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"Your Ethos
Your Pathos
Your Porthos
Your Aramis
Your Brut Cologne
You're writing home
You are hopeless
Your hopelessness
Is rising around you, rising around you
You like it
It gives you something to do
In the day time
Hey buddy, you need a hobby
You are tired of moving forward
You think of the future
And secretly you piddle your pants
The puddle of piddle
Which used to be little
Is rising around you, rising around you
You like it
It gives you something to do
In the night time
Well, you travel to bars
You also go to Winchell's Doughnuts
And hang out with the Highway Patrol
Sometimes you'll go to a pizza place
You go toSharkey's to get that
American kind of pizza
That has the ugly, waxey, fake yellow kind
Of yellow Cheese on the top...
Then you go to Straw Hat Pizza,
To get all of those artificial ingredients
That never belonged on a pizza in the first place
(But the white people really like it...)
Oh well, you'll go anyplace, you'll do anything
Oh you'll give me your underpants
I hope these aren't yours, buddy...
They're very nice, though
You'll go to Santa Monica Boulevard,
You'll go to the Blue Parrot
No problem, you'll go anyplace
You'll do anything
Just so you can hang out with the others
The others just like you
Afraid of the future
(Death Valley Days, straight ahead)
The future is scary
Yes, it sure is
Well, the puddle is rising
It smells like the ocean
A body of water to isolate England
And also Reseda
The oil, in patches
All over Atlantis, Atlantis
You remember Atlantis
Donovan, the guy with the brocade coat,
Used to sing to you about Atlantis
You loved it, you were so involved then
That was back in the days when you used to
Smoke a banana
You would scrape the stuff off the middle
You would smoke it
You even thought you was getting ripped from it
No problem
Ah Atlantis, they could really get down there
The plankton, the krill
The giant underwater pyramid, the squid decor
Excuse me. Todd
The big ol' giant underwater door
The dome, the bubbles, the blue light
Light, light, light, light
Blue light blue light
The seepage, the sewage, the rubbers, the napkins
Your ethos, your pathos
Your flag hole, your port-hole
Your language
You're frightened
Your future
You can't even speak your own fucking language
You can't read it anymore
You can't write it anymore
Your language
The future of your language
Your meat loaf
Don't let your meat loaf
Heh, Heh, Heh
Your Micro-Nanette
Your Brut
Cologne"
[Frank Zappa - The Blue Light]
( . . * * . . &(,)F.A.D.E. .. . . .. . *.* . . * . * * . * ** * * * * * * . .. )
nb..PM!!!**.
** Even'Tide . . Evening . ..
* * The Dwindling of the Year . . The Dwindling Day . . Day's End . . Last Light . . Fading Light . . * * : : : : : * * .
Wabi-Sabi . .. .
Inflatable sex dolls in a swimming pool, Westdene, Johannesburg, South Africa. Gently moving in the current of the swimming pool pump, these dolls had a pathos together which I struggled to capture in these photographs.
#WeirdWinter . !! .
#WinterWatch . .. .
' Pathos . ' .
{ . Wabi*:*Sabi . ?? . }
( #Easter #GoodFriday #HolyWeek #SpringWatchSpecial #Season.s #Spring #Shadow #Silhouette . . unseen..hidden..unknown.. #Renaissance #Garden #Gethsemane .. wooden .. shape .. symbol .. sun .. nail .. #Easter . ! . )
Early..! !.
Logos: "word," "speech" or "reason." In persuasion, it is the logical reasoning behind the author's statements.
Ethos: "moral" and "showing moral character." For speakers and writers, their ethos is made from their credibility, presentation and similarity to their audience.
Pathos: "suffering" and "experience." In rhetoric, this translates to the speaker or writer's ability to evoke emotions and feelings from the audience.
Limited Edition Prints | Blog | Google+
There is no better place to try out infrared photography than a wooded area. We were doing a quick trek through Mariposa Grove in Yosemite when we came across this giant sequoia tree. I wanted to accentuate its huge stature so I got up close to the base and shot up with a wide angle lens. The infrared gives it an extra bit of uniqueness.
