tramways launched the seventh-generation tram on November 28, 2011. It is a combination of modern interior design with traditional tram body exterior. The face-lift allows tram’s iconic image to be maintained.
2014: Hong Kong Tramways celebrates 110 years of service.
2015: Following the opening of the West Island Line, daily tramway ridership drops 10% to 180,000.
2016: Open real-time estimated time of arrival data to Citymapper, becoming the very first transport operator of Hong Kong to do so.
2017: Rebrand with new logo, new livery, and new map.
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out, the mist slowly rises like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley, two hundred feet below, just east of Dog Falls.
Life here is so abundant, from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves, but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel its stupendous splendour, again and again!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Initial #sketch to understand the hypothetical movement of the pulsating mass of a gigantic polymorphous protoplasm in front of any futile threat coming from this side of the space-time continuum.
( ( ( ( (o) ) ) ) )
#Boceto inicial para entender el movimiento hipotético de la masa informe de un gigantesco protoplasma polimorfo ante cualquier fútil amenaza procedente de este lado del continuo espacio-tiempo.
Riding Hood & Bad Wolf - Issue #5 "Hero Hunting"
In the past...
His stomach was bruised from the blow, his wrists raw red from the man's grip. His eyes watered as he looked at his sleeping sister curled up in the rags, she clung onto the book he found at school "Red Riding Hood". She was whimpering in her sleep again, he could see the black under her eye in the night. The boy bit his swollen lip sneaking downstairs, the man's beer belly pulsating as he slept on the grubby couch, the TV talking to the empty bottles of beer cluttered around him. With each creeping step the light in the boy's eyes intensified, his hungry eyes glowing as he reached out to the man's belt. He pulled the gun slowly out from the holster turning the safety off, the cold piece weighed heavy in the boy's hands as he cocked it... making the man's eyes open.
_________________________________________________
Easter: *giggle* "I don't know how to kill her, I swear! She just told me to fight you both!"
Bad Wolf: "Seems rather foolish of her to send one man after two people who she's leading a team to kill."
Riding Hood: "Uh huh. Can I blow his brains out yet?"
Bad Wolf: "No we may need him for leverage."
*RH huffs as he ties a knot in the rope around Easter and latches him onto BW's hairy back like a rucksack. Easter giggles slightly and RH strikes him with his gun, Easter groans turning his head back as RH hits him again. RH stands back watching Easter turn his head slowly only to be struck again by RH with his gun finally knocking him out.*
Riding Hood: "Jeez."
Bad Wolf: "Where to?"
Riding Hood: "Let's get a drink."
*RH walks out and strokes his bike slowly and sighs*
Riding Hood: "Not this time, baby."
*RH walks up to the van getting inside it as BW follows climbing into the back squeezing in. RH then drives them to the closest bar, he gestures for BW to wait there and gets out the van in costume. He enters the bar and after about 2 minutes gunshots are heard, people scream fleeing the place. BW peeks through the passenger window trying to see what's happening through the small screaming crowd that run through the door. He sees RH holding out one of his pistols that smokes whilst he retracts his visor sipping a martini. He locks eyes with BW smirking and holds out his hand telling him to wait there.*
Bad Wolf: "What is he doing?"
*RH knew if he stirred up enough trouble a hero would come calling, the city was crawling with them. Normally he'd avoid this kind of attention but he wanted to have a little fun, it was all part of his plan. He sips on his martini leaving his guns on the bar and licks his lips activating his red visor that folds around his face. Heat signature shows that someone cold is approaching, based off the figure it seems they have wings. RH runs the list of heroes with wings through his mind and turns on the bar stool looking at the figure who pushes the door open.*
Riding Hood: "Ugh, really? I couldn't get Guardian or someone like that? No... I get Gargoyle."
Gargoyle: "I've been ordered not to fight you, only report in. Sorry I won't get to kick your ass, Riding Hood. I'll be on my way."
Riding Hood: "See now this is where it gets interesting. I need you to stay."
*Gargoyle snorts turning his back on RH who reaches behind the bar pulling a woman by her hair up who shrieks. He grabs his gun pushing it against her temple and turns to Gargoyle who immediately turns around readying his chained hammer.*
Gargoyle: "Don't do this Riding Hood. Just tell me what you want."
Riding Hood: "It's simple, all I want to do is talk."
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Poem.
Golden Cherry,
Yellow Larch.
Orange Birch.
