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Pretty melancholy,
that abominable melancholy.
Ambitious melancholy,
wraps me in sadness.
I have nothing.
** Please don't use this image on websites, blogs or other media without my explicit permission.
© All rights reserved
ink and graphite on newsprint.
Available for purchase here:
shop.trademark-trademark.com/product/for-me-sometimes-the...
Fabricada en Alemania entre los años de 1960-1964. Una cámara donde los cromados se usaron profusamente. Fotómetro de selenio acoplado con sensibilidades de 5 a 3200 ASA, ópticas intercambiables, obturador Synchro-Compur con velocidades de B, 1-1/500 sg. Disparador en el frontal, con seguro y rosca para cable. Palanca de avance de la película y montaje del obturador en la parte inferior, también se encuentran aquí el contador de exposiciones, botón para el rebobinado, rosca pequeña para trípode y la apertura de la tapa posterior. Cámara muy robusta y pesada.
(Texto: chatarrafoto.blogspot.com.es/)
atelier ying, nyc.
With New York City on the verge of dominating the world with a real estate tycoon US Presidential candidate, there's no reason not to continue in this over-the-top mode and send a nice redesign bid for the upcoming Tokyo Olympic Stadium.
The main consideration was a pleasing nod to Japanese characteristics, which this design tries in a humble of way to implement. The Japan of modern times as well as of traditional aesthetics are both referenced indirectly through an application of American pop culture. This multi-layered approach is endemic to our design philosophy and our belief is that this sleight-of-hand design might penetrate further to make a wow-factor to the public.
The popular idea of a periodic (the Olympics occur every few years in some city on this globe) crash landing of an alien spaceship, in this instance a friendly American one, references the USS Starship Enterprise whose main saucer and nacelles can be seen from the outskirts of the Japanese capital, as well as from within.
We love the designs of architects Kengo Kuma, Zaha Hadid and Toyo Ito, but can we just be honest for a moment and see that these types of designs are really all about flying saucers making a large crater in the middle of the city with circulation routes.
The iconic starship has been in our consciousness for decades now and is something that will be with us going forward no matter what we do so instead of fighting this desire we might as well feel empowered and fully enjoy being inside it. The port and starboard side nacelles could even be medium-sized airport terminals for sports people and after the Olympics perhaps casino people if such zoning was possible.
The Enterprise saucer shape is excavated deeper into the ground (as if it really crashed) than the other three designs, creating the symbol of a Japanese tea bowl.
Greenery inside rather than outside the stadium would fill the air with the natural smell of tea leaves.
The views from inside the stadium will be truer deep space experiences, and the excavated backfill will simply remain onsite saving greatly in construction costs. This "splash" of landfill will be covered by a top layer of sand, like a Japanese Zen garden, yet it will look from a distance like a massive and gorgeous golf bunker of the quality of the Bethpage Black Championship course of Long Island NY, once home to the U.S. Open. Of course, the only person who could create such a masterpiece spectacle of golf is Donald Trump, who could probably get the construction phases streamlined better than any other team could, and most importantly he can have it all ready and on schedule for the Olympics.
The actual bridge of the starship would be a small set of prime real estate spaces (atelier ying can be gifted the smallest of them, practically a closet) reached by a tiny sky bridge, the kind from where you could get vast views of incoming Klingon Battle Cruisers.
The opening ceremonies could truly now take place in a very modernistic Star Trek Federation arena. Space ship displays of Olympic fires as the raising of starship shields, phasers and other lightworks firing into the sky, etc., one's imagination can see no limits because this is all taking place within the iconic vehicle that spawned much of today's futuristic architectural designs to begin with. I'm sure vast amounts of investment capital from baby boomer Star Trek fans would pose no problem at all. Maybe I can win a free trip to Tokyo for general design research and to finally find for myself a website designer.
This design is dedicated to George Takei, maybe he'll like my 100% software-free drawings.
Design, concepts, text and drawing are copyright 2015 by David Lo.