I wonder if anyone would notice if I hollowed out the middle and lived inside?
and again I have bought mod at www.flickr.com/photos/shingles_cat/ :D
at my male and female characters became on one pathos dress more))
813 Mil Mi-35P Hind-F/ Panther (023364) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
I do not want to be reflective any more
Envying and despising unreflective things
Finding pathos in dogs and undeveloped handwriting
And young girls doing their hair and all the castles of sand
Flushed, by the children's bedtime, level with the shore.
The tide comes in and goes out again, I do not want
To be always stressing either its flux or its permanence,
I do not want to be a tragic or philosophic chorus
But to keep my eye only on the nearer future
And after that let the sea flow over us.
Come then all of you, come closer, form a circle,
Join hands and make believe that joined
Hands will keep away the wolves of water
Who howl along our coast. And be it assumed
That no one hears them among the talk and laughter.
Instruction # 46: "Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
Humor, pathos, slogans, girls, cartoons, nicknames, hometowns, girls, patriotism, dishing it to the enemy, warriors, girls, youthful bravado, girls...these transcended nationality as both Allies and Axis pilots went to war in their individually marked chariots. Men at war separated from home, family, loved ones and a familiar way of life sought ways to personalize and escape the very harsh business surrounding them. For the most part they thought about women, represented on the sides of aircraft in the most tender of ways to the most degrading. These men spent many hours longing for the tenderness a woman could bring to their lives...and for the sexual pleasure they could provide. Whether top level commanders ordered it off the aircraft or not, the men let their feelings flow onto their machines.
This Art on a Lockheed C-60 Lodestar:
The C-60 is a twin-engine transport based on the Lockheed Model 18 Lodestar. During World War II, the Army Air Forces used the aircraft for training and for transporting personnel and freight. First flown in 1940, the Model 18 was originally designed as a successor to the Lockheed Model 14 and the earlier Model 10 Electra. The Army began ordering military versions of the Model 18 in May 1941. Depending upon engines and interior configuration, these transports were given C-56, C-57, C-59 or C-60 basic type designations. Lockheed built more C-60As for the AAF (325) than any other version of the military Lodestar.
After the war, many military Lodestars were declared surplus and sold to private operators for use as cargo or executive transports. The C-60A on display was flown to the museum in 1981.
TECHNICAL NOTES:
Armament: None
Engines: Two Wright R-1820-87s of 1,200 hp each
Crew: Four (plus 17 passengers)
Maximum speed: 257 mph
Cruising speed: 232 mph
Range: 1,700 miles
Service ceiling: 25,000 ft.
Span: 65 ft. 6 in.
Length: 49 ft. 10 in.
Height: 11 ft. 1 in.
Weight: 18,500 lbs. maximum
Serial number: 43-16445
Johann Elias Grimmel (1703-1759). "Jonah ejected by the whale" (1739).
The restoration of this painting was taken by the Lions Club Memmingen. Stemming from a Memming merchant family, had the born on October 28, 1703 Johann Elias Grimmel himself trained as a painter with Johann Friedrich Sichelbein and after his death with Jerome Hau in Kempten. During his twelve-year period of study at the Imperial Academy of Arts in Vienna (1726-38), in 1734 the Second Price falls to him in the held annually painting competition. After a brief interlude in Memmingen, he was appointed in 1741 as a teacher of drawing and painting at the Academy of Sciences in St. Petersburg, where he died on January 12, 1759 on "apoplexy". The workshop tradition of Sichelbein connecting with the pathos of Viennese Baroque, Grimmel in his panel paintings for St. Martin achieves considerable painterly quality.
Johann Elias Grimmel (1703 - 1759). "Jonas vom Walfisch ausgeworfen" (1739).
Die Restauration dieses Gemäldes wurde vom Lions Club Memmingen übernommen. Aus einer Memminger Handelsfamilie stammend, lässt sich der am 28. Oktober 1703 geborene Johann Elias Grimmel bei Johann Friedrich Sichelbein und nach dessen Tod bei Hieronymus Hau in Kempten zum Maler ausbilden. Während seiner zwölfjährigen Studienzeit an der Kaiserlichen Kunstakademie in Wien (1726-38) fällt ihm 1734 der II. Preis im alljährlich stattfindenden Malwettbewerb zu. Nach einem kurzen Intermezzo in Memmingen wird er 1741 als Lehrer für Zeichnen und Malen an die Akademie der Wissenschaften in St. Petersburg berufen, wo er am 12. Januar 1759 am "Schlagfluss" stirbt. Die Werkstatttradition Sichelbeins mit dem Pathos des Wiener Barock verbindend, gelangt Grimmel in seinen Tafelbildern für St. Martin zu beachtlicher malerischer Qualität.
