View allAll Photos Tagged pathos
"His father watched him across the gulf of years and pathos which always must divide a father from his son."
- J.P. Marquand, The Late George Apley
Use this image without my permission is illegal. All Rights Reserved ste.t.©
La meteoropatia, dal greco μετέωρον (meteoron, cosa che è, che avviene in alto) e πάθος (pathos, passione, malattia), è un termine che sta ad indicare un insieme di disturbi psichici e fisici di tipo neurovegetativo che si verificano in determinate condizioni e variazioni del tempo meteorologico.
L'Oratore di questo meeting non conosceva le sette regole di Donovan e la Signora presente in platea come dire … si è lievemente appisolata...
Il maestro dell’oratoria, Cicerone, sarebbe oggi, nell'era digitale, un buon relatore?
Jeremy Donovan suggerisce sette regole per tenere una conferenza convincente e coinvolgente:
1) Sii breve e vai dritto al punto.
2) Utilizza il format del viaggio o dell’anticipazione.
3) Due strutture narrative di base sono vincenti:
quella del viaggio, articolata in tre parti (chiamata all’azione, superamento degli ostacoli, soluzione) ed il format dell’anticipazione, nel quale l’oratore introduce una teoria e poi presenta una serie di casi a supporto.
4) Non usare le slide: “le slide rompono la connessione tra presentatore ed audience”, andrebbero quindi utilizzate solo se documentano i dati meglio di quanto non si farebbe a voce.
5) Fai vivere al pubblico un’ampia gamma di emozioni.
6) Utilizza strategicamente l’umorismo: lo humor spezza la tensione.
7) Sfrutta il potere delle pause: la padronanza nel gestire i silenzi può aggiungere pathos.
Le regole di Donovan, con tutte le differenze del caso, non si discostano poi tanto da quelle che Marco Tullio Cicerone descriveva nel De Oratore: esporre i fatti in modo vivace ed ironico in modo da coinvolgere emotivamente gli ascoltatori suscitando in loro una varietà di emozioni.
"“Il nostro entusiasmo amoroso viene sempre vissuto dagli altri come una manifestazione pericolosa, destabilizzante, che può mettere in crisi i loro schemi e strutture relazionali.”
Aldo Carotenuto- "Eros & Pathos"
Quick shot of my Pathos Tale Pan, Braonán! She got a stand now, but my workshop is a mess so I don't want to share a full view of her, sorry XD
PHOTO NOTE: Minamata tells the true story of how at the end of his long career a seemingly washed up photographer (albeit a truly great one) would find the courage to create his most moving and socially important work. I’ll let you read the blurbs for yourself and recommend you watch the trailer, but this is a film that shows how photography - perhaps more so than any of the other visual arts - still has the power to change the world.
MINAMATA Official Trailer (2021) www.youtube.com/watch?v=WP3pKTssw_E
“Available light is any damn light that is available!” – W. Eugene Smith
If there’s one quote that gets to the essence of Gene Smith as a photographer, than that’s it. Straight to the point, no nonsense, and it’s all about the light. William Eugene Smith was born in Kansas in 1918. At 13 his mother bought him a camera and he never looked back. He is regarded by many as the best photojournalist of the 20th century and "perhaps the single most important American photographer in the development of the editorial photo essay." www.theguardian.com/artanddesign/2017/aug/06/w-eugene-smi...
He was Life Magazine’s greatest ever photographer and also their most troublesome. A notoriously prodigious artist, who when fully engaged in a project became obsessive. The best example of this was in 1955, soon after joining Magnum Photos after being fired by Life Magazine. His assignment was to spend three weeks in Pittsburgh photographing the steel mills. Two years and 13,000 photographs later he gave up the project. But the photographs that have been seen are truly astounding.
He made his name in Life Magazine as a war correspondent. While photographing the battle for Okinawa he was seriously wounded and repatriated to the United States. His war photos are full of real pathos, like the one where American soldiers rescue a dying baby in the fields. As he once said, “What use is having a great depth of field, if there is not an adequate depth of feeling?”
But it would be a mistake to think of Gene Smith as a mere photojournalist. The range of his work is almost unparalleled in the history of photography.
