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Run, desire, run
This sexual being
Run him like a blade
To and through the heart,
No conscience
One motive:
Cater to the hollow
Screaming feed me here
Fill me up again
Temporarily pacify this hungering
So grow,
Libido throw
Dominoes of indiscretions down
Falling all around in cycles,
In circles
Constantly consuming,
Conquer and devour.
'Cause its time to bring the fire down
Bridle all this indiscretion
Long enough to edify
And permanently fill this hollow
Screaming feed me here
Fill me up again
Temporarily pacifying
Feed me here
Fill me up again
Temporarily pacifying.
- "The Hollow" by A Perfect Circle
So this is the beginning of my new photo project. I've been planning and prepping for it since before my 365 ended, and it's finally coming to fruition. I'm excited.
The series will be photo interpretations of each song on the Mer de Noms album by A Perfect Circle. Mer de Noms refers to a sea of names, and each song is about a different character or characters.
"The Hollow" is a song about sexual desire, and I chose to interpret it as a predator seeking to fulfill his desire.
In the photo:
Matthew Guthrie
Dana Kelley
Joey helped with the creative side to it, and on location he made sure these two were taken care of. He kept giving them jackets because it was RAINING when we did this. They were both fantastic. And Dana really was running around in bare feet the whole time. She's a rockstar. Well, she's also a local singer, so she really is a rockstar. :)
Please enjoy the song and lyrics while taking a look at the photo. And feel free to leave some constructive criticism! I'm looking to learn here, so I would appreciate it.
Thanks, everyone!
are you ready to devour?🎀
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SL URL: maps.secondlife.com/secondlife/Green%20Hollow/236/124/24
Still life photography of worn-out frying pans.
de•vour (d`-vour)
1) To eat up greedily.
2) To destroy, consume, or waste.
3) To take in eagerly.
4) To prey upon voraciously.
i did this fan-art for a fellow website i belong too
this one took a while but i am pretty damn happy about it!
paint, marker and digital barcodes on cardboard
Devouring Hate.
Dannedd Ffwrneisi berffeithrwydd dadleuon ymhelaethu melltithio wedi'i rannu silio cysgodion,
méprisant indéterminée terrifié solitude immortel martelant douleurs haine colères,
cantibus aer cogetur in interitum sitiens inedia rotarum fumus inhabilia montis contemnendum,
محذرا من الإصابات غضب النيران حامل لقب المحبة عويل حروب الإبادة في,
Abdecken Paläste schaudernd Schrecken Rache verletzt Unschuld Glückseligkeit,
τιμωρία αμόνια καρδιές συμπυκνωμένες ουσίες επιθυμίες σκληρά δολοφονίες καύση αρμοδιότητες θανάτους,
накопления искушения поймали слёзы математические глубины закапывали фундаментов рев,
chauffeured simplicities beoefend hardvochtigheid tusschen toovenaressen verboden heksen ketens,
tremor lasciva afluência rostos débeis dispersantes pecadores censurou bocas terremoto,
проклињање Профанације неодољиво смрдљиви ђавола малигнитета одмотавања монструозне пустош беса је,
סמיילינג טענות טיף אויסדרוקן שורש סאַקסעסיוו וואָלופּטואָוסנעסס אַביססעס שעה,
の有罪同情有毒裏切り赦さ大衆のおかげで非難.
Steve.D.Hammond.
Hand pulled, 3 layer print. edition of 6.
Size: 28x36cm (printed surface), 38x48cm (paper size). Hand signed and numbered.
Satan sits in the corner as a composite beast in chains with a fish-like head receiving lost souls through its wide open maw, whilst below his torso bears a second monstrous face, a frequent feature of medieval devils suggesting the seat of their intelligence being misplaced for their lower appetites. His right hand bears a trident-like sceptre.
Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
My last capture of this favorite subject. A bit of this farm equipment is visible on the opposite side. Each visit the hub sinks a bit deeper into the tree trunk
Embrace the sun
... so I won't see its light
Cover It's light
... so I could hide this pain
Take away this pain
... so I could breath again
The Monarch life cycle is a marvelous story! The Monarch butterfly lays its eggs on the Milkweed. The caterpillars hatch and devour the Milkweed plant... almost to the ground. The newly emerging butterflies lay their eggs on the Milkweed, and the cycle begins again.
These two species, Milkweed and Monarch caterpillars, have it all worked out. The Milkweed gets a pruning and rapidly comes back. And the caterpillars get the exact food they need to prepare for life in a cocoon and profound transformation... from larvae to glorious butterfly!