Chevaliers de la Croix avec l'Étoile Rouge, Caballeros de la Cruz con la Estrella Roja
Kreuzherrenkloster Memmingen
Church building with its distinctive tower from the Hallhof (depository)
Detail of richly with Wessobrunner stucco decorated church ceiling
Church ceiling frescoes
The Kreuzherrenkloster (monastery of the Knights of the Cross with the red stars) Memmingen is a former monastery of the Order of the Holy Ghost in Memmingen in Bavaria in the diocese of Augsburg.
History
The beginnings of the Holy Spirit consecrated monastery date back to the 13th century. Counterfeit refer to the year 1010, which was before the founding of the city of Memmingen in 1160. It was probably in 1210 by the Staufian Empire bailiff in Upper Swabia, count Heinrich von Neuffen-Weißenhorn and his wife Hedwig, donated. This ones established at the eastern edge of the central city in front of the gate Kalchtor a hospital, equipped it with landed property and handed it over to the Hospitaller Order of Canons Regular of the Holy Spirit in Rome, whose main activity focus was the care of the sick and the homeless and the admission of pregnant women and foundlings. After a devastating fire in 1223, the monastery and the hospital had to be rebuilt, in this context, it is also for the first time mentioned in the municipal document.
Since 1353, the City Council took part in the management of the hospital, in 1365 the hospital complex was divided into a lower and an upper Hospital. To the now directly managed by the Imperial City Lower Hospital belonged the Poor room on the ground floor and several adjoining rooms, to the remaining with the monastery Upper Hospital belonged furthermore the Church of St. Peter and Paul and the upper floors of the monastery and convent building. In the room for needy persons concentrated the imperial city charitable organisations. Together with the Antonite monastery the Crusaders shaped the intellectual and cultural life of the imperial city.
In a fire in 1477, again large parts of the complex were destroyed. The hospital church was rebuilt in 1480-1484 as a Gothic hall church and the whole complex obtained the form of a towards to the south lain Hallhof open three-winged complex. 1484 was southwards adjacent to the church building a tower built. In the years 1709-1711 the church was remodelled in Baroque style and fitted out with Wessobrunner stuck by Matthias Stiller and his son Michael Stiller (plasterer). The ceiling paintings stem from Johann Friedrich Sichelbein.
Shortly after the mediatization of the Free Imperial City and the transfer to the Electorate of Bavaria in 1802, the monastery was secularized. All expendable and movable properties of the monastery in 1803 were auctioned, the last Canons 1804 left the house. Still until the year 1806, the church was used as a parish church, after which it served as a timber warehouse. The room for the needy until 1816 served for the accommodation of prebendaries, in the monastery premises Bavarian officials were housed. Although the church and the steeple first in favor of a new toll and customs building should be demolished, but they would do without it from 1819 on since other areas were vacated and the demand for a new building was not given. Therefore, from 1820 the room for the needy served as storage space. The church was rebuilt into a goods hall, in the northern and southern side wall each a large gate entrance was broken, orchestra and pulpit were demolished. The stucco in the lower area was knocked off and vault and basements were demolished in order to obtain a ground-level access. In the nave itself a false floor was inserted and a wooden crane mounted. To the north, the entire complex was provided with a classicist facade.
Due to the foundation of the German Reich, the building as depository and Customs Office was increasingly without function, which is why the City Council in 1920 requested to expose in the former vestry works of Memminger painters. After a water pipe breakage was discussed in 1932 to relocate the municipal art collection to the unused nave, for cost reasons but this solution was discarded, and only from 1947 on the upper part of the nave was used as an exhibition and concert hall. The ground floor was combined with the room for the needy persons and from 1960 as a hospital arch as an open walkway used. In the convent building various municipal facilities were housed: the sing and music school, the Stadtjugendring (city youth council) and psycho-social support center.
The as a whole neglected complex from 1998 to 2003 was according to original plans elaborately rehabilitated and restored. In the process, inter alia, the intermediate floor in the nave was removed and restored the room for needy people of the hospital. Today the church hall serves again as an exhibition and event space, the Poor facility as a café.