Lovers of music often think of him as the greatest photographer of jazz there ever was. From his Bohemian loft apartment in New York City in 1957, he played host to jazz musicians as legendary as Thelonious Monk, Charlie Mingus, Bill Evans and the emerging genius John Coltrane. Not only did he make nearly 1,500 recordings of these sessions, but he took an estimated 40,000 negatives. press.uchicago.edu/ucp/books/book/chicago/J/bo198266625.html
From the same loft window high above the street he took some legendary street shots – all in black and white because Gene Smith wouldn’t take colour seriously. Smith once said, “In music I still prefer the minor key, and in printing I like the light coming from the dark. I like pictures that surmount the darkness, and many of my photographs are that way. It is the way I see photographically. For practical reasons, I think it looks better in print too.”
The light coming from the dark. It was a technique he was renowned for: Chiaroscuro. Painters have used it for centuries, including Caravaggio.
So when in 1970 Smith’s final great assignment came to him, after years of substance abuse and professional neglect, he used all his immense technical skills to produce work that would change forever the way people thought about the social responsibility of corporations. In the fishing village of Minamata in Japan, people were dying of mercury poisoning from toxic wastes being discarded directly into the sea.
The fishers were catching and eating the highly toxic fish, children were born with gross deformities and people were dying in scenes reminiscent of the post-atomic blasts at Hiroshima and Nagasaki. Smith joined the community and photographed their desperate plight and protests. He also found love again and his heart warmed especially towards the children. But these were not just any photographs one might see in the World News pages. From these dark images there emerged a light of hope, love and true compassion.
I will provide a link for you here to what I consider one of the greatest photographs ever taken (worth ten thousand golden hour sunsets) – possibly Smith’s finest and a true distillation of a life’s work. Only the hard of heart could not shed a tear of empathy at this purest form of a mother’s love that one could ever imagine. It is a modern equivalent of Michelangelo's Pieta. Truly the climax of the movie Minimata.
en.wikipedia.org/wiki/Tomoko_and_Mother_in_the_Bath
This is what photography should be! I’ll leave the final word here to Gene Smith himself:
"A photo is a small voice, at best, but sometimes - just sometimes - one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought."
W. Eugene Smith died of a stroke on October 15, 1978. He wasn’t quite 60.
SOME MORE RESOURCES TO STUDY:
www.magnumphotos.com/photographer/w-eugene-smith/
www.life.com/photographer/w-eugene-smith/
The Genius of W. Eugene Smith
www.youtube.com/watch?v=GjUyOJs69pQ&t=49s
Masters of Photography, W. Eugene Smith
THE WITCHER 3: WILD HUNT
- Reshade 3.0.6 with PATHOS preset, tweaked.
- Console enabler + Console extension
- Ultimate Graphics Option Mod
- Nvidia DSR
- Faststone (Lanczos 3)
The Republic agent tracked down the villain and action was about to commence in the streets of the district capital!
Dark Lord: (With a tad too much pathos in his voice) "I am Darth Ragnagoth the Great! Ruler of this city, the whole planet and the nearby sectors. If you go now, you shall leave this planet unharmed."
General Rox: "In the name of the Republic, surrender your weapons and capitulate. We will put in a good word for you in court. Only 10 or 20 standard years in the ore mines of Delrian..."
Dark Lord: "If you little creatures continue to annoy me, I'll be forced to activate my lightsaber and cut you a little."
General Rox: "Go ahead then, Dark Lord!"
Darth Ragnagoth turned his back to the Republic forces... and... activated his lightsaber!
General Rox: "Sir, it looks like you just put a wooden stick on your lightsaber hilt, no?"
Unfazed by the shenanigans a beggar sat in a corner, asking for alms.
After the imposter and his companions were taken into custody, peace returned and everything went back to normal. As it ever was on the peaceful agriworld of Dagro. Nevertheless, the Dagro people would talk about the Sith Lord who ruled their planet for a long long time in the years to come and eventually the spectacle became part of the local folklore.
[Built for Eurobricks Mysteries Lego Star Wars RPG.]
