View allAll Photos Tagged pathos
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Another sunset shot at San Gregorio Beach during the photowalk led by Jay Patel and Varina Patel . This one reminded me of an ink blot. What do you see?
( ANG BITUIN : FIRST MOVEMENT - Lucino Sacramento ) Raul Sunico has gained international recognition as concert pianist, orchestral soloist, and composer- arranger of Philippine music. After earning degrees in Music, Mathematics and Statistics at the University of the Philippines, he went on to earn his Masters and Doctoral degree in the US on scholarships. He excelled in a number of International Competitions, winning the silver medal in the Viotti International Piano Competition in Italy, the Henry Cowell prize in the University of Maryland International Competition in the U.S. and was a finalist in the Buson International Piano Competition in Bolzano. For his accomplishments, he was chosen TOYM awardee for music in 1966, was conferred the 1996 PAMANA Presidential award for Overseas Filipinos, the 1998, UP Professional Award, the Patnubay ng Sining at Kalinangan award from the City of Manila in 1998, a Katha Award for Best Solo International Recording in 1999. 2005 Aliw Award as best male classical instrumentalist. 2006 Awit Award for best instrumental recording and 2008 UST Dangal Outstanding Artist. Sunico's performances have taken him all over the world including Kosovo, and the United Arab Emirates, in the US alone, he has given concerts in about 20 states. He has been soloist for all Philippine Orchestras, plus some in Romania, Poland, Moscow, and Taiwam; under a variety of conductors including Enrique Batz, Pierro Gamba, Garyth Nair, Helen Quach, and most of the Philippine conductors from Luis Valencia to Eugene Castillo. He has recorded more than 40CDs and cassettes, including 15 volumes of Filipino folk songs and Kundimans that he himself arranged for classical piano. He has also embarked on projects on music education in collaboration with Tawid Publications, his Musika at Sining series was approved for use for public schools in 1999.
LUCINO SACRAMENTO
Ang Bituin, 1st Movement Piano Concerto
A shimmering light, now glittering, now dazzling, a blazing star streaks through the southern horizon, as Ang Bituin is born in the tremulous opening of the maestoso.
Gently at first, theme weaves through the piano and orchedtral exposition in the allegro moderato, slowly gathering intensity as it breaks forth into an endearing song of that pink-cheecked child, with the black unfurled, then cascading hair, whose passage though the pathos-filled years of childhood has brought a radiant and an unmistakable aura in the woman- now a fully lit Star.
The ensuing development contains vernal, fresh, gaiety, glowing hues and flowing melodic patterns- a pianistic portrayal of the star's trek to greater heights, the complete and accomplished woman of beauty, charm, talent, wit, poise and intelligence- that lead to the deeply lyrical second second theme. Here are the Man and the Woman, in love and in wedlock, inextricably one, together radiating a brilliance that lights the way to the fullfilment of their dreams.
Grandioso, with its sweep and majesty, is an eloquent testimony to Ang Bituin's rightful place in life's galaxy.
The Concerto was commissioned by His Excellency, Ferdinand E. Marcos. and dedicated to the First Lady, Imelda Romualdez Marcos.
The " Ang Bituin, " composed by Luciano T. Sacramento, was first performed on July 1, 1974 at the Heroe's Hall, Malacanang, on the occasion of the birthday of the First Lady by Raul Sunico, pianist,assisted by the Cultural Center of the Philippines Philharmonic Orchestra, with Luis C. Valencia, conductor.
The world premiere of the Concerto was held at the Cultural center of the Philippines on December 20, 1977, with the First lady in attendance and performed by Marites Castelo Fernandez, pianist, assisted by the CCP Philharmonic Orchestra, with Prof. Valencia conducting.
Cultural Center of the Philippines
40th Anniversary Festival
Seven Arts... one imelda program brochure
September 11,2009
Parquet Courts @ 9:30 Club, Washington, DC, on Thursday, May 12, 2016.