Buildings
Steeple
The compex consisted of a hospital with attachments for economical use, as well as an east adjacent church and a convent building. The complex burned down several times, as part of the reconstruction work it was repeatedly extended and modified.
Poor facility
The oldest still surviving part is the Poor facility. Its two-aisled, four-yoked and vaulted by a ribbed vault hall dates from the early 15th century. By hospital master Elias Bruggberger extensive construction were induced from 1675 to 1680, at the same time, he Poor facility was expanded to additional floors in which two large halls were housed. The room on the second floor was provided in 1691 with a wooden coffered ceiling, which is largely still intact.
Monastery church
→ Main article: St. Peter and Paul (Memmingen)
1477 the abbey church of St. Peter and Paul in a fire was destroyed and rebuilt in the following years as equally two-aisled and four-yoked late Gothic hall church. As is common in many hospitals, it forms an extension of the Poor facility. After hospital master Sigismund Teufel it was from 1709 remodelled in Baroque style and the ceiling vaults probably by Matthias Stiller with Wessobrunner stucco coated. In each field of bays there are ceiling paintings, probably stemming from Memminger painter Johann Friedrich Sichelbein. Supported is the around 14 meter high vault of three stucco marble columns.
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It was my first day at Everest Base Camp and I was scouting the area for something to do. The day was almost over and I wondered down the little river a while before I found this spot. It was all very serene and there was not a person in sight. I didn't even notice the grazing Yack until is made a noise. You would think I would be able to spot a wild animal standing a few feet in front of me, but apparently I have lost my spidey sense. I setup my rig and waited for the light to get interesting while the Yack tried to make casual conversation with me. We talked about best places to graze and lady Yacks and all that jazz before I had to head back to camp. It was a nice quiet moment in the middle of no where.
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The tourist tunnel that runs under the Huangpu River connecting old and new Shanghai is one of those experiences that leave you wondering what the hell just happened. It is something to the effect of tourism-shell-shock via flashing lights, dancing puppets and hypnotic-disembodied voices. We were totally unprepared when we paid for a one way ticked and climbed into the little shuttle-pod (luckily the baby was fast asleep in the stroller). As soon as the thing started moving, the crazy light display assaulted us and a strangely proper-sounding English voice seeped into our ears talking some crazy nonsense like, ” … liquid hot space magma ..”, and ” … paradise and HELL!” (at which point the lights would flash an angry red color). I was trying to setup my camera while avoiding going into a seizure when the ride was suddenly over. I know it probably lasted longer than a couple minutes but I must have been put under hypnotic trance or something.
The shuttle-pod came to a stop at the other end of the tunnel and my wife and I just looked at each other with a wide-eyed stare before bursting out in laughter. I didn’t manage to get any good photos out of it, but luckily we found that the exit gate was too narrow for the stroller so we just made a u-turn and got back on for a return ride. This time I was ready and I used all my Jedi skills to focus on the task at hand to get this cool picture. If you are ever in Shanghai, and you are looking for something utterly nonsensical to do, you should check it out.
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The inspiration for this sweeping landscape photograph of the Santa Cruz coast was 100,000 monarch butterflies. This past weekend, I made my poor wife and baby wake up way too early so we could head down to the Natural Bridges sanctuary to catch a glimpse of the Monarch Butterflies before they made their migration down to Mexico for the Spring. I insisted that it was critical to get there before anyone else got there, stating that "It only takes one person to ruin the shot".
We got there, parked, threw on our mittens and rushed down to the sanctuary waving my camera around like a fool, expecting 100,000 beautiful butterflies to descend and start dancing along with us. What we got was a cold, empty grove with nothing but a fat blue bird mockingly squawking at us . Apparently, the butterflies were frozen and don't like waking up before noon. It also seems we missed the peak season by about three months, so my bad. I looked down at my daughter in the stroller who was giving me a disapproving stare, trying to keep warm in her little sheep hat. Sorry, baby, daddy will bring you back next year when the butterflies are plentiful and the weather is warmer.
On the way out of the sanctuary we stopped at a vista point to get this photograph of the coast line. This is the start of the journey the butterflies take on the migration down south. It may not be 100,000 monarch butterflies, but I dedicate this one to my little girl and her rosy cheeks. =)