View allAll Photos Tagged enmesh
A galactic brawl. A close encounter with a spiral galaxy. Blue wisps of galaxies. These close-up snapshots of galaxies in the Hubble Ultra Deep Field reveal the drama of galactic life. Almost every panel shows oddball-shaped galaxies engaged in boxing matches with galactic neighbours. In the panel at top, left, three galaxies just below centre are enmeshed in battle, their shapes distorted by the brutal encounter. The panel at top, centre reveals an edge-on spiral galaxy fending off a weirdly shaped blue galaxy. The panel at bottom, right, is littered with close encounters between galaxies that have been shredded by the interactions. These oddball galaxies chronicle a period when the universe was younger and more chaotic. Order and structure were just beginning to emerge. Not all the galaxies are engaged in galactic mayhem. In the panel at top, right, is a majestic spiral galaxy, one of the nearest galaxies in the Ultra Deep Field. This galaxy existed about 1 billion years ago, when the cosmos was 13 billion years old. The smallest, reddest galaxies [the red dots in the panels at top, left and bottom, left] may be among the most distant known, existing when the cosmos was 800 million years old. The galaxies in these panels were plucked from a harvest of nearly 10,000 galaxies in the Ultra Deep Field, the deepest visible-light image of the cosmos. The Ultra Deep Field observations, taken by the Advanced Camera for Surveys, represent a narrow, "deep" view of the cosmos. Peering into the Ultra Deep Field is like looking through a 2.5 metre-long soda straw. In ground-based images, the patch of sky in which the galaxies reside (just one-tenth the diameter of the full Moon) is largely empty. Located in the constellation Fornax, the region is so empty, in fact, that only a handful of stars within the Milky Way galaxy can be seen in the image. In this image, blue and green correspond to colours that can be seen by the human eye, such as hot, young, blue stars and the glow of Sun-like stars in the disks of galaxies. Red represents near-infrared light, which is invisible to the human eye, such as the red glow of dust-enshrouded galaxies. The image required 800 exposures taken over the course of 400 Hubble orbits around Earth. The total amount of exposure time was 11.3 days, taken between Sept. 24, 2003 and Jan. 16, 2004.
Curated by the UTSOA Materials Lab.
Photographed by School of Architecture Visual Resources Collection Photography TA, Panchajanya Gudigar.
It was the night where reality and dream intertwined and being woven into a reminiscent pattern of Old Norse tales. Those sögur were vicinal and yet so remote simultaneously. As I now look back into the phantasy that was narrated from soul, it all gradually faded into a kingdom of cloud castle in vain.Thence I sing a song of Lament, for what I recalled were only the frames of paysage.
Curated by the UTSOA Materials Lab.
Photographed by School of Architecture Visual Resources Collection Photography TA, Panchajanya Gudigar.
Abstract piece developed from a photograph of a fence with enmeshed detritus. Produced on foam-board with graphite, ink and acrylic paint. This picture gave inspiration to later 3d work that focused upon the urban landscape.
A2 size.
I was on a bike ride on my 30th b'day here, taking a tour around the back streets of Paris (like you do) and this was I believe, the Ministry of Culture at 182 Rue Saint-Honoré. It looks like it has been enmeshed in twisted scaffolding, giving the building a rather surreal sci-fi look.
I love the leading lines I carved out in this shot and the feeling of depth and also the fact that the frame seems to cut the scene just so around the elements. I think this one could look big as a poster.
The artistic careers of Ted DeGrazia and Marion Sheret became enmeshed when they were married in 1947. Marion was a sculptor whose style and subject matter remained relatively constant throughout her career. Angels, Madonnas, animals and flowers were her primary subjects, and driftwood, stone, clay, glass, and metal were her preferred mediums. Happy Throwback Thursday!