L’escalier de la rotonde nord-est au Petit Palais à Paris, conçue par Charles Girault lors de l’Exposition universelle de 1900
Au pied de ce dernier, la sculpture de Jean-Baptiste Carpeaux, "Ugolin et ses enfants" conçue aussi pour l’Exposition universelle de 1900.
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Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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L’escalier est un exemple splendide de ferronnerie, avec ses motifs végétaux stylisés, volutes et fleurs raffinées. Il s’inscrit dans un ensemble décoratif en fer forgé du bâtiment, tout en se distinguant par une élégance plus sobre que la grille d’entrée.
Cet escalier est un bel exemple de mariage entre savant ingénierie (béton armé) et raffinement esthétique (ferronnerie).
Architecte : Charles Girault, pour l’Exposition universelle de 1900.
Structure : en béton armé (innovation à l’époque), et montée en spirale pour suivre la forme circulaire de la rotonde .
Décor : banquettes en fer forgé, design Art Nouveau, élégantes et lumineuses, intégrées à l’architecture.
Fonction : accès majestueux aux galeries du premier étage, à la lumière filtrée par des oculi vitrés.
La sculpture « Ugolin et ses enfants » (Ugolino e i suoi figli), œuvre majeure du sculpteur Jean-Baptiste Carpeaux (1827–1875).
Auteur : Jean-Baptiste Carpeaux
Date : modèle en plâtre réalisé entre 1860 et 1862, à Rome
Matériaux :
Plâtre original patiné (Petit Palais)
Marbre (commande officielle de 1867, aujourd’hui au Musée d’Orsay)
Bronzes (exemplaires postérieurs)
Contexte iconographique
La sculpture s’inspire de l’Enfer de Dante (La Divine Comédie, chant XXXIII) :
Ugolino della Gherardesca, comte pisan du XIIIe siècle, accusé de trahison, est enfermé avec ses enfants et petits-enfants par l’archevêque Ruggieri.
Tous meurent de faim dans une tour (dite « tour de la faim »).
Dante suggère qu’Ugolino, dans un ultime geste de désespoir, aurait mangé les cadavres de ses enfants.
Analyse esthétique
1. Composition :
Pyramide humaine : Ugolin est assis, la tête levée, les yeux écarquillés dans une expression de terreur muette.
Ses quatre enfants l’enlacent ou s’effondrent, leurs corps formant un enchevêtrement dramatique et tragique.
2. Expressivité :
Les visages, les mains crispées, les corps amaigris illustrent la souffrance physique et psychologique.
Ugolin n’exprime pas la violence mais l’horreur morale d’un père impuissant.
3. Mouvement & style :
Héritage du baroque (Bernin, Michel-Ange) : tension musculaire, diagonales fortes, dynamisme.
Contraste avec l’académisme froid : Carpeaux privilégie l’émotion brute et la vérité pathétique.
Contexte de création
Réalisée à la Villa Médicis pendant le séjour de Carpeaux comme pensionnaire de l’Académie de France à Rome.
Rejetée par les milieux conservateurs pour son thème macabre et trop expressif.
Appréciée par l’avant-garde comme exemple d’un nouveau réalisme dramatique.
Localisations principales
Petit Palais (Paris) : plâtre original, patiné par Carpeaux lui-même.
Musée d’Orsay (Paris) : version en marbre commandée par l’État (Salon de 1867).
Musée du Louvre : un bronze dans la cour Puget.
D’autres bronzes se trouvent à Valenciennes (musée Carpeaux), à Copenhague, New York (Met), etc.
Interprétations
Une allégorie de la souffrance paternelle, plus qu’un fait historique.
Ugolin devient une figure universelle du désespoir et de la responsabilité morale.
Carpeaux mêle drame intérieur et tension sculpturale, anticipant le pathos de Rodin.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
Foto d'impatto scenico.
Scrutando nella penombra...
Ho notato quest'interessante contrasto cromatico ...
Un passo indietro, due a sx,
ed il gioco è fatto.
Immagine minimalista, a parer mio,
ricca di grande pathos...
Del resto... il luogo... ne era letteralmente intriso.