Bronze Ferns.
Upright, bottle-green Spruce.
Stately, cone-laden, Scots Pine.
Bushes of Gorse and Broom.
Rock-faces.
Hills.
Mosses.
Algae.
Fungi.
And a mist “melting” into an Autumnal sky.
Forests can be sterile,
too uniform.
Not here.
A lavish, richly painted canvas.
Atmospheric.
With an ambience of pulsating,
multi-coloured, vibrant life.
Nestled in the Balkans and draped in a fine powder of snow, the sovereign nation of Modora has survived for nearly four hundred years. It survived the great ravages of a Vandal Savage on the warpath, stood strong through innumerable winters, and joined the resistance when it was taken by Nazi forces during World War Two.
And although it had seen better days, the small nation still managed to crawl along. It’s inhabitants were content, and its economy stabilizing.
It would be astounding however, it Modora survived what happened next.
The green light we’ve all come to expect tears through the atmosphere, and dissipates in the cobblestone Modora streets. In its wake stands six figures in outlandish costumes. Their presence causes confused glances from the passerby.
Sonar: Ah, what is the expression? Home is the sweetest home?
Answer, behind him, still struggles in the grips of the Multiplexes.
Answer: Sure, if you’re an invalid.
Sonar turns and smiles. He takes a few steps towards Answer.
Sonar: Ah, our delightful Mister Answer. Welcome to my home. What do you think?
Answer spits: Looks like every other stick-built pile of mud the Europeans are so well known for.
Angle-Man: Who’s being racist now, eh?
Sonar: Quiet please, Bend.
Answer: You may as well just kill me now metalfingers, otherwise I promise to you I’ll be nothing but hell in a handbasket.
Sonar laughs: No, no. For now you remain alive. It is not that I need you, it is that you shall serve as the first public execution under my new rule. Mister Black, please release him. He can do no harm here. However, If he tries anything, do tear him limb from limb.
At this he ascends, rising up into the air above the ancient, shingled rooves. Below, Angle-Man, Agent Orange, and Multiplex watch him rise. The Answer however, glances briefly at Hypnota, and strokes his chin once. Hypnota strokes her own false beard once in return.
Above the rooftops, Sonar takes in the crisp mountain air, extends his arms, smiles, then releases a resounding shriek from the devices in his fingertips. The sound rattles beams, shatters windows, and causes ears to bleed. Somewhere in the distance, an avalanche plummets down a cliffside and crushes an old man’s cabin, sweeping him into sharp rocks.
In the throne room of the Modoran palace, a stained glass window, as old as the nation itself, depicting the great hero Sir Sheldrake slaying the great elder dragon shatters into infinitesimal pieces over Lord Fando’s head.
Fando brushes the glass from his hair. He knows exactly what this means. He’s been keeping up with American news. He knows exactly who’s here. And he does not want him living. Fando calls for his captain of the guard, and waits a full three minutes for him to clomp into the throne room. Madly, wildly, Fando begins to shout orders at him, until finally, the captain obliges and clomps back out. Steaming, Fando returns to his quarters and readies for battle.
On the streets, passerby have begun to flee in panic. Sonar descends again.
Sonar: Now, we are here to retake the throne of Modora. The throne that rightfully belongs to me. You will do as I say, and go where I point. Any disobedience, and you will be without head. And Mister Answer, do try and keep alive.
Answer grimaces under his mask, but uncharacteristically, says nothing. His silence throws Sonar off for a second, but the sounds of gunfire and the soft pat of bullets embedding themselves in the nearby building brings him back around.
Sonar: Please, for the sake of myself and your own health, try not to damage the buildings.
At that, Multiplex expands into six more of himself, three of which catch bullets. The Squad behind him bolts in all directions, and before he knows it, he’s diving into an alley. He knew he shouldn’t have tried to swipe those diamonds, he just couldn’t help himself, and now, thanks to Firestorm and his own lack of impulse control, he had an arm with a third degree burn, a bomb in his neck, and he was here in this random micro-town in the middle of nowhere. He hadn’t even checked to see if that permanent brand old hot-head had gave him extended to his dupes, and frankly, he was afraid to find out. Instead, he just sat in the corner, pumping out dupes after dupe as Sonar shouted overhead for more manpower. Danton Black’s life was one long string of regrets, and being here was certainly one of them. He shuddered every time another of him died.
