View allAll Photos Tagged commitment
I dedicate this image to Jay Daley for his effort and commitment on arriving on location at 7am, befriending a security guard (that looked like Pauly from Rockie) and then managed to get a special area roped off exclusively for us!
Great night out with the focus group with plenty of laughs and not a lot of drinking which makes for a great news years day.
After a few weeks completely offline from Flickr due to lots of work & family commitments I am back. I have missed so many wonderful pictures from my Flickr friends so I promise to try to catch up and have a look at them all. Normality resumes so back to my normal routines and looking forward to seeing all the new images from my friends. :)
Still processing some older pics from 2017 I never got round to so hope you all like this wonderful Waterbuck from Kwandwe.
Waterbuck live in wide, separated ranges that are shared by many females and territorial and nonterritorial males. The size of a waterbuck's home range depends on the quality of the habitat, population, and the age and fitness of the waterbuck. Waterbuck that are in good health and are younger have the largest ranges. The home ranges of females may overlap, resulting in small herds that average 5 - 10 animals. Within these herds, there is no established rank order. Females, hovever, are most commonly found alone or in pairs, and it is believed that herds of waterbuck are random meetings of individual waterbucks. Horns begin to form on males at 8 - 9 months, which marks their separation from the females. These young males then form bachelor herds and remain in these until they mature.
The bachelor herds are composed of anywhere from 5 - 10 waterbuck. These are closed groups and the hierarchy is based on seniority. Upon maturation, the bulls become territorial. The activity of the waterbuck is affected by seasonal differences, habitat, grazing conditions, distance from water, and the number of predators in the area. When there is less water available and the conditions are dry, waterbuck need to rest more. While they have been found active at night, the waterbuck is more likely to be active in the daytime. Waterbuck are very water dependent. They eat a variety of grasses, both medium and short in length. Their diet is very rich in protein. When the amount of available grass is low, waterbuck eat other herbs to satisfy their needs.
This is a challenging time that calls for us to do our best. We have been asked to self-quarantine to reduce the spread of the virus. In reducing our physical human contact, it becomes more important to channel our humanity through other forms of contact, such as our Flickr community.
We at the Lab renew our commitment to providing pictures and stories to entertain and inspire.
One from my Winter trip to Iceland. My attempt at a non-cliched shot of Jokulsarlon beach on a dull day. I imagine it was entertaining to watch!
"commitment: when your girlfriend says it's me or the videogame, then you say we'll talk about it after this level."
Shot with my Fuji X100's using a Cokin soft filter.
This is my last picture for my weekly theme 'Commit' and my 365 group.
I'm commited to take a picture for each day of the year =)
No treatment, but not sooc, due a tiny crop.
✧˖ ° Aurora ✧˖ °
Limuta Dress
Maitreya / Lara Petite/ Maitreya Flat Legacy/ Perky / Perky Petite Kupra / Bimbo Reborn
Includes texture packs: Fabric/Latex/Plastic/Fabric Print
Only Fatpack Modify
Located @ Cosmopolitan
Taxi:
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✧˖ ° KYMILE ✧˖ °
Celina Heels
The HUD comes with 43 textures, in FATPACK RIGGED FOR: Erika, Reborn, Maitreya, Legacy, Kupra, Belleza Genx
Located @
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✧˖ ° Secrets ✧˖ °
Gaia Thorns Arms
6 Metal Options
- HUD On/Off
- Rigged For Reborn - Maitreya - Legacy - Kupra
- Materials
Located @ Mainstore
Taxi:
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✧˖ ° Secrets ✧˖ °
Gaia Thorns Legs
6 Metal Options
- HUD On/Off
- Rigged For Reborn - Maitreya - Legacy - Kupra - Maze Soft Thigs
- Materials
Located @ Mainstore
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✧˖ ° Krylicx✧˖ °
dishiki set
BBL/BBW, PEACH, KUPRA, LEGACY, & REBORN. SIZE: 3XL CURVE
Located @ Mainstore
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✧˖ ° B R E A K ✧˖ °
149 Model Pose
Static Bento Pose
M/C/NT
Contains 4 Poses
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✧˖ ° ShapedSluts ✧˖ °
Movie Nite-Mare
Come out, come out where you are! 😈 All Ghouls, Goblins, and everything in between are more than welcome here!
