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It’s almost 2:00 in the morning. I am standing in a farmer’s field talking to a grown man in a teddy bear costume. I am fairly sure he’s speaking English…the “early-morning-and-I’ve-had-way-too-much-to-drink” dialect.
“Ivy um veezee,” he says, punctuating the statement with a warm and fragrant belch that’s a little too close to my face for comfort.
“What?” I ask.
“I vum vee zee,” he says again. Louder. He’s swaying slightly.
He’s looking at me through heavily lidded eyes waiting for a response. There’s a crooked smile on his face. It’s already hard enough to hear him. The music goes boom boom b'boom boom boom in the background, the same tempo you would hear in your ears if you were about to have a heart attack.
A pretty blond in a kitten costume leans in. Since I make it my personal business to pay attention to anything pretty blonds say to me, I listen.
“He is saying he’s from BC,” she shouts. Her breath smells of pot, tobacco and beer.
The teddy bear guy nods excitedly.
“You understood that?” I ask Miss Stinky Kitty.
“Of course,” she says. She’s still swaying to the music. Everyone’s swaying to the music. Except me. Boomboomboomboom…boom…BOOM…BOOM…b’boom boom boom.
“Iva Bee Zee,” the teddy bear tells me proudly. Again.
Having never been faced with a geographical admission like this before, I am not sure what to say. “Good for you,” I tell him.
“Ay-oo,” he says, beaming at me as he claps his hand on my shoulder, like a am a long lost but beloved brother.
“You’re welcome,” I tell him.
Satisfied, he melts back into the crowd. I realize the song pounding out of the speakers was once “Shattered” by the Rolling Stones. But it’s been boom b'boom boomified by someone, who apparently hates music.
I look up and see ribbons of green light arcing through the air, playing off the smoke from pot pipes and cigarettes and campfires. (I love the smell of pot. There was a time…never mind.) It is a surreal moment. Hell…it’s a surreal evening.
I am at “Motion Notion” – Alberta’s answer to the Burning Man festival. Thousands of young people are here. They all wear handmade costumes. Most are animals. I recognize some elven characters and a ton of people from Star Wars. The skies are alive with lights flickering and flashing, exploding, pulsing and thumping in time with the music. (The aforementioned boom boom boom.) And I can’t find my wife.
Since it’s the middle of the night, shapes move all around me. It’s like a rock concert run by people with a molten crack pipe who have decided to journey to Mars in their minds.
(Earlier that night, I finished a three hour career making magic and balloon animal walkabout for the good people of Jackfish Lake. I’m exhausted. I’d planned to go home and write more on my second novel…but I got to missing Sheree, who has been at this festival for hours. I decided to drive back out to see her. I arrived at a little after eleven…when the party was just getting started.)
I had no idea. None. Motion Notion is Vegas having a bad drug trip, it’s exuberant youth partying and laughing – it is one of the most surreal places I’ve ever been.
I dial Sheree again. The website warned cell phone reception sucked. The website was right.
I wait. Then: “Hi! This is Sheree and you’ve reached…” the same message I’ve gotten twelve times. No responses to emails…and only one telephone message.
A girl leaps onto the stage where the Boom Boom DJ is now playing a dubiously re-mastered version of “Every Breath You Take” by the Police. She sways in time to the boom boom and it appears, after careful (if somewhat near-sighted examination) she’s not wearing any pants…or actually…anything on her lower regions. People stop swaying for a moment and applaud…and then realize that the “nude look” is simply part of a cunningly designed costume.
I see my new teddy bear friend waving at me from across the crowd. I suspect he wants to come over and burp on me some more. He begins a shuffling stagger my way. I cleverly slink out of the area.
Between the stages is pure Stygian darkness, with indistinct shapes shambling through it. A man invites me to join him in the bushes, presumably for a rousing game of Monopoly. I pretend I don’t hear him and dial Sheree again.
Her chipper little voice comes on again “Hi! This is Sheree…” I sigh and shut the phone. I miss my wife and I am tired.