Agent Orange’s eyes light up in fire. He watches has the thatch and bamboo huts go up in flame. Screaming children, thick little fists covering their eyes, roll in the steaming mud as women weep and bawl, and men shriek in pain, their limbs burned off by liquid heat. Behind him, the apaches strafe the tree line, causing the palm trees to go up in a molten ball of chemical death. He grins and clicks his flamethrower to life. Casually, he lights a wounded Vietcong on fire, and sighs contentedly as the man shrieks and his skin sizzles. Somewhere, someone is shouting for more water, more whiskey, more water, and another man wants to go surfing. Agent Orange does not miss California, and does not miss his friends. The coast life was never for him. But this stage, this theater of war, was everything he’d ever need.
Angle-Man ports forward, glad he at least brought a knife which rapidly finds itself embedded in the blue-uniformed chest of a Modoran solider. He ports just to the left so another is riddled with his own comrades’ bullets. He’s thrilled, honestly. Thrilled that he’s made it this long. That he never lost more than those two fingers. Thrilled that finally, finally his time served on this godforsaken outfit payed off. When Wladon had offered him this deal after that mess with that Witch woman, he was all too eager to accept. He expected it to happen sooner, but he understood why Wladon didn’t want Lawton or Harkness along. The bastards. Bend for one was glad to be rid of them. Two soldiers are sliced in half by his angle, and another gets the bullet treatment himself. It’s an old method, but tried and true. Yes, Bend was thrilled to be rid of Lawton and Harkness. Thrilled to be released from Waller’s iron grasp. Bend was looking forward to ruling this country.
The shells and bullets, and the one tank the Modoran Soldiers employed, were not unfamiliar to Hypnota. She was surprised that a nation of this size only had one tank, but she was also thankful. Another shell imploded to the right of her, and snapped her back to that crackling, resounding sound that took her brother. She touched her fingers to her head briefly, and sent a pulsating force through it quickly to move the memories past. She had to stop doing that, she noted, or the damage would be irreparable. Behind her, The Answer was cursing violently and creatively and nursing a bullet wound to the left shoulder. It was not the worst she had seen. As loud as he was, he would be all right. They nodded to each other, then Hypnota darted from her hiding place, blasting psychic waves towards a few nearby soldiers. She grimaced as the soldiers all turned and shot each other in the head. When oh when, she wondered, would all the violence end.
Sonar laughs aloud has he bursts the eardrums and shatters the brain matter of all the gunmen around him. He feels a hint of remorse, these were his subjects, his personal guard after all, and it was a shame to spill Modoran blood, but they were traitors, lapdogs of Fando, and thus, they had to be put down. Out of the corner of his eye, he catches Hypnota leap onto the army’s tank, and suggest the soldiers open the hatch, to which they oblige. To his left, Bend and Aparo burn and slash through the guards, and all around him, Multiplex surges through the streets. He breathes in the harsh smoke of battle, then rises towards the remains of a once magnificent stained-glass window. A hail of bullets explodes towards him, but he bats them away with pure sound. Gently, he lands on his tip-toes, then begins to strut forward, and with a horrid set of screeches, explodes the heads of Fando’s guards with pure shockwaves of sound.
Fando: не не! Познавам те, семейството ти е мъртво! немилост!
Sonar blasts the weapons from his hands, then grabs Fando’s head between his own.
Sonar: изглежда, че грешите
With one last resounding sound, Fando’s head is crushed by solid sound waves., his final terrified scream drowned out by Sonar’s exhausted apparatuses.
Sonar takes a deep, exhausted breath as Fando’s near-headless body crumples to the floor. He is Sonar no longer as he approaches the throne. He is Bito Wladon, ruler of Modora.
And now none would stand in the way of his rule.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Here's a short time-lapse video taken Dec 13, 2023 in hopes of capturing Geminid meteors. But only one shows up very briefly. However, the aurora put on a good show as the winter sky rises, until the clouds move in. Note the red curtains and pulsating upper green arcs that appear briefly.
A time-lapse of 380 frames with the Canon R5 and Venus Optics 15mm lens at f/2 for 30 seconds for each frame at a 1s interval.
Build by Titans Creations for Legoland Malaysia May the 4th event.
Minifig scaled and measuring 110 cm by 85 cm , its bigger than the UCS Millennium Falcon.
Main objective of this build is to replicate the interior of the popular Millennium Falcon as accurate as possible with references to different online materials.