Price: 3k
Prims Needed: 261
First To Do It with Rezzers 😘
Available Only Through DM!
Saturday-Thursday Are the Drop Dates! 12pm-6pm slt Are the Drop Times!
Edit Rights Are 800 ♥♥
RCAF 188735 - McDonnell Douglas CF-188A Hornet - Royal Canadian Air Force (RCAF)
at Hamilton International Airport (YHM)
2021 RCAF CF-18 Demonstration jet “Strong at Home”, represents the commitment to domestic operations that the Royal Canadian Air Force (RCAF) and Canadian Armed Forces (CAF) are involved with throughout Canada. The RCAF is committed to 24/7 operations in the defence of Canada and North America. Each day, aviators work hard to protect the lives of Canadians through NORAD operations, aeronautical Search and Rescue across Canada, rapid response to natural disasters, and operations to combat COVID-19 and the ongoing pandemic. This season the CF-18 Demonstration Team will also recognize the strength of Canadians who have sacrificed so much and shown tremendous resiliency throughout the COVID-19 pandemic.
The 2021 paint scheme design was developed by RCAF Reservist Captain Jeff Chester and brought to life by a talented team of Aircraft Structures Technicians from the Aerospace Telecommunications and Engineering Support Squadron at 8 Wing Trenton, ON. The paint scheme for 2021 utilizes a classic hornet-grey palette representing the importance of operational excellence in the Royal Canadian Air Force.
The Eagle featured on the tail of the CF-18 Demo Jet represents vigilance, agility, readiness, and speed. This speaks to NORAD operations in particular, but also the immediate response in protecting and defending Canadians through SAR or Operation LENTUS as 24/7 operations. The feathers of the eagle are represented with Maple leaves, an iconic symbol of Canada that is proudly displayed in the Canadian flag and on the Royal Canadian Air Force roundel.
In tribute to 50 years of inspiration, including their mission to uplift us all this past year, there are eight maple leaves representing eight of the nine iconic CF Snowbirds Tutor aircraft that perform during an air show. Like in the missing man formation, the ninth is missing, in solemn remembrance of all the Canadians who were lost this year, including members of CAF, the Snowbirds own Captain Jenn Casey, and our airshow family.
On the underside of the Demo jet, the single missing Snowbird can be found – represented by the signature Snowbird SPEEDBIRD in the exact dimensions that are found on the CT-114 Tutor.
The CF-18 false canopy paint remains alongside the SPEEDBIRD highlighting the operational nature of the jet and the Snowbirds pilots, technicians and support staff who spent their careers contributing to operational missions on the CF-18 and other RCAF aircraft.
The large maple leaf on the inner tail pays homage to our home and native land that the Royal Canadian Air Force has proudly served for 97 years.
Listed on the upper and lower portions of the inner tail are the 12 domestic operations that the Canadian Armed Forces currently participates in including, Search and Rescue and NORAD, then in alphabetical order, Operation BOXTOP, Operation GLOBE, Operation INSPIRATION, Operation LASER, Operation LENTUS, Operation LIMPID, Operation NANOOK, Operation NEVUS, Operation PALACI, and Operation VECTOR.
The leading edge extension (LEX) fences feature the 2021 theme hashtags in both languages: #StrongAtHome and #ProtectionduCanada.
The pilot for the 2021 CF‑18 Demonstration Team is Captain Dan Deluce.
c/n 254 - built in 1985 -
curr. operated by 3 Wing, CFB Bagottville
A rework of an older shot, i always loved the energy but wasn't a great fan of the noise levels, cleaned up a little bit in PS.
PHILLIPINE SEA (Nov. 20, 2021) An SH-60J Sea Hawk, assigned to the Japan Maritime Self-Defense Force (JMSDF), lands on the flight deck of Nimitz-class aircraft carrier USS Carl Vinson (CVN 70) during Annual Exercise (ANNUALEX) 2021. ANNUALEX is a multilateral exercise conducted by naval elements of the Royal Australian, Royal Canadian, German Navy, JMSDF and U.S. navies to demonstrate naval interoperability and a joint commitment to a free, open and inclusive Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 3rd Class Tyler Wheaton)
great blue heron, far corner of a public beach. He was unperturbed by me, simply jumping to another nearby rock.