My one clue to finding her is in the single voice mail she’s been able to get to me. In it, she tells me she is going to see a light show. Of course going to see a light show at Motion Notion is sort of like going to see a priest at the Vatican. But Sheree went to Bon Jovi on Thursday and Extreme Fights on Friday…and, since I kinda like her, I have begun to miss her. I would like to find her. But there are thousands of people here. It's pitch dark in areas not lit by the frenetic lights and I am seriously tired.
I flag down one of the shadow people. He’s an ewok, I think…and I ask him “Where’s the main stage?” I am reasoning that if there is a BIG light show, it’s gonna be at the main stage.
The kid looks at me for a moment.
“It’s up this trail, sir,” he says. “Can’t miss it.”
“Did you just call me ‘sir?’” I ask. (If you’ve been following this Photostream (and who hasn’t?) you know I have decided to brood of late about how old I’ve gotten.)
The kid smiles and nods vigorously, causing his furry little ears to shake.
“Is that because you think I’m old?” I ask.
“Well…ummm…,” he says…and shuffles uncertainly for a moment...and the slides back into the darkness before I can feed him his own tongue. Respectful little shit.
I check my watch: nearly two-thirty. I am really tired. I can’t find Sheree. I wander toward the next set of lights (telling myself I am NOT a moth) and when I get there, I see vendor carts…one of which is serving hamburgers – which I consider a food group.
I order one, grumbling only slightly at paying six and a half bucks for it. Still, I’m hungry and surely for that kinda dough it’s gonna be a great burger. The twelve year old doing the serving hands me a piece of burned meat wedged into a patch of grease between two sides of bun.
I add onions and mustard and some kind of white stuff that isn’t mayo and settle my butt down at a picnic table beside two anorexic girls. One turns to me.
“Are you security?” she asks. (I suspect she's supposed to be a vampire princess.)
“Nope,” I return around a mouth full of stuff.
“Are you someone’s dad?”
I look at her. “Yes.”
She nods. She is well into her cups and appears to be on the edge of tears. She bites her lower lip uncertainly before speaking. “Just let the kid be herself, okay, sir? She’ll come home when she’s ready. It's just a party...kids need to party. Okay?”
A couple of thoughts war in my mind for dominance. Getting called “sir” twice in one evening is disheartening. But getting called "sir" by a pretty young woman (even though a slightly smeared trickle of blood is working its way down from the corner of her mouth) is especially discouraging. I sigh and explain that my daughter has five children of her own and is probably home right now. With them.
She looks at me blankly for a long moment and then nods. With a half wave, she and her friend rise and wander off into the shadows.
I finish my hamburger. I have tried texting Sheree. I have tried calling her. Nothing. I resign myself to sleeping alone in my car. I return to it and recline my seat. I go to sleep. Under all of it is the steady boom boom b’boom of techno crap. I unpack my iPod, turn on my kinda music (Back in Black, if you must know), plug in my earphones and leap joyfully off a mental cliff and into the downy softness of an exhausted sleep.
(taptaptap)
...tap...tap...tap
Tap. Tap tap tap tap.
TAP TAP TAP!!!
It’s not quite three. I have been sleeping for less than 45 minutes. I open one eye. A girl in a ragged Star Wars costume is knocking her metallic ring against the window. I used to dream about such things. (Where were all these women when I was eighteen?) Now I am just tired...easing into cranky. I roll down the window.
“What?” I ask…because this is all I can manage.
She looks at me. Her eyes are heavily lidded. “Sorry, man. Wrong car.”
She stumbles off into the boom boom b'booming darkness and I roll up the window, mutter something unpleasant and go back to sleep.
CRACK!!!!!
Thunder…so loud it shakes the car. Seriously. I have been dreaming and am now instantly awake.