Features 24 LED , 7 which are programmed to pulsate at the rear thrusters for realism , and the rest spread among the corridor, hyperdrive and cockpit.
Took a total of 2 months to plan and build.
Thank you for viewing !
Do check us out on www.titanscreations.com
Melt Festival 2016 is one of the most distinctive rock and pop festivals in Europe. Its reliably huge lineup is known for producing one or two surprises, with the likes of Kylie Minogue and Sven Väth lining up alongside each other at 2015's edition.
The Gremminer Lake is dissected by the Ferropolis peninsula, setting the spectacular machinery of the old mine against a stunning natural landscape and lending a whole heap of individuality to the festival.
Melt Festival 2016 is famous for its all night music, with festivities running until around 7am each morning.
Meanwhile, the Sleepless Floor stays open from the minute the festival site opens until the very end.
A flickering sea of lights, pulsating beats and beaming faces as far as the eye can see – the City of Iron awakes again. Three days of pure musical euphoria lie ahead of us in July. Hot newcomers and international heroes grace the stages below the breathtaking coal mining diggers of days gone by, hosting debaucherous gigs and parties breaking the boundaries between quiet and loud, electro, hip hop and indie, mainstream and subculture.
Melt! started out as a small stronghold for rave lovers and techno enthusiasts at the quaint Bernsteinsee Velten in 1997, relocating to Lärz Airport in 1998 until it turned Ferropolis into a shining beacon of light in 2000 and became a major force on the international festival circuit.
While headliners like Disclosure, Deichkind, Tame Impala, Two Door Cinema Club, Boys Noize (live) and many others rock the Melt! Stage, this year’s edition of the festival has many more things up its sleeve. True to the motto ‘more variety, more freedom, more water, more chilling’, the 2016 Melt! Festival will be a larger, even more motley adventure playground than ever before – with everything a festival-goer could possibly want.
Check out the new Block Party for food, arts, culture (and of course music) of various genres, or the Forest for an open-air restaurant, cinema and hammocks, a place to come down and relax. Right next to it is Gremmin Beach – formerly Melt! Selektor – with Solomun, DJ Koze and Black Coffee, et al. Swimming and skinny dipping are strongly encouraged here – the beautiful sunsets and sunrises practically demand it.
Overall the grounds offer many more places to relax and get away this year, with more points of access to Lake Gremmin than in the past; for the first time, you and your crew have access to many areas once reserved for festival production staff.
Location-
Ferropolis
06773 Gräfenhainichen
Germany
The iconic home of Melt! is a recovered opencast coal mine in the east of Germany, between Leipzig and Berlin. The site's towering cranes and iron machinery give Ferropolis its name, as well as furnishing the festival with a memorable backdrop.
Line Up-
Thursday
Illesnoise
Niko Schwind
Oliver Koletzki
Several Definitions
Friday
Acid Arab
Andhim
Andy Stott (live)
Ben Klock
Black Coffee
Black Cracker
Block Party
Boys Noize (live)
Cosmin TRG
Damian Lazarus
Dekmantel Soundsystem
DJ Koze
Forest
George FitzGerald
Gold Panda
Graham Candy
grrr!
Helena Hauff
Horse Meat Disco
Isolation Berlin
Jamie Woon
JD Samson
La Fleur
Leon Vynehall
Liss
M83
Makam
Mano Le Tough
Marco Resmann
Matthias Meyer
Maya Jane Coles
Mura Masa
Noah Kin
Partok
Peak & Swift
Pev & Kowton (Livity Sound)
Roosevelt
Sango
Sarah Farina
Sascha Schlegel
Say Yes Dog
Shifted
Skepta
Sleaford Mods
SOPHIE
Special Guest
Still Parade
Tame Impala
Vessels
Vril (live)
Yo! Sissy does Melt!