Just a quick update from me tonight, as I've got a prior commitment this evening that will preclude me from posting my normal weekly Kroger update (instead, I'll post tomorrow's normal photoset later today, and just do the Kroger pics tomorrow in its place). Anyway, I was able to finally meet up with l_dawg2000 in person this afternoon, where he very generously gave me one of the aisle signs he scored as well as took my dad and I on a nice tour of his workplace! Pictured above is said aisle sign, with the placard I pilfered this past Sunday (bakeware) and the lone duplicate from the aisle 2 marker (canned meats) underneath. And yep, that's a door in the background, if it gives you some idea how big this thing is!! The plan is to take one side of the orange and green trim and use it to simulate the trim that used to hang along the perimeter of the now-demolished (sniff) millennium Kroger for when I mount the cupola sign on a board and recreate how it looked in the store.
Btw - I took better pictures of my décor scores (such as the linked cupola icon pic), so I'll try to remember to replace the existing ones with those better ones one of these days XD (EDIT: done!) My OB Kroger pics originally intended for tomorrow are freshly posted, since, as noted, those swapped places with my weekly Hdo Kroger update. Anyway: it was nice meeting you, l_dawg, and thanks again! :)
UPDATE: I've also replaced (well, edited) this photo with a picture taken in better lighting, albeit much later than those other ones :P The one on the left is the one referenced in the description here (what with the door and all), taken on October 14th, 2016. The new one is on the right and shows the aisle sign in its current (and, given its size, possibly permanent...) dwelling, our garage, on January 29th, 2017.
Approximate dimensions: of the sign itself, 48" across by 32" tall; of a singular placard, 24" across by 4.5" tall
(c) 2016 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
By juggling some commitments I was able to spend late afternoon/early evening at Ham Wall. At one point I noticed this bittern venturing out of cover and was able to get a couple of shots into the sun - by using manual focus I was able to get the bird sharp, what an artist I know, despite the foreground reeds. I quite like the effect of the light and the bird still half hidden by its reedbed home - there was no-one else in the hide at the time.
Loads of Great White Egret activity, a handful of Marsh Harrier sightings and an Osprey was seen, not by me though, fishing and then being given what for by a buzzard and marsh harrier.
Large in Lightbox - even clicking on the image to go Large works as the bird is pretty sharp.
(52/52)
So as this year draws to a close and my project is completed for this year, I feel nostalgic for when I first started photography but I also love how much I've improved. I hope you've also enjoyed my journey through photography, seeing my failures, and my successes. My 52 week project folder for 2014 is now filled with 52 photos that best capture this year and I couldn't be more proud.
Thank you for sticking with me through this project and more importantly this year. I will be starting my 2015 52 week project so don't fret!
commitments are keeping me away from the forest during the day, and shorter daylight hours rob me of that precious dawn and dusk oppotunity, missing these guys
Engaku-ji (円覚寺) es uno de los complejos de templos de Budismo Zen más importantes de Japón. Se encuentra en la ciudad de Kamakura, dentro de la prefectura de Kanagawa, al sur de Tokio, muy cerca de la estación de ferrocarril de Kita-Kamakura en la línea férrea entre Tokio y Yokosuka.
Un monje budista de origen chino fundó el templo en 1282 a solicitud del entonces gobernante de Japón, el regente Hōjō Tokimune que había repelido los intentos de invasión de los mongoles entre 1274 y 1281. Tokimune era un ferviente seguidor del Zen y el templo se erigió para honrar a los caídos en ambos bandos de la guerra y para que sirviera como un centro desde el que extender la influencia del Zen. Según los registros de la época, al comenzar las obras se extrajo de la colina un ejemplar enterrado del Engaku-kyo, sutra de la Perfecta Iluminación, hecho que dio nombre al templo.
La forma actual del templo se debe al sacerdote budista Seisetsu, que lo reconstruyó y consolidó hacia el final del período Edo. En el período Meiji, Engaku-ji se convirtió en el principal centro de educación Zen en la región de Kantō; Kosen Roshi y Soyen Shaku fueron abades en este período y Daisetsu Teitaro Suzuki estudió bajo su dirección. Aún se ofrecen cursos de Zazen en el templo.