Human Performance Spring Tour 2016 Setlist:
Dust
Paraphrased
I Was Just Here
Berlin Got Blurry
Bodies Made of
Black & White
Vienna II
Master of My Craft
Borrowed Time
Dear Ramona
Sunbathing Animal
Outside
Light Up Gold II
Captive of the Sun
Steady on My Mind
Pathos Prairie
Content Nausea
Human Performance
One Man No City
For 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
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.
[G] Tony Sweater Legacy/Pathos Dark Blue Jeans Pants Legacy Boots Version/Pathos Dark Blue Jeans Pants Legacy Boots Version/
*Angel's Designs * Onix (Omega Applier)
BLASPHEMIC Nathalie! -plain black- Ankle Boots
*C:K* Passionate Lover Eyes - Yellow
**NOYA** Face Make Up Combination (smokey+lipgloss1) (put on 2nd)
Essences - Hangover Lipstick 07 (put on 1st)
Pathos Maitreya Lucie Nails
.ploom. Henna (small) - Candy
7 Deadly s{K}ins - September 2015 GIRLS skin v1 NOcleavage (marshmallow)
I got a lot of mileage out of Jason, the PhD in Dance, and his performance for our studio lighting class. It was nice to just have him do his routine and for us to just have to keep our eye pressed to the viewfinder or composing through the liveview.
These are some of the shots that intrigued me through the first go around, I'm still experimenting with negative space, and different POV's.
Pathos, Ethos, Logos, Kairos #4 (2017), Pathos, Ethos, Logos, Kairos #1 (2017), and Pathos, Ethos, Logos, Kairos #2 (2017) by Lari Pittman (American, 1952– ) are acrylic and spray-paint works on gesso-mounted wood panels, on view at The Broad.
Pittman titles these portraits after the four classical rhetorical modes—pathos, ethos, logos, and kairos—using their conceptual frameworks to shape each image’s emotional charge, symbolic content, and urgency. Highly layered and visually dense, the paintings blend decorative motifs, fragments of objects, stylized faces, and graphic markers that evoke speech, persuasion, and the manipulation of meaning. The flattened backgrounds recall religious icons while the radiant halos and ornate textures frame each figure as a rhetorician, suggesting the complex interplay of identity, culture, and argument embedded in contemporary visual communication.
The Broad, a contemporary art museum anchoring Grand Avenue’s cultural corridor, opened in 2015. Designed by Diller Scofidio + Renfro with Gensler, it is defined by its “vault and veil” concept: a honeycomb-like exterior skin filtering daylight over a column-free gallery that houses more than 2,000 works from the Eli and Edythe Broad Collection. The museum focuses on postwar and contemporary art, including major pieces by Jeff Koons, Jean-Michel Basquiat, and Yayoi Kusama.
Limited Edition Prints | Blog | Google+
I have only been to Yosemite a couple of times but I never feel quite prepared for the experience. The park seems like a place stuck in time where you are likely to encounter glowing spring wells, sprites hovering around massive trees, and large carnivores with attitudes. It is hard not to let yourself be engulfed by its charm and end up wanting to move in, elf-style.
The Kiss by Rodin seen in Tate Modern:
www.tate.org.uk/servlet/ViewWork?workid=12718
For another depiction of the same couple (Paolo Malatesta and Francesca da Rimini of Dante's Inferno) see Ary Sceffer's great painting here.
I know its technical quality is lousy, but this has always been one of my favourite photographs ...my crème de la crème. For me it is laden with the tragic beauty of its subject and with the pathos, not so much of lost youth, but of the lost intensity of youthful experience.