I open the other eye (since variety is the spice of life) and peek out. Rain is pelting down like so many tiny cannon balls against the hood of my car. There’s a storm all around me. But the boom b'boom booming music continues. Are these kids not smart enough to get out of the rain? Are they ever gonna go to sleep? I remind myself I am on their turf...I came here. Still...damn, I'm old, I think -- and experimentally flex my two remaining muscles.
I crank up the iPod and go back to sleep.
Morning.
It’s breaking like a golden curtain over the skies. I know that sounds flowery, but that’s what it looked like. Golden light. Brilliant. All over the sodden field.
I get out of my car, stretch, grab my brand new Nikon and go off to take pictures of the morning after the night before.
The site is a sodden muddy mess. I have cleverly worn the only shoes I own with absolutely no grips whatsoever and I move in what must be described as a controlled slide around the site, taking pictures of the carnage. Music is still boom booming somewhere.
My phone vibrates with a text message…
…from my Sheree.
I answer and we have a short discourse about how much she missed me and what an idiot I am for driving right by her in the complete dark (not psychically divining her location) and how we really need to see each other.
I get instructions on where she is and put the Gnomemobile (my car) into gear as I slide down the slick road to find her. I see her. She smiles broadly, waves and blows me a kiss…and my heart does a brief happy dance.
“I don’t sleep well when you’re not there,” she tells me when we're together.
I smile and hug her. She asks me if I am hungry. I explain that I left home in a hurry after my LONG SHOW which I did to SUPPORT US because I really wanted to see her and all I packed was an Aero bar and some rice crisps. I admit I am hungry.
She calls me an idiot with the survival skills of a rodent contemplating something in the distance as it stands in the middle of a highway. But she's smiling at me...and that's when I know I am home again.
67, LONSDALE ROAD, BIRMINGHAM:
This model was commissioned by Tony Loizou, Architect, RAN projects, London N16 7RA
The existing parts of the buildings are show in red. The project is show in colors.
A Military Veterinary Surgery Team at the Defence Animal Centre is pictured carrying out dental work on a Military Working Dog.
The Defence Animal Centre (DAC) is located at Melton Mowbray and has developed into the epicentre for research and development in the use of animals in Defence for an ever increasing variety of tasks. The DAC comprises 4 Divisions which collectively provide the functions of Management and Policy, Animal Welfare, Veterinary Medicine, Equine and Canine Procurement and Innovative Training.
These functions are interwoven and mutually support all activities at the DAC. The primary role is to train Military Working Animals (MWA) and personnel using skills and methodology developed over the last century. The DACs mission statement is:
To deliver trained Military Working Animals (MWA) and motivated personnel trained in their use and husbandry, in order to meet the needs of Defence.
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© Crown Copyright 2014
Photographer: Corporal Bibby (RAF)
Image 45158956.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45158956.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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Carthay Circle Restaurant
Disney California Adventure
The Carthay Circle Restaurant occupies the Carthay Circle Theater, the new centerpiece of DCA. Nobody denies the place is beautiful both inside and out, but some questioned whether the centerpiece of the park should be a restaurant rather than an attraction of some sort. While an attraction is always nice, I think the Carthay makes a statement. The place is unprecedented within a theme park on the West Coast of the US. Walt Disney World in Florida's big secret is that it's a culinary powerhouse, but even there most of the good stuff is hiding in hotels or to the wonderful selection in Epcot's World Showcase, which itself has unprecedented refined theming and dining. Yet still, the Disney theme parks suffer from stereotypes of their own past and lesser amusement parks that crowd the country. Burgers, fries, and junk food are what most people expect, and anything beyond that is greeted with low expectations. Sure Disney has multiple award-winning chefs working the background of many of these restaurants, but you can't blame the general public for not knowing about this or expecting it: the parks themselves don't really advertise themselves as places to have fantastic, unique dining experiences.