Los incendios han dañado varios de los edificios en diferentes ocasiones, y las fechas que se ofrecen a continuación se refieren a la construcción de las estructuras en su forma actual. Desde la entrada, los edificios del templo se sitúan a lo largo de una colina arbolada, estando situados los edificios principales en línea recta, al estilo chino; la mezcla de edificios austeros y árboles supone una composición agradable. En total hay 18 templos en el recinto. Entre los edificios y demás monumentos se encuentran:
La puerta principal, San-mon (1783), con caligrafía del Emperador Fushimi;
Un gran salón de Buda, moderno o Butsu-den (1964);
Shari-den, construido en el siglo XVI al estilo de la dinastía Song de China, que se dice que alberga un diente de Buda;
El Butsunichi-an, techado, que es el lugar donde se encuentran enterrados los restos de Hōjō Tokimune;
Ōbai-in, un pequeño templo con tejado que contiene una estatua de Kannon;
Ōgune (1301), la mayor de las campanas de los templos de Kamakura, de más de 2,5 metros de altura.
De todos ellos, Shari-den y Ōgune han sido declarados Tesoros Nacionales de Japón.
Los visitantes deben pagar una entrada de 300 yenes (marzo de 2007) para acceder al recinto.
El fuego ha dañado muchos de los edificios en diferentes ocasiones, y las fechas que se dan a continuación se refieren a la construcción de las estructuras que se ven actualmente. Desde la entrada, los edificios del templo se elevan por una ladera boscosa, con los edificios principales en línea recta al estilo chino; los edificios austeros y los árboles se mezclan en una composición general satisfactoria. Hay en total 18 templos en el sitio.
Engaku-ji - Wikipedia, la enciclopedia libre
Zuirokusan Engaku Kōshō Zenji (瑞鹿山円覚興聖禅寺), or Engaku-ji (円覚寺), is one of the most important Zen Buddhist temple complexes in Japan and is ranked second among Kamakura's Five Mountains. It is situated in the city of Kamakura, in Kanagawa prefecture to the south of Tokyo.
Founded in 1282 (Kamakura period, the temple maintains the classical Chinese Zen monastic design, and both the Shariden and the Great Bell (大鐘, Ogane) are designated National Treasures. Engaku-ji is one of the twenty-two historic sites included in Kamakura's proposal for inclusion in UNESCO's World Heritage Sites.
It is located in Kita-Kamakura, very close to Kita-Kamakura Station on the Yokosuka Line, and indeed the railway tracks cut across the formal entrance to the temple compound, which is by a path beside a pond which is crossed by a small bridge
The temple was founded in 1282 by a Chinese Zen monk Mugaku Sōgen (1226-1286) at the request of the then ruler of Japan, the regent Hōjō Tokimune after he had repelled a Mongolian invasion in the period 1274 to 1281. Tokimune had a long-standing commitment to Zen and the temple was intended to honour those of both sides who died in the war, as well as serving as a centre from which the influence of Zen could be spread. According to the records of the time, when building work started a copy of the Sutra of Perfect Enlightenment (in Japanese, engaku-kyō 円覚経) was dug out of the hillside in a stone chest during the initial building works, giving its name to the temple.
The fortunes of the temple have waxed and waned over the centuries. Its present form is owed to the Zen priest Seisetsu Shucho (1745–1820), also known as Daiyu Kokushi, who reconstructed and consolidated it towards the end of the Edo era. A particularly important year for these reforms and the history of the temple was 1785, the "500th Anniversary of the Foundation". In the Meiji era, Engaku-ji became the chief centre for Zen instruction in the Kantō region; Kosen Roshi and Soyen Shaku were successively abbots in this period, and Daisetz Teitaro Suzuki was a student under them.
Zazen courses are still held in the temple, with open meditations sessions every morning (except for New Year's and early October) and every Saturday afternoon (except for August). There's also a sermon the 2nd and 4th Sunday of the month at 9:00 am, followed by a session of zazen. These activities are held at the main hall (Butsuden), Kojirin and Hojo buildings respectively. A four-day "Summer Lecture Series" is organized yearly in late July.
Fire has damaged many of the buildings at different times, and the dates given below refer to the building of the structures currently seen. From the entrance, the buildings of the temple rise up a wooded hillside, with the major buildings in a straight line in the Chinese style; the austere buildings and the trees blending in a satisfying overall composition. There are altogether 18 temples on the site.