Zed Bias
Zomby
Saturday
Andy C
Benjamin Damage
Blind Observatory
Chance & Dark
Deichkind
DJ Phono
Dr. Rubinstein
Drangsal
Ed Davenport
Fatima Yamaha (live)
Floating Points (live)
Freddy K
Hard Ton
Hi Fashion
Ho99o9
Jamie xx
Joey Anderson
Juju & Jordash (live)
King Kong Kicks
Kobosil
Kode9
Kollektiv Turmstrasse (live)
Kytes
Lady Leshurr
Laurel Halo
Maceo Plex
Magdalena
Mind Against
Modeselektor (DJ-Set)
Oddisee & Good Company
Ø [Phase]
Peaches
Peggy Gou
Renato Ratier
Schwarz Dont Crack
Shed
Solomun
Stephan Bodzin (live)
Stimming (live)
The Revolver Club
Tom Trago
Two Door Cinema Club
Virginia (live) feat. Steffi & Dexter
Woman
Sunday
Bob Moses
Bomba Estéreo
Boris
Chvrches
Circa Waves
Coma
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There is a superhighway between the brain and GI system that holds great sway over humans
"There is a muscle that encircles the gut like a lasso when we are sitting… creating a kink in the tube," Giulia Enders explains in Gut: The Inside Story of Our Body's Most Underrated Organ. She calls the mechanism "an extra insurance policy, in addition to our old friends, the sphincters" (you have two sphincters – keep reading) and cites studies showing that squatters, with their unkinked guts, are less susceptible to haemorrhoids and constipation.Enders, a 25-year-old student at the Institute for Microbiology in Frankfurt, inside an underground public lavatory in central London. "Is there a toilet in this toilet?" she asks when she arrives. There is not, a barista tells her. The Victorian urinals, abandoned in the 1960s, have been converted into cafe with booths and stools, and no room for anything else.After a dash to a pub loo above ground, Enders talks with infectious energy about the wonder of the gut. She has been delighted to discover how many people share her fascination with a subject that can suffer for being taboo. "Even today in the taxi, I told the driver what I was doing and within about two minutes he was telling me about his constipation," she says in perfect English, which she owes to a year of study in the US. "And it's not just him. It's ladies with chic hair at big gala dinners, too. Everyone wants to talk about it."Enders first got noticed after a self-assured turn at a science slam in Berlin three years ago. Her 10-minute lecture went viral on YouTube, and now, weeks after completing her final exams as a doctoral student, she is a publishing sensation. Her book, called Darm Mit Charme ("Charming Bowels") in Germany, has sold more than 1.3 million copies since it came out last year. Rights have been sold to dozens of countries.
Her way into the gut is a lightness that some reviewers have found too childish or lacking in scientific rigour to be taken seriously. But there is something compelling and refreshing about her curiosity and popular approach. "When I read the research, I think, why don't people know about this – why am I reading about it in some paper or specialist magazine? It's ridiculous because everyone has to deal with it on a daily basis." After she explains the inspiration for her fixation (the suicide of an acquaintance who had had severe halitosis, and her own teenage skin condition, which turned out to have been caused by a wheat intolerance) Enders starts at the end of the digestive tract with what she calls the "masterly performance" that is defecation. "There is so much about the anus that we don't know," she says, reaching for a gluten-free chocolate chip cookie. "The first surprise is the sophistication of our sphincters… you know about the outer one because you can control it, but the inner one nobody knows about."
This inner opening is beyond our conscious control, releasing waste material into a sort of anal vestibule where, in Enders words, "a small taster" hits sensor cells that tell the body what it's dealing with and how to respond using the outer sphincter. This opening, and our mouths, are the recognisable and controllable ends of a system that, stretched out, would be almost as long as a bus. But it's the bits in between, and their link with the rest of our bodies, including our brains and emotions, that really interest Enders.
"Medical diagrams show the small intestine as a sausage thing chaotically going through our belly," she says. "But it is an extraordinary work of architecture that moves so harmonically when you see it during surgery. It's clean and smooth, like soft fabric, and moves like this." She performs a wavy, pulsating motion with her hands. Enders believes that if we could think differently about the gut, we might more readily understand its role beyond basic digestion – and be kinder to it. The great extent to which the gut can influence health and mood is a growing field in medicine. We speak of it all the time, whether we describe "gut feelings", "butterflies in our stomachs", or "pooing our pants" in fear, but popular understanding of this gut-brain axis remains low.
A primal connection exists between our brain and our gut. We often talk about a “gut feeling” when we meet someone for the first time. We’re told to “trust our gut instinct” when making a difficult decision or that it’s “gut check time” when faced with a situation that tests our nerve and determination. This mind-gut connection is not just metaphorical. Our brain and gut are connected by an extensive network of neurons and a highway of chemicals and hormones that constantly provide feedback about how hungry we are, whether or not we’re experiencing stress, or if we’ve ingested a disease-causing microbe. This information superhighway is called the brain-gut axis and it provides constant updates on the state of affairs at your two ends. That sinking feeling in the pit of your stomach after looking at your postholiday credit card bill is a vivid example of the brain-gut connection at work. You’re stressed and your gut knows it—immediately.