But here we have the Carthay Circle Restaurant, a place that has ended up one of the classiest restaurants in Southern California let alone a theme park. The first floor houses a full lounge and bar serving 1930s era cocktails put together with a masterful flavor and attention to detail. These aren't drinks you can just go pick up anywhere in the country, finding anything like them typically requires finding one of a few top tier bars scattered about, even then usually buried in a few populous cities like LA or NY. The 2nd floor is a dramatic, opulent dining area, full of various rooms and enclaves evoking a restaurant design they really don't do that often anymore. The food is exceptional, with a menu that isn't afraid to be adventurous even though it still needs to appeal to a majority of the tens of thousands of people walking through the gates. Quail, Rack of lamb, Fresh fish, Short Rib, Udon… it's a feat that it all pulls together.
The dining experience is really an extension of Disney's approach to most experiences: a great blend of nostalgic theming, constructing an idealized past along with modern flourish. You can't really go anywhere else in California and have the dining experience you can have at the Carthay. That Disney has put this front and center in the park is a notice to all guests that theme parks may not be about what they assume they are. It's not just rides and burgers (although there's nothing wrong with that): it can be about refinement and relaxation, it can be about idealized culinary experiences as much as lands of fairy tales and talking cars.
I think the Carthay is one of those placemaking institutions, a place DCA sorely needed. The Carthay is something I can keep coming back to. There's always one more drink to have, always an item on the menu calling my name. Sometimes it's not about a ride or attraction, sometimes I want to be transported to an idealized fantasy and just exist in it, sipping a cocktail, looking over the menu, enjoying my surroundings and my company. Putting a place like this within an icon of a theme park tells people "this is the kind of thing you should be expecting to do here." If it defies expectations for not being "a ride" then I think the plan is working perfectly.
(That's a Pimm's Punch up there by the way: a perfect drink for the summer.)
Website: Consumer Machine
Twitter: photojames
Tokyo DisneySea in Photographs eBook: available in both iPad and PDF editions.
....By studying themselves, we learn universe world....
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Second porcelain artwork for "Aestheticism", International group exhibition curated by Beautiful Bizarre Magazine in Vanilla Gallery, Tokyo, Japan. 4 - 23 April 2016
Our Statement for show :
"..Sometimes a beauty hiding in ugly, bizarre external manifestations and disgusting things hiding under multiple artificial blank masks seduction our view. Oh, and how wonderful to find the truth and to enjoy her divinity. Beauty and ugliness are always mixed, and this gives us the opportunity to decide what that is. So we find ourselves.".......SSSdolls
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Goddess Indian Ocean "MOHINY"
porcelain squid doll
china paint, wool, sterling silver,
pearls, swarovski crystals
cubic zirconia, glass beads
H-22 cm
2016
The monthly Getty statements arrived last night and they sprinkled a little magic in my life with good photo sales all over the world, and if you take part, hope you got a little magic too.
Woke up to pouring rain this morning and the news is full of 'amber flood warnings' with loads more rain to come, so I thought it called for a little sunshine from the archives
Can't believe i haven't posted this before now, taken on a lovely summers evening back in July, using the 50mm f1.2 L lens to capture a bit of sunshine and happiness with William and some magic bubbles.
Love this one now because it looks like mum is sprinkling magic dust on williams head, but I remember it wasn't chosen as a favourite at the time because of the expression on his face (it does make him look a little boss-eyed)
And its wednesday, and you can never have too much bokeh on a wednesday :) HBW
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©2012 Jason Swain, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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Links to facebook and twitter can be found on my flickr profile
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Late in the afternoon at Sumner beach September 16, 2015 Christchurch New Zealand.
Sumner is a coastal seaside suburb of Christchurch.On 22 February 2011, Sumner was hit by the Christchurch earthquake, which destroyed or made uninhabitable a large number of the local houses and commercial buildings. On 13 June the same year, Sumner was hit by another earthquake of almost the same magnitude as the February event. These two earthquakes caused many of Sumner's iconic cliffs to collapse, and many areas to be cordoned off with both traditional fences and, more interestingly, shipping containers.
