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Musée National de la Préhistoire - Les Eyzies de Tayac
L'homme de Néandertal, son enfant et un spécimen d'homo sapiens.
I'm not entirely sure how many I need for the social tote but any extras can be put to good use I'm sure. These little blocks are so addictive and so not as fiddly as I thought they would be.
Our Daily Challenge ... opposites.
"7 Days of Shooting" "Week #5 - Crossed " "Macro Monday"
Multiply and divide, black and white, purple and yellow, focused and blurred.
She pops into the bathroom
Just after a shower and
She plays with my makeup and creams
Keeps trying to look like me
And goes through the motions
Posing this way and that,
Holding it in,
If it makes you feel better, then knock yourself out
Say hi there to my bad body double
This is my bad body double trouble
Oh no, my bad body double, mmmhm
I've got bad body double trouble, oh.
She's trouble
She's trouble
She's trouble, alright.
Yeah, yeah
Sometimes I manage to lose her
Shake her at a bar, in the gym for five minutes
It feels so good to be back to my own self again
Can get quite confusing.
We look very similar except she's got some grays and
A little extra weight on the sides
And dimply thighs,
I hear that stuff's a bitch to get rid off
(No, no, no, no)
We're having quite an intimate, personal moment (not now)
Could you maybe come at a slightly less awful time? (not now)
She can see I've got someone quite nice here with me
Can't we just be left alone...
I guess that's a no then
Seeing as you're still here
Seeing as you're still here
Here
It's not me, no
It's my bad body double
I got bad body double trouble
Oh no, my bad body double, mmmhm
I've got bad body double trouble, agh.
Bad body double, mmhm.
I've got bad body double trouble
Oh dear, my bad body double.
I got bad body double trouble.
She's trouble
She's trouble
She's trouble, alright.
Yeah, yeah, yeah
She's trouble
She's trouble
She's trouble, alright.
Yeah, yeah, right there.
Can't shake her, Can't shake her, Can't shake her, Can't shake her
Everywhere I go, Everywhere I go, goooo
Can't shake her, Can't shake her, Can't shake her, Can't shake her
Everywhere I go, Everywhere I go, goooo
Say hi there,
To my bad body double
My bad, bad, bad body double.
She's trouble
I can't shake her
And I hate her, I hate her, I hate her, I hate her, I hate her.
She's everywhere I go,
I'm going to get rid
Of you once and for all...
Listening: Bad Body Double - Imogen Heap
Trying to be quirky with maths again
Stagecoach South - 10943 (SN18 KNG) - Route 700 - Alexander Dennis Enviro 400 MMC
Brighton & Hove - 839 (SK67 FKU) - Route 7 - Wright Streetdeck (Daimler)
While admiring the large clusters of Monarch butterflies overhead at the Coronado Butterfly Preserve, one needs to watch one’s step to avoid crushing the odd pair of butterflies obeying the Biblical command.
Seen through the window of the GCR's 101 multiple unit Fowler
0-6-0T no 47406 approaches Quorn with a passenger service.
Place Saint Sulpice, Café de la Mairie. The place, and the café, where Georges Perec wrote his "Tentative d´épuisement d´un lieu", watching how the people and the busses of the line 63 were passing by. I think that I have, all in all, spent several years in this café - yet, I´m not visible in this picture, not even as a ghosting in the glass.
Pentax K-5
DA* 55mm 1.4 SDM
snapseed
Bruce Nauman
Contrapposto Studies I Through VII
The exhibition presents a new work by Bruce Nauman ( American, born 1941). Occupying this gallery and gallery 171, Contrapposto Studies I through VII continues central themes within Nauman’s Fifty-year career: investigating the role of the artist, using the body as a tool and subject for performance, experimenting with video technology, and exploring the material dimension of sound.
At the core of this monumental work is one of the most basic human actions: walking. The artist walks toward and away from the camera, to the left and right, yet he executes this motion in the manner of contrapposto. Translated from Italian as “counterpose,” this pose originated in classical Greek sculpture and sought to heighten the dynamism of representations of the human form by making visible the counterbalance of the figure. Nauman invoked this pose early in his career in Walk with Contrapposto of 1968 ( on view in gallery 179), his seminal hour-long video in which a still camera captured his contrapposto movement as he walked up and down a built corridor.
Here, dressed in jeans and a white shirt that become a contemporary corollary to classical drapery, Nauman redraws this motion, digitally multiplying, fragmenting, inverting, and recombining his figure to choreograph a prodigious processional. Nonetheless, his body remains central, while the orchestration of sound compounds this visual effect: the shuffling of his feet and incidental noises of the studio correspond to the segments of footage as they are edited together. Transforming a simple gesture into a dense network of sound and images, Contrapposto Studies, I through VII ruminates on the history, and possibility, of representation.
Support for this exhibition has been provided by The Pew Charitable Trusts, The Daniel W. Dietrich II Fund for Excellence in Contemporary Art, and by Isabel and Agustin Coppel.
From the Placard: The Philadelphia Museum of Art, PA