Sentirse inadaptado, inapropiado, incompetente... en una sociedad enferma como la nuestra probablemente se trate de un síntoma de buena salud.
At Engine Room now!
◊ Autocarriage
◊ Credits
•Mesh & Textures: Paradoxical Mode
•Animations: Mizu
•Photography: Paradoxical Mode
•Model: Vandom Voxel
◊ Style Card
•Head: CATWA Catya
•Body: Maitreya Lara
•Hair: Raven Bell Azren Hair in Gradients
•Skin: INSOL
•Eyes: VoluptasVirtualis Koko Eyes in Sky
•Ears: SWALLOW High Definition Ears
•Makeup: Izzie's Dark Lip Tint
L'etre Judy Eyeshadow
•Blouse & Skirt: Toksik Pathos Blouse & Skirt @ ENGINE ROOM APR 2020
•Gloves: TCoD Lila Gloves
•Belt: The Forge Daerwen Belt in Brown
•Glasses: ContraptioN C-Bridge Pince-nez
•Earrings: Kunglers Finrod Earrings in Sapphire
•Collar: Asteroidbox Aluna Collar
Release Date: 4/20/2020
Version Date: 4/20/2020
Sadly not Jem, the winner of the award for best actress in a leading role that night was Geraldine Pathos (Geraldine Page).
Jem by Integrity Toys
A woman left lonely will soon grow tired of waiting,
She'll do crazy things, yeah, on lonely occasions.
A simple conversation for the new men now and again
Makes a touchy situation when a good face come into your head.
JANIS JOPLIN
livinginsecondlife.blogspot.it/2017/02/life.html
Jeans: *Pathos* Jeans Galaxy1
T-shirt: +FCC+ Truthfully for Truth or Dare
Tattoo: [PinUp] Lillo tattoo for Truth or Dare
Shoes: -KC- IRIS HEELS / MAITREYA, BELLEZA, SLINK, EVE, MESHPROJECT
Pose: Lil'Bug Life for The Gacha Garden
During my search for the grave of Eleanor Rigby, I wandered into a corner, which since my last visit has become overgrown. It adds to the atmosphere of pathos, which I find quite beautiful. This memorial caught my eye, and here it is as I saw it when I pressed the shutter.
St. Peters Parish Church of Woolton.
all-ways--------------and in a way a way to say that The Road is the book that lead me back to the road i never abandoned, on the road where i met the Iliad, a road towards wuthering heights, towards an étranger, away from smelly Paris and Grenouille, a road to ugly ducklings that don't need to be swans, a road to mice and men, to Orlando and the woolf, the wolves and eagles i seek around my camping spot, a shadow line under my heart of darkness, and a light in the trees following a rampant baron that looks like me. Please stop me, not anygod, not anybody, not a drink with Charles, two of them. I love Huckleberry Finn, the fin whale that left his hunter in a bible of all seas, not in Las Vegas, fearing and loathing, infuriating the sound of impossible love, Caddy! Benji! of impossible life in maison Karamazov, uncontainable love in the windmill of pathos, dancing on the feet of Zorba. Back to my little feet, my web in Charlotte’s strings, in a lawn counting numbers and dead dogs at midnight. Or alone onehundred years like a spy in the cold of Berlin, in a desert mirage, the Tartars! the Mermaid! the Steppenwolf! The rime, an ancient mariner told me, an old man mirrored in the sea, of my words in leaves of grass, papermoons, bitten tongues.
nostalgic pathos
.. (sc)analog archival project
..focus of/the male gaze.
©All rights reserved. Do not use without written permission from photographer.
On the path to love, Albert Nostran borrowed a short cut that was to cost him more dearly after than just before. The Big Jiggety humorously yet rigorously plumbs the struggle of a young man full of stars in his eyes also eager to sink his teeth into America and himself.
[Enlarge by double click for detail.]
This collage presents eight gravestones found in the Old Ross Burial Ground on a hill above the historic town. Some of these were most definitely carved by Daniel Herbert, the former convict who earned his freedom by building the Ross Bridge. I have numbered them for reference.
The top row contains stones very likely to be carved by Daniel Herbert.
