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Pathos Discourse.
Iintsholongiselo zintsingiselo eziyinyaniso ezibalulekileyo iimfundiso ezibalulekileyo ezenza iingcamango zokugxekwa ngabantwana abangenandaba nabantwana,
την καθιέρωση αντίθετων απόψεων απομίμηση κριτικών που μετρούν τις ανησυχίες αναψυχής αναπαριστώντας την ευθύνη χωρίς νόημα μέτρα ακατάλληλες σκέψεις εξωφρενικά μαθήματα,
වෙනස් නොකළ චාංජනක ප්රාන්තවල කථාව පිළිබඳ දේවධර්මවාදී සීමාවන් නිරීක්ෂණය කළ නොහැකි මිථ්යා විශ්වාසයන් නොසලකා හැරීම,
punir os versos de sofrimento planos ruinosos reação impia sobre princípios enganando enganos da natureza profundas realidades ignorantes indícios adulterados
اشتباهات وحشتناک کنترل ارواح وحشتناک آینده جهان مضر بی حد و حصر جنون فرمان تبدیل فراموشی صحبت کردن,
有益な推論詩の語り言語軽蔑的な災害は、悪意のある言葉を追い抜く幸運な議論を議論する.
Steve.D.Hammond.
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
19920608DE Unknown man playing known man. I think I have a blind spot. I cannot imagine why anyone would want to be Charlie C. With the exception of the Great Dictator the character is based solely on pathos. Berlin Germany #blackandwhite #90 #charliechaplin #imitator #film #knownknowns&unknownknowns #art #realpeople #reallives #truestories #portraits #b&w #photography #instagram #street www.hughes-photography.eu www.flickr.com/photos/michael_hughes www.hughes.berlin
This tree has been photographed countless times as it overlooks the largest prehistoric ritual enclosure in Ireland.
Its known as the Giant's Ring and we visited it after I photographed poor old Pathos.
Not a lot to be seen as its a huge circular ring surrounded by a 12m earthwork bank.
Off centre, in the ring is a megalithic chamber with passage-tomb affinities, consisting of five orthostats, supporting a tilted capstone.
To the layman, a pile of rocks with a hole in the middle dating about 4000 years.
But I have an extremely vivid imagination and I could just imagine bonfires on top of the earthwork bank, torches held by villagers and the Druids in the centre performing their rituals.
With no written history, it means we will never know what went on here, but we can imagine.
Anyway, Mr. Killen did a terrific version of the tree and tomb www.flickr.com/photos/shanekillen/5348352173/ After seeing his, I thought I had better tart mine up a bit and give it some atmosphere.
NOT that we are competitive!
BETTER ON BLACK
A SPELL WAS CAST AND ITS IN EXPLORE AT NO.38 16TH JANUARY
WHOOOOO HOOOO MADE FRONT PAGE! THANKS TO ARTIGAZO FOR LETTING ME KNOW
"“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"
"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
Sentirse inadaptado, inapropiado, incompetente... en una sociedad enferma como la nuestra probablemente se trate de un síntoma de buena salud.
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.
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.
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.
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
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
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Exposure: 1/20s at f/8. Ter Apel, in the province of Groningen, the Netherlands.
One shot of an early sunset at the border of Holland and Germany.
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)
".we live our inner drama in solitude.
Rilke said that silence is the one proof of love, but it can also indicate the absence of feeling. Observe a couple in whom a rupture has occurred; the lack of life is indicated by the absence of dialogue. It is the silence of a ghost town [...] but the silence that follows abandonment is opaque, empty, without resonance. And here, once again, we must have the courage to admit there is nothing we can do [...] We can invent our story, but that is only its beginning; we can never know how it will end [..] We fall in love and we start something that will soon get beyond our control and takes its own course. Love contains the premises and the promises of eternity, but also the germ of annihilation.
[...]
The abandoned person is a real and a true survivor, a witness to the ruin that has been worked within one's own soul.
We are what we are thanks to what we have been."
. . . . . . . . . . . . . . . . . . . . . . . .