Keep calm and carry on. This is probably the most popular slogan from UK recently. I saw it many times in the fashion stores around downtown Vancouver area.
When you do not have not any paper mails, you still have tons of emails, text messages on your cellphone, greetings on Facebook and Twitter. So keep calm and carry on. :o)
I passed by the Coastal Church on West Georgia Street and I like its simple and minimalistic architecture. This is the details of its mail slot.
Have a great Wednesday!
Taken with a Praktina IIA camera in week 346 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
Agfa Vista 200 film from Poundland, developed in the Rollei C41 kit.
The Lion of Saint Mark, representing the evangelist St Mark, pictured in the form of a winged lion is the symbol of the city of Venice and formerly of the Republic of Venice. It appears also in both merchant and military naval flags of the Italian Republic. The Lion of Saint Mark is also the symbol of the award of the Venice Film Festival, the "Golden Lion", and of the insurance company Assicurazioni Generali.
Other elements often included in depictions of the lion include a halo over his head, a book, and a sword in its paws.
Venetian tradition states that when St. Mark was traveling through Europe, he arrived at a lagoon in Venice, where an angel appeared to him and said "Pax tibi Marce, evangelista meus. Hic requiescet corpus tuum." (May Peace be with you, Mark, my evangelist. Here your body will rest.) This (possibly apocryphal) tradition was used as justification by Rustico da Torcello and Bon da Malamocco in 828 for stealing the remains of St. Mark from his grave in Alexandria, and moving them to Venice, where they were eventually interred in the Basilica of St. Mark.
St Mark, represented as a lion, is a typical Christian iconography derived from the prophetic visions contained in the verse of the Apocalypse of St John 4:7. The lion is one of the four living creatures described in the book as a place around the throne of the Almighty and they are chosen as symbols of the four evangelists. These "beings" were previously described by the prophet Ezekiel.
"Behold, I send my messenger ahead of you, he will prepare your way."
The voice of the one who cries in the wilderness: "Prepare Ye the way of the Lord, make straight his paths." (Gospel according to Mark 1:1–3)
The lion also symbolizes the power of the Evangelist's word, the wings symbolize the spiritual elevation, while the halo is the traditional Christian symbol of holiness.
However, the lion symbols express also the significance of majesty and power (drawn especially from the upward feline tail), while the book expresses the concepts of wisdom and peace and the halo gives an image of religious piety.
There are many symbolic interpretations with the possible combination of sword and book:
An open book is a symbol of the state's sovereignty (many depictions are of doges kneeling before such representation);
A closed book, however, is considered as a symbol of a delegated sovereignty, and hence the public courts;
An open book (and the sword on the ground is not visible) is popularly considered as a symbol of peace for the state of Venice, but this is not corroborated by any historical source;
A closed book and a drawn sword are popular but mistakenly considered as a symbol of the state in war;
Finally, an open book and a sword are considered as a symbol of public justice.
However, these interpretations are not universally accepted as the Republic of Venice (La Serenissima) never codified its symbols. Rare, but are presented, are also depictions of the lion without a book or a sword and sometimes without the halo (especially in a representation of a statue).
In some depictions the lion rests his front paws on the ground, often in cities with rivers or in ones close to water, indicating the Venetian balanced power on land and sea
The Venetian lion appears in two distinct forms. One is as a winged animal resting on water, to symbolise dominance over the seas, holding St. Mark’s Gospel under a front paw. You can see these mighty animals all round the Mediterranean, usually on top of a classical stone column.
The other form is known as the lion “in moleca”, in the form of a crab. Here the lion is depicted full-faced with its wings circled around the head resembling the claws of a crustacean. It is emerging from water, so that the lion “in moleca” is associated with the lagoon and the city, whereas the standing winged lion is thought to be more associated with Venetian territory around the Mediterranean.
Photographed at the Sacred Heart Catholic Church
Elmwood Wisconsin
India has a holiday today. A National Holiday for this day Indian adopted a Constitution and set the bedrock of democracy within a constitutional framework.