For more Info:https://en.wikipedia.org/wiki/Sumner,_New_Zealand
S, Mansur by Mansoor Saleem
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations not in math but in language that nature uses. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist. For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension which is one of the aspect, useful for scientific community to explore.
For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Sciences, Meta-science or Spirituality, I do not know yet, so I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. In dada and sur-realism we do read about dreams and drug infused random thoughts, but not flashes, so far no word about flashes I find even in Freud or Jungian psychology, they talk about dream importance. And in Christian art history so far I have only observed mixing of dream and inspiration from Bible. No body so far I have read in Dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. After seeing the difference between two (1) Pure Flashes and (2) some of my work based on mixing of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian art also so far, no artist has ever claimed flashes mixed or un-mixed. For future science world, un-mixed flashes will be more important. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
Physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore.
Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. (From Rudolf Arnheim's essay: “Complementarity from the outside” in book: Rescue of art).
May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my Flash-works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984).
Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan.
"Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avant Garde" also shows his wit." (—page 123, Ejazul Husan)
"The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan)
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque, also absorbed elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc) which not much is my concerned.
During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, Berlin, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma and VASL works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me.
I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc.
All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the Flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market forces but I have to make (for science) what I receive in form of Flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
The original photo was taken by CANON F1 35mm... It was a very beautiful old house somewhere in Monirieh-Tehran belonged to a friend of mine who is an artist. Wish her well for giving me this opportunity to take some shots there.
passing thro the years is something and some of the SHARP memories is another thing!
FLM 8183 (1976-1977) Awümz 207
Zo ergens in de tijd , rond 1970 kon je toch aannemen dat een personentrein er ongeveer zo zou uitzien. Het was en is mooi. Helaas te mooi om waar te zijn.
Modeltreinen en bier gaan niet samen als je moet knutselen. Vooral in het kleine N, met zijn 1:160 is dat meer iets van zen en precisie. Verder? Niks mis mee. Al gaat dit verhaal wel de sterke kant op. Alsof het in een cafe is, met te veel drank er in en een verhaal dat te mooi is om waar te zijn.
Voor deze week op de planning uitbreiding van de modeltrein collectie. De voorkeuren ? Een restauratiewagen passend bij mijn eilzugwagen (bauart 36 c.s.). Voorkeur rood met DB logo. Ofwel van na 1966, toen DSG het monopolie nog had. Buiten bereik? Popwagen al zou ik die graag willen hebben. Het twijfelgeval. Een nieuwe Fleischmann, zijnde de Eurofima Voorserie AB wagen van DB in Olympiablauw. Ja ik weet waar het om gaat. Een wagen in het verlengde van Pop wagen en een wagen die als kantelpunt naar modern materieel geldt, met onder meer lichtere dakopbouw, airco en wat vierkantere bouw.
Het probleem? Mijn baan heeft 1970 als basis meer specifiek de periode 1967-1970 met “uitlopers” naar 1965 en 1972. Ik wist in mijn achterhoofd dat ergens in 1971 of 1972 2 of 3 prototype zijn gemaakt door LHB, voor testbedrijf in West-Duitsland. Dat zou nog passen in mijn thema. Het zou een opvallende verschijning zijn; maar is het dan deze Olympiablauwe wagen.?
Inlezen hielp me uit de droom. Zowaar zijn er in 1971 prototypen gemaakt. Toen onder het motto “neue Wagen”, Europees. Geheel in de tijdsgeest van toen. De EEG was aan het uitbreiden. Denemarken en Engeland kwamen er aan. Al ging dit project onder een Oostenrijkse Lead. LHB heeft in Duitsland 2 prototypen gemaakt.
