View allAll Photos Tagged hunger
Now I'm not much of a reader, but I'll admit that The Hunger Games is a great book! Having only just read it, I'm now waiting to read the next two. Plus there's a movie being released...
Anyway, I'm thinking that my next build could be themed around The Hunger Games, maybe? This minifig' I just threw together for Katniss...obviously I'm going to paint the bow silver and probably change the torso and maybe the head/and hair. In fact, when I have more time I'll redo her :P
Don't expect anything soon though, college starts tomorrow so my months of doing basically nothing are over :'(
Hunger strike memorial adjacent to the A1 Newry Bypass outside Newry, County Down, Northern Ireland.
The Poet and the Painter casting shadows on the water
as the sun plays on the infantry returning from the sea.
The do-er and the thinker: no allowance for the other
as the failing light illuminates the mercenary's creed.
The home fire burning: the kettle almost boiling
but the master of the house is far away.
The horses stamping, their warm breath clouding
in the sharp and frosty morning of the day.
And the poet lifts his pen while the soldier sheaths his sword.
And the youngest of the family is moving with authority.
Building castles by the sea, he dares the tardy tide to wash them all aside.
'Thick as a Brick' - Ian Anderson
Kuwait - Almobarakeya Market
Remember when we were young buying candy from a candy shop and having a thought in our little minds of getting our own candy shop when we grow up and eat as much candy as we like ?
we'll this guy's dream came true
having his own vegetables and fruits shop
and eat as much he want when ever he want ,,,, maybe he likes fruits when he was young .. good boy !!
But I dont know why is he looking at me this way !!
maybe he didn't want anyone to get his food !!
Camera: Nikon D3
Lens: Nikkor 70-200 2.8 VR
Exposure: 0.01 sec (1/100)
Aperture: f/3.2
Focal Length: 180 mm
ISO Speed: 800
Exposure Bias: -1/3 EV
Outside the pagode we are confronted with a other side of Myanmar
“The day hunger is eradicated from the earth, there will be the greatest spiritual explosion the world has ever known. Humanity cannot imagine the joy that will burst into the world on the day of that great revolution.”
- Federico Garcia Lorca, Spanish poet and dramatist (1889-1938)
This is my submission for Hunger magazine's contest.
Please vote for me! I would love you forever haha
www.talenthouse.com/creativeinvites/preview/a832623c1bb19...
The Darkness is deep the hunger is like a beast... Its time to feed, the past is dead, love is a fairy tail, the heart has died beaten to hell, but now you feel nothing so its hard to tell. All there is left is what you have become left by an uncaring one.
I saw these while in New York last week. I was hoping they'd have made their way to Louisiana when I got back.
English rock outfit Alt-J — named for the delta symbol that appears when pressing “Alt” and “J” on a Mac keyboard — deliver eccentric indie rock that experiments with rhythm, song structure, percussion, and space. Following the 2012 release of their critically acclaimed, award-winning debut, An Awesome Wave, they expanded their scope with 2014′s This Is All Yours and 2017′s Relaxer. First formed in 2008 under the moniker FILMS, the founding quartet — all of whom met at Leeds University — spent two years rehearsing before inking a deal with Infectious Records in 2011. Their signature blend of layered, folk-inflected dub pop and soaring alternative rock was first heard on the 2012 singles “Matilda” and “Fitzpleasure,” with the group’s full-length studio debut, An Awesome Wave, arriving later that year. The album would eventually go on to earn the prestigious Mercury Prize, alongside three Brit Award nominations. They soon became mainstays on the U.K. and European festival circuit, expanding outward with tours in the U.S. and Australia as well. The band’s increasing success and heavy touring schedule eventually led to the amicable departure of bassist Gwil Sainsbury at the end of 2013. The remaining trio of singer/guitarist Joe Newman, keyboardist Gus Unger-Hamilton, and drummer Thom Green continued undeterred, and their sophomore record, This Is All Yours, was issued in the autumn of 2014. Critically well-received, This Is All Yours debuted at number one in the U.K. and fared similarly well in Europe and the U.S., where they earned their first Grammy nomination. In early 2017, Alt-J issued a trio of singles, “3WW,” “In Cold Blood,” and “Adeline,” in anticipation of the release of their third studio long-player, Relaxer, which dropped later that June. While not quite as successful as its predecessor, the album sold well and earned them a second Mercury Prize nomination. In 2018 they released a remix album, Reduxer, which featured a selection of tracks from Relaxer reworked in conjunction with a raft of hip-hop artists including Danny Brown, Little Simz, and Pusha T. ~ Timothy Monger
A crab spider looking longingly at another crab spider's feast on the cool evening of Sept 30th, when most of the flowers are gone and many prey are already deceased.
It looks a lot like this Northern Crab Spider (Mecaphesa asperata) on bugguide: bugguide.net/node/view/629388/bgpage
Found by the bike trail in Cedar Rapids, Iowa.
My #77 spider this year.
On our last vacation, I was lucky enough to immerse myself in the Scottish Cospley scene for about two hours. A fantastic experience. Thank you for your patience. More photos will follow on FLICKR soon.
People who've been following my stream for a while will have seen the sister image of this one. I don't know how I missed this one earlier, but came by it today while organizing my files. The sister image I processed using some funky experimental effects. I left this one as is and did it all natural.
I'm actually extremely influenced to go all natural with little or not effects (cross processing, warming effects, muted looks, yellowed looks etc etc) after going throught boston Globe's "The big Picture" section. Those who haven't seen it should check it out. They collect the best press photos from different sources of worldwide events occuring/affecting us right now, and the quality of the images is mindblowing.
Hope you guys are having a great weekend so far. Happy Independence Day to all my fellow Indian peeps!
At this point, the hunger artist endured everything. His head lay on his chest - - it was as if it had inexplicably rolled around and just stopped there - - his body was arched back, his legs, in an impulse of self - preservation, pressed themselves together at the knees, but scraped the ground, as if they were not really on the floor but were looking for the real ground, and the entire weight of his body, admittedly very small, lay against one of the women, who appealed for help with flustered breath, for she had not imagined her post of honour would be like this, and then stretched her neck as far as possible, to keep her face from the least contact with the hunger artist, but then, when she couldn’t manage this and her more fortunate companion didn’t come to her assistance but trembled and remained content to hold in front of her the hunger artist’s hand, that small bundle of knuckles, she broke into tears, to the delighted laughter of the auditorium, and had to be relieved by an attendant who had been standing ready for some time. - Franz Kafka
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Untitled (Hunger 7), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
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* Model Mayhem # 3763448