The enteric nervous system is often referred to as our body’s second brain. There are hundreds of million of neurons connecting the brain to the enteric nervous system, the part of the nervous system that is tasked with controlling the gastrointestinal system. This vast web of connections monitors the entire digestive tract from the esophagus to the anus. The enteric nervous system is so extensive that it can operate as an independent entity without input from our central nervous system, although they are in regular communication. While our “second” brain cannot compose a symphony or paint a masterpiece the way the brain in our skull can, it does perform an important role in managing the workings of our inner tube. The network of neurons in the gut is as plentiful and complex as the network of neurons in our spinal cord, which may seem overly complex just to keep track of digestion. Why is our gut the only organ in our body that needs its own “brain”? Is it just to manage the process of digestion? Or could it be that one job of our second brain is to listen in on the trillions of microbes residing in the gut?
Operations of the enteric nervous system are overseen by the brain and central nervous system. The central nervous system is in communication with the gut via the sympathetic and parasympathetic branches of the autonomic nervous system, the involuntary arm of the nervous system that controls heart rate, breathing, and digestion. The autonomic nervous system is tasked with the job of regulating the speed at which food transits through the gut, the secretion of acid in our stomach, and the production of mucus on the intestinal lining. The hypothalamic-pituitary-adrenal axis, or HPA axis, is another mechanism by which the brain can communicate with the gut to help control digestion through the action of hormones.
This circuitry of neurons, hormones, and chemical neurotransmitters not only sends messages to the brain about the status of our gut, it allows for the brain to directly impact the gut environment. The rate at which food is being moved and how much mucus is lining the gut—both of which can be controlled by the central nervous system—have a direct impact on the environmental conditions the microbiota experiences.
Like any ecosystem inhabited by competing species, the environment within the gut dictates which inhabitants thrive. Just as creatures adapted to a moist rain forest would struggle in the desert, microbes relying on the mucus layer will struggle in a gut where mucus is exceedingly sparse and thin. Bulk up the mucus, and the mucus-adapted microbes can stage a comeback. The nervous system, through its ability to affect gut transit time and mucus secretion, can help dictate which microbes inhabit the gut. In this case, even if the decisions are not conscious, it’s mind over microbes.
What about the microbial side? When the microbiota adjusts to a change in diet or to a stress-induced decrease in gut transit time, is the brain made aware of this modification? Does the brain-gut axis run in one direction only, with all signals going from brain to gut, or are some signals going the other way? Is that voice in your head that is asking for a snack coming from your mind or is it emanating from the insatiable masses in your bowels? Recent evidence indicates that not only is our brain “aware” of our gut microbes, but these bacteria can influence our perception of the world and alter our behavior. It is becoming clear that the influence of our microbiota reaches far beyond the gut to affect an aspect of our biology few would have predicted—our mind.
For example, the gut microbiota influences the body’s level of the potent neurotransmitter serotonin, which regulates feelings of happiness. Some of the most prescribed drugs in the U.S. for treating anxiety and depression, like Prozac, Zoloft, and Paxil, work by modulating levels of serotonin. And serotonin is likely just one of a numerous biochemical messengers dictating our mood and behavior that the microbiota impacts.
Most of us can relate to the experience of having butterflies in our stomach, or to a visceral gut-wrenching feeling, and how often are we told not to ignore our “gut-instinct” or “gut-feeling” when making a decision.
Even from our simple slang, it’s clear just how symbolically connected the gut is to our emotions. Now, there’s tangible proof to support these popular metaphors.
We all have a microbiome, and they are as unique as our neural pathways
Research has shown that the body is actually composed of more bacteria than cells. We are more bug than human! Collectively, these trillions of bacteria are called the microbiome. Most of those bacteria reside in our gut, sometimes referred to as the gut microbiota, and they play multiple roles in our overall health.
The gut is no longer seen as an entity with the sole purpose of helping with all aspects of digestion. It’s also being considered as a key player in regulating inflammation and immunity.
A healthy gut consists of different iterations of bacteria for different people, and this diversity maintains wellness. A shift away from “normal” gut microbiota diversity is called dysbiosis, and dysbiosis may contribute to disease. In light of this, the microbiome has become the focus of much research attention as a new way of understanding autoimmune, gastrointestinal, and even brain disorders.