Hoe zagen die er uit? - de gekende Aluminium bouw , waarvoor expertise is ingewonnen bij BUDD co. Ofwel verwijzen naar rijtuigen die sinds de jaren 30 gebouwd worden. Eigenlijk van meet af aan met oranje en rode sierbanden. Bekend zijn Belgische Inox rijtuigen. In 1971 zijn de modernste rijtuigen van Europa ook in zo een uitvoering. Het gaat om de Franse TEE Grand Comfort wagens ’69. Blank edelstaal dus met rode sierstrip. Dus? LHB levert 2 prototypen. Een AB rijtuig met een vermiljoen sierstrip en een B rijtuig met kobaltblauwe sierstrip. Biede rijtuigen met ribbels op de zijkant en aan de zijkanten van het dak.
Dus? De Olympia blauwe AB zit er niet in. De prototypen moesten dusdanig gemodificeerd dat er nog een voorserie kwam. Bij DB en SNCF zal het niet helemaal lekker hebben gezeten dat Oostenrijk opteerde voor oranje wagens. Bij de prototypen zijn de Pop kleuren “afgeserveerd” om vervolgens met een van de kleuren terug te komen als hoofdkleur. Daartussen zit het momentum dat DB het project Pop kleuren stuurt naar groen, blauw en zelfs Umbragrijs. De afloop is bekend. Uiteindelijk eindigt DB met een sierstrip onder de ramen. Een strip in een nieuwe, zelf zelf gedetineerde standaard kleur. Deze is ingediend bij RAL. RAL kent code 5020 toe met de naam Turks Blauw. Kortom DB heeft tussen 1971 en 1974 Vermiljoen helemaal Los gelaten. En dan moet een belangrijk deel van de vloot toch in Vermiljoen afgeleverd? LHB bouwt 5 voorserie wagens voor DB. De eerste 2 zijn afgeleverd in Olympia blauw. Een steek onder water. Sinds 1969 heeft DB met een handvol kleuren blauw en blauwlila geexperimenteerd. Niet met Olympiablauw. Motivatie? Zo ambtelijk als kan bij een nutsbedrijf in die dagen. Van de kleur Vermiljoen is DB niet overtuigd. Ofwel na 5 jaar Pop zijn zij wel klaar met die kleur.
Rechts op de foto het LHB prototype uit 1971, een model dat Minitrix heeft geleverd tussen 1972 en 1976. Ook de blauwe versie is door hen geleverd. Deze heeft een andere raamindeling. Maar wat is het rijtuig dat we volledig zien dan. Allereerst een A rijtuig. Eentje die dus niet uit de Eurofima voorserie komt. Het is een worsteling van Fleischmann die in 1971 aanvangt en waarbij zij in 1977 de handdoek werpen.
De wagen is een aparte onder de Fleischmann producten. Fleischmann is in 1968 gestart in spoor N met een mix tussen spelen en model. Al lag de nadruk op model. Spelen was meer om kinderen in de hobby te krijgen. Daar is een A rijtuig niet voor bedoeld. Sterker voor een vroeg jaren ' 70 model oogt het model heel gedetaileerd. De ramen kennen gouden lijsten. Zeer correct als het gaat om het LHB prototype.
De DB Kecks zitten in het midden in de sierlijst. Ook zeer correct. De kleur is rood. Vermiljoen is een tussenkleur. Ook dat is nog wel correct. Al oogt dit naar oranjerood waar vermiljoen staat voor roodoranje (of bloedoranje). Dit gelijkt meer op de rode kleuren zoals gebruikt in POP; bijvoorbeeld roodlila
Wat niet klopt? Zowel in 1971 als 1975 heeft LHB geen A rijtuigen geleverd. Kijk je naar de raamindeling dan zie je een eerste klas rijtuig. Minitrix deed dit beter. halverwege verkleinen de ramen. Daar begint de tweede klasse. ofwel het AB rijtuig i vermiljoen.
Is dit een fantasiemodel? Dat wil ik Fleischmann niet nageven. Terzelfde tijd toont Märklin een 103 in Pop kleuren met melding dat deze vanaf 1972 in het echt gaat rijden. Dat duidt op modellen die al uit zijn nog voor het origineel rijdt. Blijkbaar is er wat “gepuzzeld” rond een A rijtuig? Interessant om op door te gaan.
