View allAll Photos Tagged pathos
In a Lake District graveyard (Again I forget which.) It's so full of sadness.
Fuji Sensia film. Nikon F2
DSC05549-HDR_Lr9
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.
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
!=ASR= Sophia aeon Head Archetyp
=ASR= Sophia Pathos Body
+HILU+DEKARIBON 2way
..::( siratama )::.. Glass Clogs
NO.MATCH_NO_EVIL (busty)
Void - Music Box ( Drown )
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
The palace reliefs were fixed to the walls of royal palaces forming continuous strips along the walls of large halls. The style apparently began after about 879 BC, when Ashurnasirpal II moved the capital to Nimrud, near modern Mosul in northern Iraq. Thereafter, new royal palaces, of which there was typically one per reign, were extensively decorated in this way for the roughly 250 years until the end of the Assyrian Empire. There was subtle stylistic development, but a very large degree of continuity in subjects and treatment.
Compositions are arranged on slabs, or orthostats, typically about 7 feet high, using between one and three horizontal registers of images, with scenes generally reading from left to right. The sculptures are often accompanied with inscriptions in cuneiform script, explaining the action or giving the name and extravagant titles of the king. Heads and legs are shown in profile, but torsos in a front or three-quarters view, as in earlier Mesopotamian art. Eyes are also largely shown frontally. Some panels show only a few figures at close to life-size, such scenes usually including the king and other courtiers, but depictions of military campaigns include dozens of small figures, as well as many animals and attempts at showing landscape settings.
Campaigns focus on the progress of the army, including the fording of rivers, and usually culminates in the siege of a city, followed by the surrender and paying of tribute, and the return of the army home. A full and characteristic set shows the campaign leading up to the siege of Lachish in 701; it is the "finest" from the reign of Sennacherib, from his palace at Nineveh and now in the British Museum. Ernst Gombrich observed that none of the many casualties ever come from the Assyrian side. Another famous sequence there shows the Lion Hunt of Ashurbanipal, in fact the staged and ritualized killing by King Ashurbanipal of lions already captured and released into an arena, from the North Palace at Nineveh. The realism of the lions has always been praised, and the scenes are often regarded as "the supreme masterpieces of Assyrian art", although the pathos modern viewers tend to feel was perhaps not part of the Assyrian response.
There are many reliefs of minor supernatural beings, called by such terms as "winged genie", but the major Assyrian deities are only represented by symbols. The "genies" often perform a gesture of purification, fertilization or blessing with a bucket and cone; the meaning of this remains unclear., Especially on larger figures, details and patterns on areas such as costumes, hair and beards, tree trunks and leaves, and the like, are very meticulously carved. More important figures are often shown larger than others, and in landscapes more distant elements are shown higher up, but not smaller than, those in the foreground, though some scenes have been interpreted as using scale to indicate distance. Other scenes seem to repeat a figure in a succession of different moments, performing the same action, most famously a charging lion. But these were apparently experiments that remain unusual.
The king is often shown in narrative scenes, and also as a large standing figure in a few prominent places, generally attended by winged genies. A composition repeated twice in what is traditionally called the "throne-room" (though perhaps it was not) of Ashurbanipal's palace at Nimrud shows a "Sacred Tree" or "Tree of Life" flanked by two figures of the king, with winged genies using the bucket and cone behind him. Above the tree one of the major gods, perhaps Ashur the chief god, leans out of a winged disc, relatively small in scale. Such scenes are shown elsewhere on the robe of the king, no doubt reflecting embroidery on the real costumes, and the major gods are normally shown in discs or purely as symbols hovering in the air. Elsewhere the tree is often attended to by genies.
Women are relatively rarely shown, and then usually as prisoners or refugees; an exception is a "picnic" scene showing Ashurbanipal with his queen. The many beardless royal attendants can probably be assumed to be eunuchs, who ran much of the administration of the empire, unless they also have the shaved heads and very tall hats of priests. Kings are often accompanied by several courtiers, the closest to the king probably often being the appointed heir, who was not necessarily the oldest son.
The enormous scales of the palace schemes allowed narratives to be shown at an unprecedentedly expansive pace, making the sequence of events clear and allowing richly detailed depictions of the activities of large numbers of figures, not to be paralleled until the Roman narrative column reliefs of the Column of Trajan and Column of Marcus Aurelius.
"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.
"Dolor" by Theodore Roethke
I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplication of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.
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"
Dimitra Milaiou's participation in "Έρως-Πάθος-Πόθος" exhibition.
In Art Kolonaki (Λυκαβηττού 20).
Mέχρι και 17/2.Προλαβαίνετε!
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
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)
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
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.
________________________________________________________________________________________________________
Website : GALERIE JUGUET
© All rights reserved ®
Website : MÉMOIRE DES PIERRES
© All rights reserved ®
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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.