The benefit of a healthy gut is illustrated most effectively during early development. Research has indicated just how sensitive a fetus is to any changes in a mother’s microbiotic makeup, so much so that it can alter the way a baby’s brain develops. If a baby is born via cesarean section, it misses an opportunity to ingest the mother’s bacteria as it travels down the vaginal canal. Studies show that those born via c-section have to work to regain the same diversity in their microbiome as those born vaginally. Throughout our lives, our microbiome continues to be a vulnerable entity, and as we are exposed to stress, toxins, chemicals, certain diets, and even exercise, our microbiome fluctuates for better or worse.
The gut as second brain
Our gut microbiota play a vital role in our physical and psychological health via its own neural network: the enteric nervous system (ENS), a complex system of about 100 million nerves found in the lining of the gut.
The ENS is sometimes called the “second brain,” and it actually arises from the same tissues as our central nervous system (CNS) during fetal development. Therefore, it has many structural and chemical parallels to the brain.
Our ENS doesn’t wax philosophical or make executive decisions like the gray shiny mound in our skulls. Yet, in a miraculously orchestrated symphony of hormones, neurotransmitters, and electrical impulses through a pathway of nerves, both “brains” communicate back and forth. These pathways include and involve endocrine, immune, and neural pathways.
At this point in time, even though the research is inchoate and complex, it is clear that the brain and gut are so intimately connected that it sometimes seems like one system, not two.
Our emotions play a big role in functional gastrointestinal disorders
Given how closely the gut and brain interact, it has become clear that emotional and psychosocial factors can trigger symptoms in the gut. This is especially true in cases when the gut is acting up and there’s no obvious physical cause.
The functional gastrointestinal disorders (FGIDs) are a group of more than 20 chronic and hard to treat medical conditions of the gastrointestinal tract that constitute a large proportion of the presenting problems seen in clinical gastroenterology.
While FGID’s were once thought to be partly “in one’s head,” a more precise conceptualization of these difficulties posits that psychosocial factors influence the actual physiology of the gut, as well as the modulation of symptoms. In other words, psychological factors can literally impact upon physical factors, like the movement and contractions of the GI tract, causing, inflammation, pain, and other bowel symptoms.
Mental health impacts gut wellness
In light of this new understanding, it might be impossible to heal FGID’s without considering the impact of stress and emotion. Studies have shown that patients who tried psychologically based approaches had greater improvement in their symptoms compared with patients who received conventional medical treatment.
Along those lines, a new pilot study from Harvard University affiliates Benson-Henry Institute for Mind Body Medicine at Massachusetts General Hospital and Beth Israel Deaconess Medical Center found that meditation could have a significant impact for those with irritable bowel syndrome and inflammatory bowel disease. Forty-eight patients with either IBS or IBD took a 9-week session that included meditation training, and the results showed reduced pain, improved symptoms, stress reduction, and the change in expression of genes that contribute to inflammation.
Poor gut health can lead to neurological and neuropsychiatric disorders
Vice-versa, poor gut health has been implicated in neurological and neuropsychiatric disorders. Disturbances in gut health have been linked to multiple sclerosis, autistic spectrum disorders, and Parkinson’s disease. This is potentially related to pro-inflammatory states elicited by gut dysbiosis-microbial imbalance on or inside the body. Additional connections between age-related gut changes and Alzheimer’s disease have also been made.
Further, there is now research that is dubbing depression as an inflammatory disorder mediated by poor gut health. In fact, multiple animal studies have shown that manipulating the gut microbiota in some way can produce behaviors related to anxiety and depression. (Maes, Kubera, Leunis, Berk, J. Affective Disorders, 2012 and Berk, Williams, Jacka, BMC Med, 2013).
Our brain’s health, which will be discussed in more depth in a later blog post, is dependent on many lifestyle choices that mediate gut health; including most notably diet (i.e., reduction of excess sugar and refined carbohydrates) and pre and probiotic intake.
The brain-gut connection has treatment implications
We are now faced with the possibility of both prevention and treatment of neurological/neuropsychiatric difficulties via proper gut health. On the flip side, stress-reduction and other psychological treatments can help prevent and treat gastrointestinal disorders. This discovery can potentially lead to reduced morbidity, impairment, and chronic dependency on health care resources.