The total time frame for one butterfly's life cycle is about 6-8 weeks... egg, caterpillar, chrysalis, butterfly. It grows in the egg for about 4 days. Then it munches Milkweed as a caterpillar (larvae) for about 2 weeks, shedding its skin and facemask like a crab as it outgrows it. Larvae of the Danaus plexippus can defoliate a milkweed plant in one to two days. Life inside the chrysalis (pupa) lasts about 10 days and its colorful and glorious life as an adult butterfly... a precious 2 to 6 weeks. Most milkweeds contain cardiac glycosides which are stored in the bodies of both the caterpillar and adult butterfly. These poisons are distasteful and emetic to birds and other vertebrate predators. After tasting a Monarch, a predator might associate the bright warning colors of the adult or caterpillar with an unpleasant meal, and avoid Monarchs in the future.
The Monarch butterfly (Danaus plexippus) is a milkweed butterfly (subfamily Danainae), in the family Nymphalidae. It is perhaps the best known of all North American butterflies. Since the 19th century, it has been found in New Zealand, and in Australia since 1871 where it is called the Wanderer. In Europe it is resident in the Canary Islands, the Azores, and Madeira, and is found as an occasional migrant in Western Europe. Its wings feature an easily recognizable orange and black pattern, with a wingspan of 8.9–10.2 centimetres (3½–4 in). (The Viceroy butterfly has a similar size, color, and pattern, but can be distinguished by an extra black stripe across the hind wing.)
Female Monarchs have darker veins on their wings, and the males have a spot called the "androconium" in the center of each hind wing from which pheromones are released. Males are also slightly larger. Monarchs can be found in open areas in all regions of Florida year-round. Florida's Monarchs are unique in that they do not migrate out of the state during the winter (although they are thought to move further south when cold spells approach). In fact, Florida Monarchs are the most active and most visible here during the winter months. It is also thought that Monarchs from the Northeastern U.S. over-winter in Florida. It is presumed that these butterflies do not return to the north in spring, but their children do.
Butterfly Garden by Urban Habitat: Think Beyond the Hedge 646-373-7827
Hand pulled, 2 layer print. edition of 5.
Size: 28x36cm (printed surface), 38x48cm (paper size). Hand signed and numbered.
"I watch you devour me with your eyes first, as if every detail of me were an ancient hunger of yours for me."
Still life photography of worn-out frying pans.
de•vour (d`-vour)
1) To eat up greedily.
2) To destroy, consume, or waste.
3) To take in eagerly.
4) To prey upon voraciously.
Back when the boilers at Letchworth Village devoured coal, this is where it was stored. Coal came in via rail, and hoppers were rolled out upon the trestle to the left and dumped. You can see three distinct unloading positions on the trestle with a forth one filled in by concrete. There was an additional one outside.
This enclosed space apparently is not original to the coal days. This structure appears to have been built after they stopped using coal. What it was used for after the coal era is unknown.
Misericord
Taken inside the Church of All Saints, Bakewell
The is the second church on this site; the first was founded 920, the current building was began in C12th, completing 1220-40.
Love this shot! It flying low towards me and have eye contact with me.
Brahminy Kite (Haliastur indus)
Other common names: Red-backed Kite, White-headed Kite, Maroon-backed Kite, Chestnut-white Kite, Rufous Eagle, Rufous-backed Kite, White and Red Eagle-kite, Red-backed Sea Eagle, White-headed Sea Eagle, White-headed Fish Eagle, Whistling Eagle.
Taxonomy: Haliastur indus (Boddaert) 1783, Pondicherry, India.
Sub-species & Distribution: Sometimes placed within the genus Milvus. It ranges from Pakistan, India, Nepal and Sri Lanka through to S China, Hong Kong, the Philippines, Sula Islands, Thailand, Malaysia, Singapore, the Greater and Lesser Sundas, Wallacea, Moluccas, New Guinea, Bismarck Archipelago, Australia and the Solomon Islands.
The nominate form, indus, more heavily marked with narrow dark stripes, is found in Pakistan, India, Nepal, Sri Lanka and the Andaman Islands to S China, south to Myanmar, N Thailand and C Vietnam. South of the Tenasserim, however, it intergrades with intermedius, and is less heavily streaked than those from the northern parts of its range (Baker 1928, Robinson 1927). Given the great individual variation in the strength of dark shaft-streaks in adults, Wells (1999) considered it better to treat the whole of Malaya as a zone of intergradation between these two races.
Of the four sub-species currently recognised, only one is found in this region:
intermedius Gurney 1865, Java. Found in Thailand, Malaysia, Singapore, the Greater and Lesser Sundas, Sulawesi, the Philippines and Sula Islands. Towards the easternmost parts of this range, the stripes tend to disappear altogether as it grades into the Australian race (Robinson 1927).
Size: Length 18 to 20" (46 to 51 cm). Sexes alike. Females slightly larger than males (Baker 1928).