By Paul Gauguin
French, 1848-1903
1892
Oil on canvas
By 1891 Paul Gauguin had become a leading artist and avant-garde intellectual in France. In that year he sold the contents of his studio and organized a benefit performance to fund his travel to Tahiti, where he remained for two years making sculpture, woodcuts, and paintings. This was the first of two trips he would make to French Polynesia. Gauguin did not find a primitive Eden as he had hoped, but his encounter with the tropical environment, the Tahitian people and their mythology and spiritualism made an immediate and lasting impact on his art.
Any narrative suggested by this painting's title is subsumed in the harmony of forms and non-realist colors that construct the dense landscape. Two figures are enmeshed in the vegetation, their forms sketched in the same pink and orange pigments Gauguin used for leaves of the palm trees above. The artist painted out a larger figure that once stood in the foreground.
Basílica de los Santos Hermanos Mártires, Vicente, Sabina y Cristeta
Portada occidental.
Templo románico con planta de cruz latina, tiene tres naves rematadas en ábsides semicirculares y otra de transepto muy alargada, cimborrio, atrio, dos torres (inacabadas) y cripta.
La portada occidental, protogótica, presenta cinco arquivoltas decoradas con arquillos ciegos con bezantes, elementos vegetales y florones, con una colección de seres monstruosos enredados en una maraña en la última arquivolta. En los laterales aparece un apostolario (10 apóstoles) y Cristo en majestad situado en el parteluz, todos ellos sobre columnas con capiteles decorados con motivos vegetales.
Romanesque church with a Latin cross, has three ships finished off in semicircular apses and a very long transept, dome, atrium, two towers (unfinished) and crypt.
The western front, protogothic, presents five archivolts decorated with blind arches with bezantes, plant elements and rosettes, with a collection of monstrous beings enmeshed in a tangle in the last archivolt. One apostolario (10 apostles) and Christ in Majesty located in the mullion, all on columns with capitals decorated with plant motifs appear on the sides.
January 24, 2009 Glendale Harley-Davidson and National Latino Peace Officers Association’s North Los Angeles County Chapter join forces to prove that despite tragedy, neighborhoods will always bounce back and recover.
Biker culture has always had a distinct style that enmeshes toughness, durability and just plain ROCK 'n' ROLL, baby. Practicality doesn't have to mean boring.
The March hares were cavorting about and actively pursuing one another around the fields though I saw no 'boxing' happening. One of them used a well-worn exit from the fenced field, ducking below a metal gate to avoid struggling through the wire mesh of the fence bounding the field. Such frequently used exits to a field were exploited by the old-time poachers to catch hares. The process involved stretching a fine net across the base of the gate before entering the field knowing that the hare would panic and make straight for the favoured exit only to find itself enmeshed in the net.
"Once again we find ourselves enmeshed in the Holiday Season, that very special time of year when we join with our loved ones in sharing centuries-old traditions such as trying to find a parking space at the mall.
We traditionally do this in my family by driving around the parking lot until we see a shopper emerge from the mall, then we follow her, in very much the same spirit as the Three Wise Men, who 2,010 years ago followed a star, week after week, until it led them to a parking space."
~Dave Barry
Published at www.nakedsunfish.com
Collaboration: "Salty Clue" by The Baron is at www.flickr.com/photos/baronvongeraldo/437570426/ Jukka Pekka's acrylic ptng is at www.flickr.com/photos/textimagepoetry/417909250/in/set-72... I've enmeshed them & titled & embroidered upon.
Here we are at Summit and St. Clair, East Saint, located just across the way from ESL High School's stadium. Long thought/hoped this wall was the screen of an abandoned drive-in, but web searches are showing nothing of the sort. Suppose that a billboard it is/was. Now enmeshed in a forest, its commercial past, in whatever form, is done.
Tomas Saraceno, 'Galaxies Forming along Filaments, like Droplets along the strands of a Spider's Web', 2009, elastic ropes. Featured in the Palazzo dell Esposizioni at the 53rd International Art Exhibition (la Binenale di Venezia) in Venice, Italy in 2009.
Structure-
// enMESHed Pastel Sands Cottage
Kitchen-
// LAQ - Decor
// Second Spaces - Treat Yourself - Snacks - popcorn & chocolate
// Bellarose - Country Blue Draped Table
// Aphrodite New York cheesecake with dome
Hallway-
// *[MeshedUp]*_Vintage Frames*Froggy
Living Room-
// LISP - Anna Sofa + Chairs - New Version
// Fancy Decor: Framed Manuscripts
Webb Bridge, Melbourne, Australia. This is a bridge for pedestrians and cyclists across the Yarra River.
Toro De Osborne is in San Asensio, La Rioja, Spain.
Seen from the coach going from San Sebastian to Haro for a vineyard / winery tour at Bodegas Bilbainas.
From the N-232.
The Osborne bull (Spanish: El Toro de Osborne) is a black silhouetted image of a bull in semi-profile. Erected as either 14-meter-tall (46 ft) or seven-meter-tall (23 ft) billboards, as of July 2022 there are 92 of them installed on hilltops and along roadways throughout much of Spain.
Conceived as an advertising vehicle over 66 years ago, the Osborne bull has given its parent company extraordinary brand recognition around the world. With the passage of time, the Osborne bull has become enmeshed in Spain's cultural identity and is now considered an unofficial national emblem.
Matthew Wong
Canadian, 1984-2019
Somewhere, 2018
Oil on canvas
Somewhere shows Wong's deft use of color and brushstrokes to conjure vivid scenes with sensory and emotional intensity. Here, orange and black brushstrokes coalesce into a lush forest. Upon careful inspection, figures slowly begin to emerge - near a well, atop an animal, hidden between the trees. As in many of Wong's works, these figures blend into the landscape, the distinction between human and nature blurred and enmeshed.
Exhibition: Matthew Wong - The Realm of Appearances
(From Boston MFA label)
Toro de Osborne de Navarrete is in Navarrete, La Rioja, Spain.
Seen from the coach going from San Sebastian to Haro for a vineyard / winery tour at Bodegas Bilbainas.
From the LO-20. Autovía del Camino de Santiago.
The Osborne bull (Spanish: El Toro de Osborne) is a black silhouetted image of a bull in semi-profile. Erected as either 14-meter-tall (46 ft) or seven-meter-tall (23 ft) billboards, as of July 2022 there are 92 of them installed on hilltops and along roadways throughout much of Spain.
Conceived as an advertising vehicle over 66 years ago, the Osborne bull has given its parent company extraordinary brand recognition around the world. With the passage of time, the Osborne bull has become enmeshed in Spain's cultural identity and is now considered an unofficial national emblem.
Enmeshed will be renamed Framework in the very near future. I'm stoked about the rebranding and new store along with a ton of new models to release very soon. All my old stuff will be going on sale as I delve back into learning new mesh and devoting a ton of time to my creations in SL.
Rahul’s bass playing moves smoothly – from melodic enmeshing with vocal and guitar lines to the more standard laying of foundations over which the band soars. His riveting stage presence is an essential part of Indian Ocean’s electrifying live concerts. His vocals have a raw power, an uncompromising edge that emphasizes the folk roots of the band. Rahul also ends up doing most of the talking at live shows. His experiences as an activist/supporter with the Narmada Bachao Andolan and during his four years studying in the US have exposed him to a variety of musical styles from all over India and the world, and have strongly influenced his musical expression.
There was a great serenity about this frame. Derive interpretations at your risk - its viral.
[mild photoshop to increase red in the shadows]
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looking back at the lnternauonal Woman's oav and_. .
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The challenges lacing the women's movement In the countrv .
Two days back was the International Women's Day, a day that symbolizes the more than century old struggles and victories .
of the organised women's movement. Our campus too saw posters, pamphlets and calls for marches in support of the legacy of .
s Day. Crucially this time, it was at a juncture when our hard won institutions like the GSCASH are facing .
the International Women'.
.
attacks from the powers that be. But just as this campus celebrates tts struggles and victories and renews its pledge to fight to defend .
the same, we were also witness to the vulgar performances steeped in patriarchal values in the cultural nights in various hostels on the same day. Probably, many of us who might have joined in the marches yesterday or earlier may even have been in the crowds cheering the performances. All this merely reinforces that desprte the eXistence of hard won institutions like the GSCASH, deeply .
entrenched patriarchal values continue to operate amidst us which many of us may not even be aware of. Our slogans, marches, and .
institutions will be rendered meaningless without a consistent and protracted struggle to transform our consciousness and challenge .
the structures that generate it in the first place. GSCASH came into being through protracted students' movement for a more gender just campus. GSCASH is not an institution handed over to us by the powers that be. It is our organized militant assertion against conscious and unconscious patriarchal values that breed in given oppressive social structure wi.thin us that necessitated the demand for an institution like GSCASH. But if we look at our campus today, the institution of GSCASH has unfortunately replaced the valiant movement that .
's .
should have sustained it. The result is that it has become another bureaucratic body and an easy prey to the administration.
machinations. Not only are several cases registered in GSCASH remaining pending with no action been taken against the perpetrators, but at times the administration has also been able to blatantly shield harrasers. This is particularly visible when it comes to members of faculty, when the administration has even-overturned the recommendations of GSCASH: And it isshameful that even .
's context it is significant that we ~~ so called 'Left/progressive' forces -AlSAISFI -have willingly participated in such shielding. In today.
fight to strengthen GSCASH by making its recommendations binding on the administration. .
Today, when we protest at India Gate to defend the autonomy of institutions l'ike GSCASH in campus spaces and .
workplaces from the politically motivated state intervention, it must not be seen as separate from the struggle against the .
age-old patriarchal values and consciousness. There cannot be any replacement for our militant struggle. GSCASH is the first .
body of its kind inthe entire country, whrch came into being after asustained and protracted movement by the progressive sections of .
,., ' ' .
the student communrty. It was this movement only that also ensured their representation in this body. This was despite the .
unwillingness of the administration which has often shielded sexual offenders, be it within the students, teachers or karmcharis. .
Today through either the Ashok Mathur Review Committee or aseries of recent bills and subsequent alterations, the ruling classes of .
the country intends to render such bodies toothless and snatch away our hard-earned achievements. The same reactionary approach .
is also visible in the manner in which the ruling classes through agovt. ordinance are bypassing the progressiverecommendations of .
a Committee (the Verma Committee) that it itself appointed. All this comes as no surprise. An inherently patriarchal state that rapes .
with impunity to push through its anti-people policies and agendas is trving to safeguard what it was forced to concede in the face of a,..d progressive demands of the woman's mo:Vement in India. The reactionary right-wing RSS-BJP which was-ctamouring .
the mifrtant.:.
for death penalty and lynching of ttre rapists after the 161h December Delhi gang rape case is projecting the mass rapist Narendra .
Modi as its PM candidate, and has even installed the statue of SaJwa Judum leader Kartam Surya involved inraping several adivasi .
women in Chhattisgarh. It is these same powers that are behind the recent attacks on the autonomy of the GSCASH. .
Every issue is a women's issue and no issue is a women's issue alone. Patriarchy and sexual violence do not operate in .
_-isolation but feed into feudal, communal and imperialist interests. The oppression and violence on women are potent weapons in the hands of ruling classes to perpetuate their oppression on the people and preserve the status quo to their interests. Time and -again, the state sponsored violence in Kashmir, North East or Jharkhand, Chattisgarh, Orissa or ruling class's vigilante groups like Salwa Judum make women their target of sexual violence in order to continue their forced domination on the oppressed masses. Thus to overturn this oppressive structure and unjust social relations we must strike at the root of patriarchal social reJations. In the same vein, the struggle of the women as oppressed is part and parcel of revolutionary transformation of the society towards an equal.
