View allAll Photos Tagged glutation
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
No 1 in the New adventures of Frankenstein series by Donald F Glut. Mews 1977.
From the back cover..."A young scientist, Dr Burt Winslow, investigating rumours of a strange "Ice God" in the Arctic wastes discovers that it is actually Frankenstein's monster which has lain in suspended animation for nearly to centuries."
There is an absolute glut of Kingfisher images flooding the net from paid hides. I dont use them myself but prefer the `old fashioned` way of knowledge, observation and patience as the results are much more rewarding!
Finally got one… although maybe not in the best of circumstances, let’s be honest. A recent glut of former West Midlands Ducatos have recently been made available, likely following the acquisition of new ambulances for the WMAS fleet, and among other sales across the country, a handful appear to have made it locally to the Yorkshire Ambulance Service - kind of like older Ducatos from a few years back. These Ducatos, still bearing a few visible marks from their West Midlands days, can usually be found in Hull as spares or reserves, whatever the designation is, for matchdays at either Craven Park or the MKM Stadium. Usually at Craven Park, these are parked up behind the East Stand and rendered therefore inaccessible, but today was my lucky day. Not so much for the patient in the back of it. Hope they're right.
One of them finally caught on camera, although maybe not in the best circumstances, the Yorkshire Ambulance Service's 'matchday special' 1980, a 2015 Fiat Ducato with O&H Emergency Ambulance bodywork new to the West Midlands Ambulance Service as their 4364, is seen here on a blue light run down a busy Preston Road following a Challenge Cup quarter final match between Hull Kingston Rovers and the Salford Red Devils.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Ya te comenté hace unas semanas que la quinoa es una semilla muy versátil, sin gluten, con un alto poder nutricional y que se ha puesto muy de moda. Se cocina similar al arroz y tiene muchas propiedades muy interesantes. Por eso, a pesar de que hasta hace unos meses no la había usado nunca, poco a poco la estoy incorporando a las recetas semanales en mi casa. Hoy te propongo un sencillo vasito de quinoa, yogur y fruta para el desayuno. Yo lo preparo con la quinoa que me sobra de cocer para otras recetas, pero también se puede cocer en leche, leche de avena o cualquier otro preparado que uses y, si te apetece, puedes aromatizarla con una cáscara de limón y un palito de canela: queda estupendamente.
Receta completa disponible en | Full recipe available at: webos fritos
A big glut of J3 photos coming your way! This was my design for a new city library and affordable homes. Now open! First batch is mostly of the Library and the great concave screen focussed on the Greek Orthodox Church on the opposite side of the road.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
According many Japanese commentators such as Shiba Ryoutaro (1986) the rule of law, and laws themselves, are extremely important in the USA, in places where traditional praxes, ways of doing things may suffice in Japan. Indeed one of the ways in which Japan is now awash with Western culture is that it is being swamped with requirements to manualize everything. Wakamatsu (2007), a former Toyota line manager, argues that the recent glut of written materials (shiryou 資料) can kill efficiency with a lethal dose ([chi]shiryou)死量) of voluminous paper (shiryou 紙量). I think he is right. The recent lack of competitive efficiency of Japanese companies is I believe due to their sinking under mountains of shiryou with western sounding names (po-toforio, adomisshion porishi-, gurajue-shon porishi-), in an attempt to be as linguistically regulated as Western countries.
Despite the fact that the West, or at least the USA, is know as being the land of the "shiryou" Westerners at the same time like to draw attention to some of the places in which Japanese have traditionally been very strict, as in the above image, school student dress regulations. And these regulations certainly are very strict, attempting to define each measurement, each cloth colour, the types of hairstyle that are allowed. So why is it that in this particular area, the Japanese have voluminous regulations?
There are so many regulations on appearance because the Japanese desire to express themselves in their appearance so much, that regulations of this severity are required to prevent them from being outlandish (which somehow the Japanese are also claimed to be).
I do not mean to suggest that Japanese are any more or less collectivistic than Westerners. Elsewhere, however, always the focus is upon collectivism and individualism. The image above is from a paper entitled "The Nail That Came out all the Way," which suggests that Japanese outlandishness is individualistic aberration in the face of ruthless, 'militaristic', collectivism. Many people still hold this impression of Japan. Bearing in mind the way that individualism is valourised in the West, being thought a militantly collectivistic country is, needless to say, not a positive impression.
The truth is that Japanese dress and dress codes are neither outlandishly individualistic nor collectivist to the point of being militaristic, but that the Japanese have a stronger desire to express themselves matri-visually, in their wombimagocentric culture. They care not a toss about daddy and his logos, but they want to look cool at least in large part for mummy, or at least originating in the pleasure of her simulated gaze.
The hairstyle shown above bottom (from Google image search) is called a "wolf cut" which is spiky at the front, with along wolf's mane hanging behind, is certainly pretty noticeable. No wolf cuts is one of the items of the above dress code. That Japanese schools wish to ban wolf-cuts does need to surprise. That British school do not have an explicit ban on the "wolf cut" is more to do with the lack of self-expression in the area, that liberal nature of British school dress codes. Correspondingly there are few hate speech laws, or other curbs on linguistic expression, since, for the most part, the Japanese do not desire to be radical in their speech, but they do have some wild haircuts.
Image top from Thorsten Morimoto, 1996, p206, originally from Sakamoto, 1986.
Image bottom from Google image search "ウルフカット"
Thorsten Morimoto, M. (1996). The Nail That Came Out All the Way. In W. Dissanayake (Ed.), Narratives of agency: Self-making in China, India, and Japan. U of Minnesota Press.
坂本秀夫. (1986). 「校則」の研究―だれのための生徒心得か. 東京: 三一書房.
司馬遼太郎. (1986). アメリカ素描. 読売新聞社.
若松義人. (2007). トヨタの上司は現場で何を伝えているのか. Tōkyō: PHP研究所.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010