Description: Head, nape, hind-neck, chin, throat, breast and upper belly white, the feathers with narrow but distinct dark brown to blackish shaft-streaks. Remaining upperparts rich reddish-chestnut, darker on mantle, the feathers sometimes with black quill shafts. Outer six primaries black with varying amounts of chestnut at base, the chestnut basal third of the first primary progressively increasing towards the sixth primary which has the basal half entirely chestnut. Remaining primaries, secondaries and wing coverts chestnut, paler and duller on under-surface of wing. Tail chestnut with narrow pale tips, under-surface of tail pale dull rufous. Lower abdomen, undertail coverts, axillaries and underwing coverts chestnut.
Soft parts: Iris dark brown. Bill dull bluish-horn, paler and yellower at tip, cere dull yellowish. Legs and feet greenish-yellow.
Immature plumages Juveniles have upperparts mainly brown, the secondaries and wing coverts darker with pale buffy-white tips, the tail with pale whitish tip. Head, nape, hind-neck, chin, throat, breast and upper belly pale rufous-brown, with buffy-white shaft stripes and tips, the lores whitish, with brown around the eyes and on ear coverts. Belly and undertail coverts more rufous, with narrow dark streaks, the feathers whitish at the base (Robinson 1927). Outer six primaries blackish with varying amounts of greyish-white at base, the greyish-white basal third of the first primary progressively increasing towards the sixth primary which has the basal half entirely greyish-white. The remaining primaries greyish-white, tinged with greyish-rufous at tip. Axillaries, lesser and median underwing coverts dark blackish-brown, greater underwing coverts dark grey, paler at base.
After fledging, with wear, the dark plumage fades to brown or rusty-brown, the buff markings lightens to cream streaks. Later, after a body moult, the worn and faded juvenile feathers include variable amounts of new whitish and red-brown feathers on the head, body, lesser and median coverts; the forehead and throat more whitish; the crown, face, hind-neck, breast, upper belly and flanks now mottled with cream and pale brown; the back, lower belly, vent and thighs dull chestnut. The flight feathers, wing coverts and tail, not moulted in the first year, now appear faded and worn (Ferguson-Lees & Christie 2001). In flight, the greyish-white on the primaries appears almost white.
Similar species: The White-bellied Fish Eagle Haliaeetus leucogaster, a very much larger bird, can be recognised by its wedge-shaped white-tipped tail, its black primaries and secondaries contrasting with white underwing coverts and white underparts. Brahminy Kites have dark chestnut underwing coverts, rounded chestnut tail and chestnut wings, only the wing tips being black.
Immature Brahminy Kites can be separated by their smaller size, dark brown to chestnut lower belly, thighs and vent, and rounded tail. The similar Black Kite Milvus migrans has its tail forked, not rounded.
Status, Habitat & Behaviour: A common resident throughout Singapore (Wang & Hails 2007), it is most frequently found near water, along the sea coast by fishing villages and islands, near rivers, marshes, mangrove mudflats, lakes and rice fields. They habitually feed around large harbours and ports.
Though it can be seen by mouths of large rivers or in open country, over inland marshes and rice fields, it normally avoids dry areas, dense forests and jungles. However, it does hunt over the forest canopy, and travel up into the interior along large rivers. In Sarawak, it is found in Bario, at 1100 m, hawking over padi fields, or perched high up on dead trees overlooking forest clearings and rivers.
It occurs singly, in pairs, or in small groups, and is seen circling over coastal or riverine towns and fishing villages. In India, it is very tame and fearless, freely scavenging close to human habitation (Jerdon 1862) but, inland, it is often a shy bird (Whistler 1949).
Essentially a scavenger and an opportunistic feeder, it shows great versatility in its hunt for food. Along the coastline and in open country, it soars high over its territory in search of prey or quarters the area at lower heights, sometimes perching prominently on trees, utility posts or on the roofs of houses and, in harbours, on derricks alongside the docks or the masts of ships. Its flight is effortless and graceful.
It swoops down in long gliding or diving flight to pick food off the surface in its claws, the legs held rigid and, sometimes, even splashes into the water, riding high on the waves, and taking off again without effort (Ali & Ripley 1968). Unlike White-bellied Fish Eagles Haliaeetus leucogaster or Ospreys Pandion haliaetus, it does not pursue fish travelling in shoals (Robinson 1927). It has been seen taking fish up to one pound in weight (Smythies 1968). Small prey items are devoured in flight (see Willis 2008). With larger catches, the bird sits on the ground, on padi field bunds or perches high up a tree (Jerdon 1862).
Adults are sedentary and do not migrate. Immature birds usually disperse from the parental territory.
Food: In large cities and towns, it frequently feeds on garbage thrown out in the streets and roads. On large rivers or lakes, it picks fish, prawns or water insects off the water and, in wooded country, it takes mice, shrews, young birds, and insects such as large cicadas or locusts (Jerdon 1862). Inland, it eats crustacea, frogs and shellfish taken in padi fields, an occasional young chicken or duckling from villages (Robinson 1927), as well as lizards, snakes and swarming termites taken on the wing (Salim Ali 1941).