Eros and Pathos, by Aldo Carotenuto.
I finally find it easy to speak about the past, because I have embraced a great deal of who I was, I let my feelings guide me and vocalised my soul. I am finally able to say, thank you.
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.
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
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
nostalgic pathos
.. (sc)analog archival project
..focus of/the male gaze.
©All rights reserved. Do not use without written permission from photographer.
Georges de La Tour, né et baptisé le 14 mars 1593 à Vic-sur-Seille et mort le 30 janvier 1652 à Lunéville, est un peintre lorrain. Artiste au confluent des cultures nordique, italienne et française, contemporain de Jacques Callot et des frères Le Nain, La Tour est un observateur pénétrant de la réalité quotidienne.
Saint Joseph charpentier (vers 1642)
Huile sur Toile
Dimensions : environ 137 × 102 cm
________________________________________________________________________________________________________
Website : GALERIE JUGUET
© All rights reserved ®
Website : MÉMOIRE DES PIERRES
© All rights reserved ®
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Contexte et sujet
L’œuvre s’inspire des évangiles apocryphes, qui relatent des épisodes de l’enfance de Jésus non mentionnés dans les textes canoniques.
On y voit Saint Joseph, charpentier, travaillant à la lumière d’une chandelle tenue par l’enfant Jésus. Cette lumière éclaire la scène d’une clarté à la fois réaliste et spirituelle, symbole de la lumière divine émanant du Christ.
Introduction
Georges de La Tour (1593–1652) est un peintre lorrain du XVIIᵉ siècle, contemporain du classicisme français. Il est célèbre pour ses scènes nocturnes éclairées à la chandelle, où la lumière devient le vecteur d’une profonde spiritualité.
Réalisé vers 1642, Saint Joseph charpentier illustre parfaitement cette dimension intérieure et mystique de son art. Le tableau représente une scène intime entre Joseph, charpentier, et l’enfant Jésus, dans un clair-obscur empreint de silence et de recueillement.
Inspirée des évangiles apocryphes, cette œuvre s’inscrit dans une tradition religieuse tout en la renouvelant par une approche humaine, sobre et lumineuse.
Description
La scène se déroule dans un intérieur sombre, dépouillé de tout décor superflu.
Au centre, Saint Joseph, vieil homme au visage concentré, travaille le bois à l’aide d’une vrille. Son visage et ses mains sont baignés d’une lumière chaude émanant d’une bougie tenue par l’enfant Jésus, debout à ses côtés.
La composition est rigoureusement structurée :
Le faisceau lumineux éclaire les deux figures et laisse le reste dans l’obscurité.
Les tons brun-orangé dominent, renforçant la chaleur du moment.
L’espace est restreint, presque clos, favorisant la proximité émotionnelle entre les personnages.
La lumière joue ici un rôle fondamental : elle ne se contente pas d’éclairer, elle révèle le sens spirituel de la scène.
Interprétation
L’enfant Jésus éclaire son père adoptif : cette inversion symbolique (l’enfant éclaire l’adulte) traduit la divinité du Christ, « lumière du monde ».
La Tour utilise le réalisme quotidien un simple atelier de charpentier pour exprimer un mystère théologique.
Les outils de Joseph rappellent le futur supplice du Christ : le bois évoque déjà la croix. La lumière fragile de la chandelle devient le signe de la présence divine dans la nuit humaine.
Le style de La Tour, épuré et silencieux, exprime une foi intérieure, loin du pathos ou du spectaculaire du baroque italien. On sent une piété domestique, simple et méditative.
Conclusion
Saint Joseph charpentier est une œuvre emblématique du génie de Georges de La Tour :
une peinture d’intimité et de lumière, où le quotidien devient sacré.
À travers un réalisme dépouillé, l’artiste fait émerger une spiritualité lumineuse, profondément humaine.
Cette scène d’apparente simplicité invite le spectateur à la contemplation silencieuse et à la méditation sur la foi, unissant l’art, la lumière et la croyance en un seul élan.
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.
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