The big event of the day - A Republic Day Parade in Delhi. I remember peeping on to that many decades ago. Now you can see it on the idiot box.
"Vande Mataram" , is a catechism of sorts that intellectually defines the Republic Day in India as much as the popular parade does for the masses. It is a poem written by Bankim Chandra Chattopadhyay in 1882 and is an obeisance to the power goddess Durga.
Vande Matram was the offering and greeting that freedom fighters used while communicating with each other in the halcyon days of the struggle to overcome the colonial rule in the late 19th and early 20th century.
The first two verses of the poem "vande Mataram" form the "National Song" of the Republic of India.
This text is the calligraphic creative work of Uday Tadphale, a wonderful creative artist with absolutely rocking good credentials.
He is on flickr -- Uday Tadphale on Flickr
You can see his creative work here
You can download this image and use it as a Display Icon for Twitter, Flickr or Facebook or what ever.
Please do so. Much obliged.
Thank you Uday Tadphale for sharing your creative genius.
IMG_8463 copy
this was taken before one of the most traumatic things i have ever experienced happened to me. today, before 6:56 pm, was the most amazing day all year. i saw people i haven't seen in near a year. i went back and did things i haven't done in near a hear. i smiled and meant it. i loved and meant it. it was amazing. i would relive today from the hours of 12:30 until 4:30 everyday of my life if i could. i laughed. a lot. i cried. a little. and it was amazing. today was the best day all year. i didn't deserve a day as amazing as this one. i know i didn't. but i got it. and i couldn't be more thankful that this opportunity was put on my plate. there's some stuff going on right now with my younger sister. too much for me. put a dent in my perfect day. but no day is perfect i guess. a big thank you to sophie for being there for me today.
18290 views on my stream.
Aj Sak Teles, ruler of the city of Lacanha, depicted enthroned upon animate stone. He holds the Royal bar which depicts the god K'awiil, associated with fertility and maize.
Late Classic Maya, Lacanha,746 CE
Limestone
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The Robert Woods Bliss Collection of Pre-Columbian Art
Dumbarton Oaks Museum, Library & Research Center
Georgetown neighborhood
1703 32nd St NW
Washington, District of Columbia
Algo sobre graffiti en Bogotá y unas letras que pinté en junio de 2011 ///
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:: La tenaz suramericana :: El reverso del decorado ::
Por: Lucas Ospina
Publicado el: 2012-09-12
"Bogotá, la tenaz suramericana" era una frase pintada en la pared que apareció en los años noventa, al norte, sobre la carrera séptima. El trino parodiaba el mote altisonante que alguien le puso a la ciudad, “Bogotá, la Atenas suramericana”, y daba cuenta de un presente seco y de la aridez que estaba por venir: asesinato de políticos, alcaldes con ínfulas de estrella roquera (Pastrana), burgomaestres estrellados (Caicedo), bombas, polución, trancón y un largo etcétera que se extiende hasta hoy.
“Dinero.” decía un grafiti inmenso que el año pasado alguien pintó sobre una de las culatas irresueltas de la troncal de la calle 26. Un mensaje económico y con un punto final que conjuraba a toda la corruptela que se ha parrandeado esta obra urbanística: el Grupo Nule, los políticos del cartel de la contratación y, por supuesto, todos esos contratistas, como el Grupo Opain, que a pesar de andar vestidos de legalidad han cometido todo tipo de crímenes estéticos.
Al menos, a manera de consuelo, este eterno retorno de lo mismo le ha traído a Bogotá cierto auge del grafiti. Sobre la misma troncal de la calle 26 quedó un “grafitódromo” involuntario donde el acabado inacabado de lo público dejó nichos imposibles para lo humano pero dispuestos para que la pintura los habite. Lo mismo sucedió en la Filadelfia y en la Nueva York en ruinas que dejó la crisis económica en las décadas de los setenta y los ochenta; basta ver las fotos de zonas industriales, vagones y culatas del metro totalmente tatuadas.