Sentirse inadaptado, inapropiado, incompetente... en una sociedad enferma como la nuestra probablemente se trate de un síntoma de buena salud.
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.
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
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
Cerro de Monserrate - Basilica Santuario del Señor Caído de Monserrate.
Un primo piano ravvicinato e laterale della celebre statua del Señor Caído de Monserrate.
- La raffigurazione:
L'opera rappresenta Gesù Cristo stremato, colto nel momento in cui cade a terra sotto il peso della croce lungo la salita verso il Calvario, subito dopo la flagellazione.
- L'anatomia e il pathos:
La scultura si distingue per il forte realismo drammatico tipico del barocco coloniale.
Si notano chiaramente le costole pronunciate, la schiena inarcata e ferita dalle sferzate, e le gocce di sangue che solcano la pelle scura.
- Elementi sacri e ornamenti:
• Sulla testa spiccano la corona di spine intrecciata in oro o metallo prezioso e le tre potenze (i tre raggi di luce metallici che partono dal capo), classico simbolo della divinità di Cristo nell'iconografia ispanica.
• Indossa una veste corta color verde finemente drappeggiata attorno alla vita, legata da una corda dorata.
• I capelli che scendono sul volto sono realizzati con capelli veri (una parrucca curata e sostituita periodicamente), elemento che accentua l'aspetto realistico e drammatico della figura.
- Il basamento:
La scultura poggia su una sontuosa portantina in legno intagliato e ricoperto di foglia d'oro, decorata con motivi vegetali e grappoli d'uva, che simboleggiano il vino eucaristico.
- Autore e origine:
La statua è un capolavoro di arte coloniale scolpito nel 1656 dal maestro d'arte locale Pedro de Lugo Albarracín.
Fu realizzata principalmente in legno e metallo fuso.
- Importanza religiosa:
È il fulcro spirituale di Bogotá e uno dei principali luoghi di pellegrinaggio di tutta la Colombia.
Milioni di fedeli salgono ogni anno sul monte per chiederle miracoli, sciogliere voti o pregare (molti compiono la salita a piedi o addirittura in ginocchio).
- I miti popolari:
Attorno a questa scultura sono nate nei secoli diverse leggende radicate nella cultura bogotana.
La tradizione popolare narra che ai capelli della statua continui a crescere la chioma e che il corpo diventi incredibilmente pesante, quasi impossibile da sollevare, ogni volta che si tenta di portarla via dal santuario per trasferirla giù in città senza un motivo di grave necessità.
Nella storia, la statua è stata infatti spostata e fatta scendere a Bogotá soltanto in pochissime occasioni eccezionali (per esempio durante epidemie, gravi siccità o la recente pandemia).
Cerro de Monserrate – Sanctuary Basilica of the Fallen Lord of Monserrate (Señor Caído de Monserrate).
A close-up, side-angle view of the renowned statue of the Fallen Lord of Monserrate.
- The Depiction:
The work portrays an exhausted Jesus Christ at the moment He falls to the ground under the weight of the cross during the ascent to Calvary, shortly after the scourging.
- Anatomy and Pathos:
The sculpture is distinguished by the intense, dramatic realism characteristic of the colonial Baroque style.
Clearly visible are the prominent ribs, the arched back—scarred by lashes—and droplets of blood tracing paths across the dark-toned skin.
- Sacred Elements and Ornaments:
• On His head, one can see a crown of thorns—fashioned from gold or a precious metal—along with the *tres potencias* (three metallic rays of light emanating from the head), a classic symbol of Christ’s divinity in Hispanic iconography.
• He wears a short, green-colored garment, finely draped around His waist and secured by a golden cord.
• The hair falling over His face is made of real human hair—a wig that is carefully maintained and periodically replaced—which further enhances the figure’s realistic and dramatic appearance.
- The Base:
The sculpture rests upon a sumptuous *andas* (processional platform) made of carved wood covered in gold leaf, adorned with botanical motifs and clusters of grapes, which symbolize the Eucharistic wine.
- Creator and Origin:
The statue is a masterpiece of colonial art, carved in 1656 by the local master artist Pedro de Lugo Albarracín.
It was crafted primarily from wood and cast metal. - Religious significance:
It serves as the spiritual hub of Bogotá and is one of the primary pilgrimage sites in all of Colombia.
Every year, millions of the faithful ascend the mountain to seek miracles, fulfill vows, or offer prayers—many making the climb on foot, or even on their knees.
- Popular myths:
Over the centuries, various legends rooted in the culture of Bogotá have grown up around this sculpture.
According to popular tradition, the statue’s hair continues to grow, and its body becomes incredibly heavy—nearly impossible to lift—whenever an attempt is made to remove it from the sanctuary and take it down to the city without a truly urgent reason.
In fact, throughout history, the statue has been moved and brought down to Bogotá on only a few exceptional occasions (such as during epidemics, severe droughts, or the recent pandemic).
IMG20260208100831M
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.