Sanmon
The two-storied main gate, or Sanmon (山門), was rebuilt in 1785, as part of the reconstruction works lead by Seisetsu. A wooden plaque of calligraphic work by the Emperor Fushimi (1265-1317) reads "Engaku Kōshō Zenji". On the upper floor there are statues enshrined of Bodhisattva, the Sixteen Arhats and the Twelve Heavenly Generals. The roof is covered with copper.
It is designated an Important Cultural Property of the Kanagawa Prefecture.
Butsuden
The large modern Butsuden (仏殿) (; main hall;) at the center of the Engaku-ji complex was rebuilt in 1964, after it was destroyed by the Great Kanto Earthquake. The construction of this new building, surrounded by junipers, was made following closely a plan from 1573.
It is dedicated to Hokan Shaka Nyorai (Shakyamuni with a Jeweled Crown), enshrined there, the main object of worship of the temple. This seated statue dates from the late Kamakura period. Statues of Bonten and Taishakuten in the same hall date from 1692. A painting of a dragon in the ceiling was painted by Tadashi Moriya under the supervision of Seison Maeda.
Above the front entrance there is a plaque of calligraphy from Emperor Go-Kogon (1338–74) which reads Daikomyohoden.
Sembutsudo and Kojirin
Sembutsudo (選仏堂) is a thatch-roofed hall for Zen meditation and a sutra repository, built in 1699.
The Kojirin (居士林) is a Zen meditation hall for lay trainees (Koji). Meditation sessions are held here most Sundays, both for first-time participants and for the general public.
Both building stand left of the Butsuden, and are open to the public.
Ogane (National Treasure) and Bentendo
Cast by Mononobe Kunimitsu in August 1301, the Great Bell (大鐘, Ogane) of Engaku-ji is at 2.6 metres tall the largest of all the many temple bells of Kamakura (in fact the largest in Kantō. It was made by order of Hojo Sadatoki (1271-1311), after he confined himself in the Benzaiten shrine in Enoshima.
This bell and the one at Kenchō-ji are the only ones designated National Treasure in that category of crafts in the Kanagawa prefecture (also the only ones from the Kamakura period).
A waniguchi gong from 1540 hangs in the belfry. It designated an Important Cultural Property.
Bentendo (弁天堂) is dedicated to the Benzaiten shrine in Enoshima. According to the legend, the cast of the Ogane successful thanks to the protection of Benzaiten. Once every 60 years a grand ceremony is held between both temples.
Shariden (National Treasure)
The Shariden (舎利殿) (reliquary hall), is a 3×3 hall, single-storied, irimoya style, with a pent roof enclosure, covered with hinoki cypress bark shingles. It is the only building with the designation of National Treasure in the Kanagawa prefecture.
The original structure, built in 1285 by Hōjō Sadatoki (1271-1311), was destroyed by a fire in 1563. The current building was transferred from the Taiheiji convent in Nishi Mikado, but it still dates from the Muromachi period.
The structure is typical of kara-yo (Chinese-style architecture), also called Zenshu-yo (Zen-sect-style), introduced from China in the Kamakura period, with a style close to that of the Song dynasty. It houses what is claimed to be a tooth of Shakyamuni, presented by the Noninji Temple in China to Minamoto no Sanetomo.
There is an admission fee (as of 2017, 300 yen) for visitors to enter the temple complex, and additional similar charges to enter a few of the buildings. Booths selling tourist items are located near the entrance, below the Sanmon, and there are refreshment facilities in the garden of the Shariden and at the platform where the Great Bell is located, from where there are extensive views across the valley to other temple complexes in the Kita-Kamakura neighbourhood, such as Jōchi-ji and Tōkei-ji (another temple of the Engaku-ji school).
Engaku-ji - Wikipedia
Sunset 2013
Set azimuth 270.5 degrees (from North)
Dusk 2047
Low Tide 2134
Height 3.08 Metres
Finally made it onto the island. A combination of the above stats and work commitments defined when I could make the trip.
I know everyone has a slow shutter speed wave on beach shot in their stream but I don't care! I've waited 2 weeks for the right combo of conditions and it paid off. The little patch of sunlight on the water mid shot was the icing. More to come....
View On Black if you dare..
Today, in many countries.
SAY IT WITH FLOWERS?