The most empowering aspect to the gut-brain connection is the understanding that many of our daily lifestyle choices play a role in mediating our overall wellness. This whole-body approach to healthcare and wellness continues to show its value in our longevity, well-being, and quality of life: that both physical and mental health go hand-in-hand.
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Best viewed in Large:
www.flickr.com/photos/eustaquio/5583143170/sizes/l/in/pho...
Congratulations Team India on Wining the Cricket World Cup 2011 !!!
Mahendra Dhoni hits an unbeaten 91 as India beat Sri Lanka by six wickets in a pulsating Mumbai final to deliver World Cup glory to their cricket-mad population for the first time since 1983.
Man of the Match: Mahendra Singh Dhoni
Player of the Tournament: Yuvraj Singh
Dhoni and Gambhir lead India to World Cup glory
www.espncricinfo.com/icc_cricket_worldcup2011/content/cur...
Perfect timing by MS Dhoni
www.espncricinfo.com/icc_cricket_worldcup2011/content/cur...
India's World Cup cricket victory: the measure of a nation
www.guardian.co.uk/sport/2011/apr/02/india-world-cup-cric...
We felt the pressure - Dhoni
www.espncricinfo.com/icc_cricket_worldcup2011/content/cur...
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking in early morning mists, under winter snow or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it
and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
The triangle shopping centre in manchester has this wall fitted with lights at its entrance.At night on they come and they pulsate to the music thats played.I just had to wait for someone to walk up the stairs :) .
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Full post here: theastroenthusiast.com/first-pulsar-image-processing/
You can find all details at the astrobin post here: www.astrobin.com/zzoau6/
Credits: Tim Schaeffer, Carl Björk, William Ostling
The first-ever color image of the pulsar wind nebula around pulsar PSR B1951+32
At the core of this intricate scene lies PSR B1951+32, a pulsar surrounded by a pulsar wind nebula (PWN). This PWN, visible in a stunning array of colors, takes its place as the centerpiece of this image, capturing the imagination and serving as the first-ever color image of its kind in visible light. It pulsates with life, its energetic emissions shaping the surrounding space and illuminating the cosmic tapestry.
PSR B1951+32: The pulsar at the center of this composition, surrounded by its pulsar wind nebula, emits powerful beams of radiation as it rapidly rotates. These emissions influence the surrounding space and provide a unique backdrop to the cosmic scene.
This image is a testament to the boundless beauty and diversity that our universe holds, inviting us to explore the mysteries of the cosmos and the intricate stories written in the stars, with OU-7, OU-8, and the PWN of PSR B1951+32 adding their brilliance to this cosmic kaleidoscope.
Website: theastroenthusiast.com/
Instagram: www.instagram.com/the_astronomy_enthusiast/
Description: Powwows are large social gatherings of Native Americans who follow traditional dances started centuries ago by their ancestors, and which continually evolve to include contemporary aspects. These events of drum music, dancing, singing, artistry and food, are attended by Natives and non-Natives, all of whom join in the dancing and take advantage of the opportunity to see old friends and teach the traditional ways to a younger generation. During the National Powwow, the audience see dancers in full regalia compete in several dance categories, including Men and Women's Golden Age (ages 50 and older); Men's Fancy Dance, Grass and Traditional (Northern and Southern); Women's Jingle Dress, Fancy Shawl, and Traditional (Northern and Southern); Teens (13-17); Juniors (6-12) and Tiny Tots (ages 5 and younger). The drum groups are the heart of all powwows and provide the pulsating and thunderous beats that accompany a dancer's every movement. The powwow is led by three "host drums" that showcase three distinct styles of singing (Northern, Southern and contemporary) and represent the best examples of each style. The drum contest highlights groups of 10 to 12 members each, and they sing traditional family songs that are passed down orally from one generation to the next. The National Museum of the American Indian sponsored the National Powwow in 2002, 2005, and 2007 as a way of presenting to the public the diversity and social traditions of contemporary Native cultures.
Creator/Photographer: Katherine Fogden
Medium: Digital photograph
Culture: American Indian
Geography: USA
Date: 2002
Repository: National Museum of the American Indian
Accession number: 091502KF682
"São Luiz do Paraitinga - SP; a História pulsando", 03 fotos. Usei a Canon 6D, objetiva EF 28x135 mm.
"São Luiz do Paraitinga - SP; History pulsating", 03 photos. I used the Canon 6D, EF 28x135mm lens.
Todos os direitos reservados para Vivaldo Armelin Júnior.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal