View allAll Photos Tagged enmesh
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'.
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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 .
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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 .
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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 .
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.
.
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
All rights reserved © getyourhami
Now we can investigate paradox, and become intimate with a style of explanation that takes rationality in and out ot seemingly endless interconnected loops. Tantric paradox, as a means of communication, is a force that turns intellect itself into experience. To understand paradox, one simply has to be open -- to be able to listen. One has to be able to ask questions which invoke further paradoxes ; and then to listen again. One has to be able to continue this process as an ongoing dialogue with the Lama, until a breakthough happens. This might take days or years.
--Here you will need to read very slowly. You will need to read, and re-read -- but without the frustration that might accompany the reading of difficult material.
--Everything, in its nature, is empty -- everything is also characterised by infinite variety, i.e. multiplicity. This means that we are divided in terms of the multiplicity of things, but undivided (non-dual) in terms of the essence of phenomena. This is because the essence of phenomena is always the same : emptiness. Emptiness is always the same emptiness. This means that the character of our experience is that we are simultaneously divided yet undivided. We are divided yet undivided from non-dual multiplicity.
--This is difficult material, so let us recapitulate : non-dual multiplicity is the nature of reality. Non-dual multiplicity means that the essence of all phenomena is the same -- emptiness. There are no varieties of emptiness -- it is always the same emptiness. Non-dual multiplicity means that although everything, in its nature, is empty -- it is also characterised by infinite variety. We are simultaneously dividedness and undividedness. From this point we can only continue to describe this condition in terms of paradox.
--A further recapitulation : we are divided yet undivided, from non-dual multiplicity. Divided yet undivided, from the non-dual multiplcity which is the nature of reality. From this perspective there are two indistiguishable aspects to be considered -- as if it were possible to distinguish them.
--Now that we have described how emptiness and multiplicity are inseparable, we need to be able to tease these two indistinguishable aspects apart -- in order to understand our own dualistic condition. We need to be able to tease them apart ; but at the same time to understand that this is, in essence, an impossible operation. So, there is both the singular non-duallity of emptiness ; and, the multiplistic appearances of form.
--It is when we construe these forms as existing separately from emptiness that we create the illusion of becoming enmeshed in the impossible process of trying to keep them separate. This is the experience called dualism.
--But how do we become enmeshed? What is this experience of being enmeshed? We become enmeshed, because we take non-dual multiplistic appearances to be separate from non-dual singularity of the emptiness from which they arise. If we cease to identify with the singularity of the non-dual ground, and attach to non-dual apprearances, as if they were seprate from it -- we create the illusion of duality.
--The enlightened state as the ground of compassionate communication is not easy to apprehend. Enlightenment communicates with the unlightened state as a natural reflex. The ground of this communication is described as the condition in which there is both non-duality and the appearance of duality. There is non-duality because emptiness and form are indivisible. There is the appearance of duality -- because it seems to be possible to become mistakenly identified with tangible manifestations of the intangible.
--Ngakpa Chogyam with Khandro Dechen / Shambhala Publications
Enmeshed in the late evening cloudscape, power lines march across farmland bisected by the road to Oakville. The number of pylons has doubled in the past year but, apart from the unfortunates in the path of their menacing advance, no one seems to care. The silence is strange, especially when contrasted to the rabid opposition to the eye-catching, hauntingly-beautiful windmills erected in eerie windfarms on the hills a few miles north. However, I don't live close to either, otherwise I'd be a SEBNoM, clamouring for them to be in Someone Else's Backyard, Not Mine . . .
Kathy Stevenson of Fairmount came to see the exhbit because she had been in Ireland "when the country was enmeshed in this."
Ayutthaya Historical Park, Phra Nakhon Si Ayutthaya, Thailand
Ayutthaya city is the capital of Ayutthaya province in Thailand. Located in the valley of the Chao Phraya River, the city was founded in 1350 by King U Thong, who went there to escape a smallpox outbreak in Lop Buri and proclaimed it the capital of his kingdom, often referred to as the Ayutthaya kingdom or Siam. Ayutthaya became the second Siamese capital after Sukhothai. It is estimated that Ayutthaya by the year 1600 CE had a population of about 300,000, with the population perhaps reaching 1,000,000 around 1700 CE, making it one of the world's largest cities at that time, when it was sometimes known as the "Venice of the East".
In 1767, the city was destroyed by the Burmese army, resulting in the collapse of the kingdom. The ruins of the old city are preserved in the Ayutthaya historical park, which is recognised internationally as a UNESCO World Heritage Site. The ruins, characterised by the prang (reliquary towers) and gigantic monasteries, give an idea of the city's past splendour. Modern Ayutthaya was refounded a few kilometres to the east.
Bert Flugelman’s reflective steel Cones has assumed an iconic presence in the National Gallery of Australia’s Sculpture Garden. Stretching more than 20 metres, Cones reveals that Flugelman had the public and the site very much in mind. While on one level the impression is of brilliant clarity and geometry, the whole is energised by the dynamic interaction of forms across the space. They reflect sky, ground and eucalypt trees, and involve the visitor as an active participant in the work, enmeshed temporarily in the flow of constantly changing possibilities.
Started my next Immersive, following Aria. This one is called FlowerDrum and with out being to much of a spoiler I can say it's a journey again, though this time shards of my direct experiences in Asia from being dragged around by my parents as a toddler to exploring on my own volition as an adult. Again a question of the potential conflicts of power enmeshed in femininity . It's at the fear and loathing stage atm but I've sound portfolio of memories & more importantly emotions about this piece , not to mention a few more skills since I created Aria ( though far less prim ~angst~ ) and come Hell or high water I'll get there. I really hope to create something exceptional you can step inside ...... and feel.
may 3 - a walk down the street observing what normally is not seen. Like this grate that covers the mesh behind it; our public personas that cover the private many sides of who we are; the relationship between the two - we are enmeshed, but are we aware of what is enmeshed within us?
These droplets remind me I was three days into the Cradle Mountain Walk in Tasmania. The morning was cool and I was mesmerised by the rhythmic beat of footfall on the boardwalk when I suddenly realised I was enmeshed in a pocket of mist. I couldn’t see the bush that had previously surrounded me and the sun was a muted dull glow overhead. The silence was disquieting as I had stopped to get my bearings. I felt as if I had entered Tolkein’s Murkwood.
It was at that point that I noticed I was covered from head to toe with perfect beads of moisture. Beads the size of pin heads. They covered the backs of my hands, the hairs on my legs, my boot laces. They were as I’ve stated, everywhere. As I was marvelling at the perfection of each water droplet, the sun broke through the mist and for a split second, I sparkled with fairy dust. It was magical. With the touch of the sun the mist of course burnt away and my surroundings returned to normal once again. Being covered with fairy dust has never happened to me again.
A detail of some of the many hundreds of pairs of gannets that breed upon the cliffs of Ireland's Eye, around the stack. Note that one of the Gannets in the bottom right corner of the picture has become enmeshed in plastic twine and hangs dead from the cliff. Green Communities Sea Bird Watching Trip to Ireland's Eye. 4:32 pm, Sunday the 30th of June 2013. Photograph by Brian Foley.
Moving boldly across paintings, assemblages, billboards and installations, Parail is the experimental collaborative platform of Raleigh-based artists Mathew Curran and Derek Toomes. It was started in 2006 by collaborators who first met in 2000 while both were attending UNC Greensboro as students in the Art & Design program. Enmeshed in the life of the city, they became increasingly attune to the “textures” of visual languages migrating from the underground to the urban. The ensuing work has provocatively transformed signature elements of both artists into a hybridized entity that marries influences of street art, graphic design, propaganda posters, guerilla printmaking and the cityscape. Curran abstracts the human face and figure into open-ended studies of emotion, while Toomes subverts the singular language of advertising to deconstruct its tactics and re-route mass communications. At the intersection, Toomes’ interest in Latin American art and the aesthetics of Do-It- Yourself publishing meets Curran’s intense, woodblock-like paintings in work that ripples with raw, yet ambiguous urgency