,i s right to choose their education, careers, clothes. life style and fife partners across the country in .
just order. The assertion of women'' and imperialist cities, in the forests and countryside is a blow to feudal values, which enmeshes perfectly with comprador classes.
si values in semi colonial semi feudal reality of this country. The fight for fair wages for the woman worker blends into the struggle .
p .
against imperialism. The struggle for the dignity of D~lit women is an integral part of the struggles to annihilate caste and smash .
n .
feudalism. The resistance of tribal women strengthens the fight for their right to jal, jangal and zameen against the corporate MNCs .
s~ looting the country's natural resource, the resoluteness of the Kashmiri and North-East women takes forward their struggle for self .
.
Ul .
struggle of the revolutionary masses of this country to smash patriarchy and free the society from feudal-imperialist stranglehold. .
re .
m1 .
0~ determination. It is in the unity of these struggles waged by women in various context which must be unite.d with the organised .
-.
.
.
Look #274: Only the Snowman Knows
Featuring hunt items from Wicked for the Advent Chase Hunt, Enmeshed Into Christmas Hunt and the Candy Cane Hunt; and hunt items from Dark Passions Koffin Nails for the Candy Cane Hunt.
Blog - shelsstyle.blogspot.com/2016/12/look-274-only-snowman-kno...
When asked to describe humans, Zorg answered: “Well, they live for around 80 years if not struck down sooner by disease or misadventure. They spend their first two decades learning to eat, walk, speak and function within institutions. For those who fail the latter adaptation and are unable to cope not breaking society’s laws, there is an institution known as prison, which along with its allied industry the ‘criminal justice system’ has a generous revolving door policy. For those who do graduate from these learnings, some go straight into paid work, while others delay their entry into paid work by several years’ study. While holding down these paid jobs, they pair off, sometimes multiple times, reproduce, take holidays, celebrate important milestones and anniversaries, and generally enmesh themselves with the economy, health systems and tax regimes of the countries in which they live or are citizens, and if they make it to pension age, they then spend a decade plus or minus several years, being ‘retired’ and unwanted members of society (except for the free child care they provide to the offspring of their direct descendants). They then die, often leaving behind property and complex and unresolved financial affairs for others to have to have to sift through, divide up or dispose of. Throughout all of this, they somehow manage to find small moments of happiness in amongst the long stretches of tedium, hard work, sleep, dreaming, eating and food preparation. Hobbies are sometimes indulged by those lucky enough to still be healthy and dementia-free in their retirement. A certain proportion of humans have ‘religious’ beliefs that involve an ‘afterlife’. None have returned from this mythical ‘afterlife’ to report to the living on whether it is real or just a figment of the human imagination. Strangely enough, some of these ‘religions’ teach that only the members of that religion can enter this ‘afterlife’ and all other deceased humans cannot. Despite the illogicality of multiple ‘religions’ holding this same belief, and in the absence of evidence, their adherents blindly believe this to be the case. A curious bunch, these humans. Despite being apex predators and mastering industrial-scale food production, and having reasonably large brains capable of complex problem-solving, they have proven themselves to be highly irrational animals prone to making the same mistakes over and over, failing to see the folly of their ways and how their very actions are making the planet that they are perfectly adapted to inhabit, uninhabitable. I’ve spent many years amongst these humans, but I still cannot fathom their short-term stupidity.”
Look #274: Only the Snowman Knows
Featuring hunt items from Wicked for the Advent Chase Hunt, Enmeshed Into Christmas Hunt and the Candy Cane Hunt; and hunt items from Dark Passions Koffin Nails for the Candy Cane Hunt.
Blog - shelsstyle.blogspot.com/2016/12/look-274-only-snowman-kno...
Water Color on A3 supreme quality Art Paper
Indian Ocean is a contemporary fusion music band from Delhi, India. Some music critics describe the Indian Ocean music as "Indo-rock fusion with jazz-spiced rhythms that integrates shlokas, sufism, environmentalism, mythology and revolution".
Rahul’s bass playing moves smoothly – from melodic enmeshing with vocal and guitar lines to the more standard laying of foundations over which the band soars. His stage presence is an essential part of Indian Ocean’s live concerts. His vocals have a power and edge that emphasizes the folk roots of the band.
Artist: Tamagna Ghosh@Hami
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