Net als Minitrix en Arnold streeft Fleischmann naar actuele modellen met DB als hoofdmoot. Er is een soort race. Als eerste een model hebben. Snelheid gaat ten kostte van kwaliteit. In die dagen geldt nog dat schaal N gaat om optische indruk en niet om details. Dus in 1970 kondigt zich aan dat LHB prototypen gaat bouwen. Oplevering 1971. Minitrix en Fleischmann komen met een model. Fleischmann met 8118 . Een model Avümz 111 van een A rijtuig in Vermiljoen. Uitovering Aluminium met glad dak en grijze onderbies. Dit moet het LHB prototype voorstellen. Rond die tijd de enige “(v)ümz” in Pop. Echter LHB levert een AB. Het umbra dak klopt niet, de kiezelgrijze onderstrip ook niet. In 1974 verbetert Fleischmann het model administratief. Nog steeds dezelfde trein, maar nu verkocht als een AM203. Van de Aüm203 zijn er in het echt vier geweest. De ü doet niet terzake in model; dat gaat om soort balgen. Alleen de Am203 is een UIC X en dit rijtuig bepaald niet. Het is zeker een fraai model. Maar nog immer fantasie. Een afrondend dak plaatsen helpt niet
In 1974volgt poging 3. Drie maal scheepsrecht. 8118 verdwijnt nog niet uit de catalogus. Daarvoor in de plaats komt 8183. Weer ligt Fleischmann de link met de LHB prototypen. Administratief is het nu AVümz227. Dus wordt toegegeven dat de eerdere pogingen inderdaad LHB prototypen zijn. Dit keer gaat Fleischmann echt ver. De alu strippen zijn gemodelleerd op zijkant en dak. Ook het logo staat nu correct. Dus in het midden van de strip. De bedoeling?
Een model sneller leveren dan het voorbeeld. Dit keert levert het “brokken” op. Er komt een voorserie van 10 stuks, bij diverse Europese bedrijven. Vroeg in 1974 wordt het concept van Bud met Alu. En ribbels afgeschoten. Tot onvrede van SNCF en DB komt er Vermiljoen als eenheidskleur uit zonder aluminium en zonder ribbels.
Ondertussen is DB niet alleen intern klaar met Vermiljoen. Het bedrijf kondigt een huisstijl aan. Daarbij is een nieuwe kleur aangevraagd bij RAL. RAL 5020 Turks Blauw. Met erboven ivoor. DB levert 5 prototypen eurofima. 3 komen in huissijl. 2 zijn net ervoor geleverd en als statement. DB wil geen vermiljoen. Die rijtuigen zijn in Olympia blauw. Tot overmaat van ramp zit er geen A rijtuig in de voorserie. Fleischmann zat er naast.
Stapsgewijs neemt Fleischmann de consequenties. Model 8118 verdwijnt eind 1974 uit de katalogus. De 8183 blijft nog even. Immers release is voor 1977 aangekondigd voor honderden rijtuigen met vermiljoen als kleur. De modelspoorder mag nog even dromen dat Pop terug komt en wel in de vorm van het LHB prototype. Als de uitlevering in het grootbedrijf vorm krijgt, met de C1 lvormgeving, zoals vastgelegd in 1975, verdwijnt 8183 snel uit de catalogus. De productie stopt, de voorraden meten voor 1977 verkocht zijn, als de echte Eurofima'skomen. Bij Fleischmann is het Pop avontuur ten einde. 8183 is net een jaar goed verkrijgbaar geweest.