M-O-T-H-E-R
"M" is for the million things she gave me,
"O" means only that she's growing old,
"T" is for the tears she shed to save me,
"H" is for her heart of purest gold;
"E" is for her eyes, with love-light shining,
"R" means right, and right she'll always be,
Put them all together, they spell "MOTHER,"
A word that means the world to me.
- Howard Johnson
As mother myself, I know what it means, all the love and the heartache, the joys and the tears, the happiness and sadness, the life long commitment, the eternal lifeline no matter what!
It's not easy being a good parent, no schools except the school of life, you often only know you didn't do it quite right when it is too late! It's 10 times harder to correct!
But, when you do get it right, the feeling is magic, you're proud.
It's a prowess!
Happy Mother's day, hope they'll remember you well and not just today but EVERY day, thanx for your visit, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
ISS047e143161 (06/07/2016) --- The entrance to the Bigelow Expandable Activity Module (BEAM) is seen during sensor installation after successful expansion. NASA Astronaut Jeff Williams and the NASA and Bigelow Aerospace teams working at Mission Control Center at NASA's Johnson Space Center spent more than seven hours on operations to fill the BEAM with air to cause it to expand. BEAM is an example of NASA’s increased commitment to partnering with industry to enable the growth of the commercial use of space. The project is co-sponsored by NASA's Advanced Exploration Systems Division and Bigelow Aerospace.
There used to be four... Todd and I chose these two-part, interlocking commitment bands with waves, since we both have this crazy love of water. So it only seemed fitiing that we have our ceremony on the beach in Sarasota, Florida.
We went bike riding a few months ago ( remember the sunglass story? ) and decided to visit our favorite spot called Turning Point Park. There is a long wooden walkway over the water that is perfect for feeding the ducks, swans and turtles which has become one of our favorite thing to stop and do before heading back.
As I was putting the bread bag back into my knapsack, the top part of my ring flew off and started bouncing and rolling in circles over and across the slats. We were both stunned and watched it make several turns, finally hit an edge, jump up and fall perfectly through one of the spaces in the wood.
Now I do have a penchant for losing things, but I told Todd, who was in tears, that at least we'll both always know where it is. Much later he came up with another observation. Since it had waves, maybe it just wanted to go home. I think I like his expanation more than my own.
Happy 14th Anniversary T!
...and here's to many, many more!
xox
This is Todd's version. :-)
To help cover a last minute increase in PVR for commitments at the Ryder Cup, a large number of the local school fleet Olympians were drafted in. Dundee's 16772 seen turning off the M90 heading for the East P&R site at Balado.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
Hello my Friends todays painting is called (Involuntary Commitment) A Involuntary commitment is the practice of using legal means or forms as part of a mental health law to commit a person to a mental hospital, insane asylum or psychiatric ward against their will and/or over their protests, Involuntary Commitment takes place when a person is ordered to be admitted to a hospital or treatment facility in order to prevent harm to that individual or others. The purpose of involuntary commitment is to help a person receive necessary and appropriate mental health and/or substance abuse treatment. In order to be hospitalized against an individual's wishes, the person must be mentally ill or under the influence of drugs or alcohol and dangerous to self or others. A person may act very strangely. displaying abnormal behavior but not be committable. An individual is considered dangerous to self if the person exhibits the following behaviors:
is unable to exercise self-control. judgment and discretion in conducting responsibilities of daily life without care/supervision. or
is unable to satisfy need for nourishment. personal care, medical care. shelter. protection and safety and there is a "reasonable probability" of serious physical debilitation unless adequate treatment is given, or
has attempted or threatened suicide and there is "reasonable probability" of suicide unless treatment is given. or
has mutilated or attempted to mutilate self and there is "reasonable probability" that the person will seriously mutilate self again unless treatment is given,steve
“ He told me he was afraid of commitment with thirteen tattoos on his body."
photoshoot edits of Billy and Mandy in style of a magazine spread hahaha lol.
(I suck, and I went to school for this too lol)
What can I say... I am in love with this Limhwa body...
she is so curvy and healthy(?) looking compared to the supia old body...
but I still love the supia body...
I need to find some time to make her cute dresses... ugh.
The clothes I ordered from Alice's collection came,
and boy, do they fit him like a glove!
He looks perfect in that outfit <3
ANNNNNNNNNNNND the long overdue(?) couple shot Nang been asking for. THERE YA GO!