In large harbours, it is a scavenger, any refuse thrown overboard from ships being instantly picked up off the water (Oates 1895). Near fishing villages, it can be seen taking fish from the sea and beaches even as fishing nets are being emptied (Robinson 1927), feeding on discarded fish and fish offal, often swooping down to steal fish within a few feet of a fisherman (Baker 1928) and, when in hot pursuit of gulls, crows and kites to rob them of food, shows some considerable turn of speed (Jerdon 1862). It is equally adept, when served in like manner, in evading predators, sometimes unsuccessfully (Lee 2007).
Voice and Calls: The cry is a peculiar squealing sound, uttered on the wing (Oates 1895), a shrill mew, like that of a kitten, uttered on the wing or when fighting for food with others of its kind (Robinson 1927).
Breeding: In Singapore, breeding was first recorded in 1949, with current records of nest building from January to March and October to December, brooding in March, and nestlings in February, March, May and June (Wang & Hails 2007). In West Malaysia, eggs were found from December to March, nestlings from April to May (Robinson & Chasen 1939).
The nest, a loosely constructed structure of coarse twigs and sticks, is usually placed not less than 12 to 15 m above ground, generally near the top of a tall tree in the mangroves, the eggs being laid on a pad of dried clay (Robinson & Chasen 1939). A nest was found on a flat-topped electricity pylon, and also on Tembusu Fagraea fragrans trees (Wells 1999).
In India, where they breed from December to March, nests were found usually in the neighbourhood of water, along the coasts on coconut palms and casuarina trees (Salim Ali 1941), on trees in the middle of a fishing village and on the roofs of houses (Baker 1928). The nests were large loose structures, 46 to 61 cm in diameter and 8 to 12 cm in depth, the central depression for the eggs sometimes unlined, sometimes lined with a few green leaves but, more commonly, the inner part of the nest included pieces of rag, wool and human hair, and was sometimes lined with mud (Hume 1890).
They lay two dirty-white eggs, lightly marked with rusty reddish-brown, sometimes without markings, the average size of twenty eggs being 52.8 x 41.1 mm (Robinson 1927). Both sexes share duties in building the nest and feeding the young. The birds were prone to deserting the nest on the slightest provocation (Hume 1890). Incubation, done mostly by the female, takes about 26 or 35 days. Young hatchlings are covered in white down, take 40 to 56 days to fledge, and remain dependent on their parents for another two months (Ferguson-Lees & Christie 2001).
Moult: Very little information is available about its moult strategy. Like many small Accipitrids, it probably undertakes complete wing and tail moult every year. According to Wells (1999), replacement of inner primaries is regular and descendent, with evidence of mid-wing suspension or precocious moult of the wing tip, P5 to P10 often newer than P1 to P4.
Miscellaneous: The name of Brahminy Kite given to it in India because the bird is considered sacred to Vishnu, a Hindu deity. The word, Brahmin, refers to a Hindu priestly caste. Its Muslim name, Rumuharik or lucky face, arises from a belief that when two armies are about to engage, the appearance of this bird over either party foretold victory to that side (Jerdon 1862).
[Credit: singaporebirds.net/]
All in Indonesia fear the almighty Devourer dari bus.This komodo dragon has swallowed over 200 buses.
First manip in a long time. Not the Greatest. Whatever.
Abby Kroke Photography ©
Do not use my work without my permission on any website, blog, or for personal use.
War in Europe devours souls, leaving scars unseen. It weighs heavily on young women and girls, their minds racing, searching for escape routes in a world growing darker. Ominous clouds gather over their lives, casting long shadows over dreams once filled with light. It is a sorrowful truth that yet another generation—like those before them in the Cold War—must be stripped of the carefree, bright, and joyous youth they were meant to have.
The Vanishing Dawn
They were meant to dance in golden light,
to chase the winds with laughter bright.
Yet war carves silence through their days,
a shadow weaving through their ways.
Soft hands that once traced petals’ bloom,
now clutch at futures wrapped in gloom.
Their whispered dreams, like birds, take flight,
yet falter in the endless night.
No letters penned in moonlit grace,
no love unshaken, no embrace.
Only the weight of echoes deep—
a stolen youth, a loss they keep.
They gaze upon a cloud-draped sky,
where hope still flickers, yet runs dry.
And though their voices press the dark,
the world forgets their quiet mark.
Three Haikus
War drinks tender youth,
stealing light from dreaming eyes,
leaving ghosts behind.
Midnight skies grow fierce,
carrying the weight of fear—
dawn is far away.
Laughter fades to dust,
shadows gather in their place,
songs left unfinished.