Otro tanto sucede en São Paulo con la tipografía del “pixação” que desde la década del sesenta cubre de piso a techo la ciudad en lugares donde no se pensaría que es posible escribir. Tal vez la movilidad, el flujo y la constancia de esta forma pictórica sean una respuesta al quietismo social. El fenómeno se extiende al mundillo del arte: en el 2008, en la Bienal de São Paulo, los curadores dejaron un pabellón en blanco para hacer una sesuda reflexión sobre el vacío. El espacio fue tomado por más de cuarenta “pixadores” que intentaron rayar las paredes y fueron reprimidos, uno de los “artistas vándalos” fue judicializado y las autoridades se encargaron de borrar la intervención para que la gentecita del evento continuara jugando al traje del emperador.
El viandante en el mapa es un texto de Italo Calvino que habla de su visita a una exposición de mapas y figuras de la tierra. Ahí recuerda unas “fotografías de unos grafitis misteriosos [que aparecieron] hace pocos años en los muros de la nueva ciudad de Fez, en Marruecos”. Al parecer quien los trazaba “era un vagabundo analfabeto, campesino emigrado que no se había integrado a la vida urbana y que para orientarse debía marcar itinerarios de su propio mapa secreto, superponiéndolos a la topografía de la ciudad moderna que le era extraña y hostil”.
En Bogotá, hace poco más de un año, murió Diego Felipe Becerra. Hay un policía procesado por el crimen. Todo indica que el incidente se debió a que el joven estaba haciendo un grafiti. Horas después del hecho, se intentó convertir a la víctima en victimario y se alteró la escena para hacerlo pasar por un ladrón. Muchos de los foristas que comentan el caso transfieren al artista la culpa del policía, y lo hacen porque supuestamente no usó las vías legales de expresión (una universidad, una sala museal, una pared aprobada por la Alcaldía). Pero resulta que los grafitis forman parte de ese mapa secreto que algunos ciudadanos usan para orientarse en medio de una ciudad cada vez más extraña y hostil. No importa que el trazo sea pequeño, mediano o grande, bonito o feo, de plantilla o de calibre grueso, con crítica o con ornamento, el grafiti es un gesto humano de respuesta pública al desvarío de la burocracia estética y la podredumbre estatal.
El grafiti es un medio privilegiado, es un arte sin intermediación, y Bogotá, “la tenaz suramericana”, se lo merece.
www.revistaarcadia.com/opinion/columnas/articulo/la-tenaz...
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8.5 x 11" framed sketch...
When i dropped my first name in late 1993 and started writing GES, I really hated drawing the letter G for quite some time... but now I love it. I often times dont draw complete sketches... just G's. (useless facts)
Patio table at local market - crafted from recycled highway signs that were destined for the landfill.
Rockville, Maryland
Day 206 of my 365 Project
Eric Godtland - True Crime Detective Magazines 1924 - 1969
Edited by Dian Hanson
Taschen Books, 2008
Cover from Real Detective Jan 1938 by Henry Clive
At the height of the Jazz Age, when Prohibition was turning ordinary citizens into criminals and ordinary criminals into celebrities, America's true crime detective magazines were born. 'True Detective' came first in 1924, and by 1932, when the Great Depression had produced colourful outlaws like Machine Gun Kelly, Bonnie and Clyde, Babyface Nelson, and John Dillinger, the magazines were so popular cops and robbers alike vied to see themselves on the pages.
Hundreds of covers and interior images from dozens of magazine titles tell the story, not just of the 'detectives', but also of America's attitudes towards sex, sin, crime and punishment over five decades. With texts by magazine collector Eric Godtland, true crime historian George Hagenauer and 'True Detective' editor Marc Gerald, 'True Crime Detective Magazines' is an informative and entertaining look at one of the strangest publishing niches of all time.