Number 3: This one is positively identified as a gravestone by Daniel Herbert (Greener and Laird, 1971), so it can act as a stylistic template. It is very touchingly “To the memory of our dear MAMMA”. But no name is inscribed.
Number 4: Simply inscribed JD. It has a Tree of Life motif and seems almost certainly Herbert’s work.
Number 1: Too worn to read. It would seem to date from the 1830s or 40s, but the urn carved into the top of the stone is identical to the actual urn carved by Herbert for his family memorial (see the previous photograph). There are also some stylistic elements to link it with numbers 3 and 8.
Number 2: Very worn near the bottom and dates impossible to read. The lovely floral carving is consistent with the sort of work Herbert loved to do.
Number 5: Has stylistic elements and shape similar to number 3, but the dates are not clear and this is also less likely to be by Herbert.
Number 6: This is interesting and has great pathos and simplicity as a memorial for a three year old child, but unlikely to be Herbert’s work.
Number 7: John Dickinson was the original owner of the Ross Bakery Inn. A free settler from Nottinghamshire, he was granted a publican’s license in 1833, but sadly died in 1836 aged just 39. Obviously Herbert was in Ross at the time, but may have been too busy completing the bridge to carve this. However, the quality of work would suggest an artist of comparable ability. A likely Herbert, but not certain.
Number 8: Philip Maher. Barracks Sergeant and a veteran of the Battle of Waterloo. He died in 1847. Although the dates fit, stylistically it doesn’t seem quite like Herbert’s work (especially the script), even though elements of number 3 can be seen here.
Pallavi Guru Kiran is wife of Gurukiran Shetty, Kannada Film Music Director, Composer and Actor.
"She is my inspiration for all my songs which have a touch of pathos,” he jokes. Without her support, I couldn’t have come this far. She is my biggest critic ." Gurukiran
Perché si fa presto a parlare di commozione, partecipazione al dolore altrui, pathos e tutto il resto.
Poi c'è però la vita, quella vera, brutale e bastarda.
In questo periodo sono andata tre volte in un reparto di chirurgia del Cardarelli e sin dalla prima volta, io e mia sorella che quel giorno era con me, ci imbattemmo in un tipo intorno alla sessantina che doveva togliere un neo. Ci intrattenemmo a chiacchierare perché era strano il fatto che era assolutamente solo prima di un intervento; portava con sé una busta di plastica con dei documenti all'interno e alla domanda scusi ma lei è solo? Come torna a casa dopo? E che fa, io un neo mi devo togliere. E lo vedemmo entrare ed uscire dal reparto per andare in dermatologia, tutto da solo con i calzari della sala operatoria al piede camminare per i vialetti dell'ospedale, perché non avevano capito che neo doveva togliere. Insomma una persona che si faceva notare e che faceva grande simpatia.
Poi nelle volte seguenti c'era sempre, fino a stamattina quando me lo ritrovo davanti con la solita busta di plastica ed un foglio in mano.
Ho ritirato la biopsia volete leggere? Io non tengo assai cultura leggete voi.
Nono fate leggere dentro, noi non capiamo i termini, però sott'occhio leggevo e leggevo parole che mi impressionavano. Che cos'è? Avete letto qualcosa che non vi piace eh? Pur'io. Quel termine displasia nun me piace.
Ma andate dentro e non leggete più niente. Lo guardavo parlare ad un vecchio cellulare e mi rincuorava che non teneva internet ma probabilmente manco lo sapeva che esisteva internet.
Uno scorbutico di mediconzolo lo attendeva ahimè dentro, ho avuto modo di appurare entrando prima di lui.
Io esco dalla stanza, lui entra con la sua busta di plastica da un lato ed il foglio spiegazzato in mano da un altro.
Io scappo via con il cuore in gola verso l'uscita alla ricerca di aria mentre lui entra davanti a me salutandomi con quegli occhi da uomo semplice e speranzoso.
All'aria aperta ho inspirato forte forte come mi ha insegnato la mia maestra di yoga per far uscire tutta l'angoscia e la tristezza.
Non era un cinema, né un reportage sulla salute, né Sanremo ma un reparto di un qualsiasi ospedale.
Olga 5 febbraio 2020