Deze wagen 8183 is hooguit anderhalf jaar in productie geweest. Het is een excentriekeling geworden. Het verhaal heeft waarde. Niet alleen rond veranderingen in het groot bedrijf ook rond de haast die modelspoorders hebben om elkaar af te troeven met actuele modellen. Zo kondigt in 1972 Märklin een 103 locomotief aan in Pop . Levering van 103’s is dan in volle gang. Pop levert ook lekker uit, vooral in vermiljoen. Märklin wil het model in het schap hebben als DB er aan begint met locomotieven. Het staat groots aangekondigd. Daar bleef het dan bij. In de winkels is het model nooit gekomen. In 1979 vergist Jouef zich in de kleurstelling van de NS 1600. Dat is geelgrijs alla 1100/1300. Fleischmann heeft geleerd en wil in 1980 met een piccolo model komen. Nog immer voor uitlevering. Het “Franse” model is immers on stock. Keurig wordt bij NS geïnformeerd over het kleurschema. Alleen daarna passt NS dit aan, de zwarte blokken rond d e ramen komen. De eerste serie Fleischmann heeft die niet.
Pop Voorgoed over bij Fleischmann? Af en toe is er nog een sonder serie release bij Fleischmann van Pop rijtuigen. Voor 2020 staat zelfs een set aangekondigd. Daarin 3 kobaltblauwe rijtuigen en 1 vermiljoen wagen.
Een oude Fleischmann die maar kort gemaakt is. Een model dat in vergetelheid is verdwenen. Vergetelheid waar ik het uit haalde bij een modeltreinenwinkel. Een complete set Pop rijtuigen stond er. 3 eurofima prototypen, een speisewagen , een bagage (groen) en een kobaltblauwe 2 klasse . Alle Pop UIC-X in uitvoering 1969 van minitrix. Een mooie set, temeer de LHB in het echt getest zijn in treinen die volledig in pop kleur waren. De olympia blauwe was er ook maar past niet in deze set. Van de restauratie is er maar een en die is maart 1974 verongelukt bij Brussel nog voor "Olympia" haar gezicht toonde De fris ogende model trein benadrukt daarmee wat hij is, een opvallende collectie van eenlingen en niet alledaagse kleurrijke vogels. Historisch is deze meer correct als het op het eerste gezicht lijkt.
Ah u wilt een drankje nuttigen .. komt goed! (volgende foto)
P.s. mijn favoriete fantasie Eurofima is natuurlijk de ARPDümz227. Ofwel de potentaten-trein.Eerste klasse coupe voor "de leider". Met salontafel, asbak etc. Een eigen restaurant en bagageruim. En een eigen brievenbus voor de old school post (snail mail) die gemaakt is in de trein (dictaten, aanwijzingen, bevelen, verordeningen etc).
April 19, 2013
"The President was about to make a statement in the White House Briefing Room and noticed the photographs hanging on the wall in the Press Office were crooked. So he took matters into his own hands, straightening the pictures as Press Assistant Marie Aberger watched. Deputy Press Secretary works in his office in the background."
(Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
In the Land of 10,000 Lakes...Minnesota, you just HAVE TO GO BOATING ON THE FOURTH OF JULY! Boating involves a parade of boats, streamers, hats, flags, stars and stripes, swimming, congregating, and stunt riding. Enjoy and BE SAFE. sal
This is a film detail shot of the room full of computers at abandoned Six Flags Hurricane Harbor in New Orleans. When I look at it, I imagine how the mission statement posted on the wall must have taken on a strange meaning with the high water mark sitting just below it. Floating above Lake Six Flags. Some people boated through the ruins. I imagine them reading "To deliver Family Fun and Fond Memories for all of Our Guests" just hovering on the water. A surreal hope, but their mission was successful with me. I will never forget the intensity I felt wandering the ruins.
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Brunette Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
The epic goddess was having fun getting wet in the water, with the waves rolling in and out as Poseidon reached out to grab the beautiful goddess! But he failed to drag her back into the sea! Kneeling and lying in the sand in a pink bikini.
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=Y6sKSuP-Jek
www.youtube.com/watch?v=zP_119wiMn4
www.youtube.com/watch?v=vvA0qd2Qcrs
www.youtube.com/watch?v=95DdieFgi7Q
www.youtube.com/watch?v=1o6PBHPYsuI
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
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All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)