By early 1968 (this narrative continues from the previous photograph) I had managed to save enough money for a trip to Manchester. I was 17 and had never ventured so far from home before. It must be borne in mind that in those days, before the motorway system had properly taken shape, communication between the various regions of England was not the casual affair it has since become. Manchester seemed impossibly distant and I imagined it would be necessary to travel overnight. Eschewing my bed, I left Bristol at 1.10am on Saturday 13th January in one of the ordinary carriages attached to the Glasgow sleeper. It had been snowing. There was a wait of nearly two hours for a connection at Birmingham and another shorter one at Stafford, where a porter reached in and shook me awake.
I continued north through snowy Cheshire on one of the rather stylish AM10 25kV emus, then only a year or two old. We began to come into Manchester. As we slowly screeched and swayed over the points we came alongside and began to overtake a slow-moving goods train. Suddenly, in the gaps between the wagons, I saw long lines of simmering black steam locomotives outside a shed ...Stockport. I involuntarily gasped and sprang up (luckily there were no other passengers in the vicinity to witness my eccentric behaviour) but, exasperatingly, there were only split-second glimpses between the trucks. As we came alongside the front of the slow-moving goods train I suddenly found myself staring at the side of a locomotive tender. There was a quick sight of the driver and fireman and the orange flames of the fire, then the long boiler slid past the window. I heard hissing and the chugs of the exhaust. I scrabbled frantically at the window latch but couldn't get my head out. Just beyond Stockport Station another line passed beneath the main line at right angles. As we passed over I looked down and saw another steam-hauled goods train. Clearly steam retained a considerable presence here.
Once arrived, I walked from Piccadilly Station to Oxford Road and caught a train to Old Trafford. I walked around the outside of Manchester United's stadium and out into an expanse of snowy wasteground where dead locomotives were lined up on sidings ready to be taken away for scrap. Beyond was the looming shape of Trafford Park shed. Between two small brick buildings I saw a simmering locomotive standing in the yard. This scene has always been etched on my memory. What made it so indelible was, I think, the lovely colouration, made more beautiful by the leaden sky, the slight fog and the eerie lightless glare of the snow. The bricks of the little buildings looked curiously pink, and the locomotive brown rather than the expected black.
I approached carefully, expecting to be thrown out as soon as I was detected. I walked between the buildings and immediately took this photograph. It might be the only one I got. But I was not hindered at all and walked around unchallenged. By this stage I think shed staff had probably given up as a bad job the attempt to prevent trespassing in steam sheds. Pictorially I like the photo for the strong natural "lead-in" lines of the sleepers, lamps and water cranes. I also like the steam creeping along the cab roof and the way the smoke is "exhaling" from the funnel. Alas, this was about the only good photograph I took all day. The light got worse and worse, and my camera wasn't up to it.
Another abiding memory of that occasion. As I walked back, I stopped halfway across the wasteground to pee (well, it was a cold day). As I stood in the thickening fog, I watched a Stanier 8F being turned on a turntable. It was a Whistlerian essay in greys and white.
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
Fragments of an Equestrian statue of Nero
These fragments of an equestrian statue probably represent Nero. The execution tinged with a certain pathos reflects a sensibility that was different to that of the classical-style portraits of the Julio-Claudian family. It also reveals the origins of the work, which was found in Asia Minor, as well as the absolutist tendencies of the reign of Nero, who craved an imperial role like that of the Hellenistic monarchs.
Description
Fragments of an equestrian statue
The equestrian group was a mode of representation created in Greece and adopted in Rome. Equestrian statues of the emperor emphasized his role as commander-in-chief of the armies. The Louvre holds fragments of a large statue of this type.
The left arm, lost below the biceps, was cast separately and was probably fitted into some sculpted drapery. The left hand held the reins. The work is executed in a naturalistic manner; the artist paid special attention to the rendering of the muscles and veins. The head with its fleshy proportions is turned to the left. Thick hair with full, wavy locks tops a face whose eyes and parted lips impart a highly expressive appearance and a rather brutal sensuality.
A vestige of the damnatio memoriae
The identity of the figure represented in this work has been disputed. The particular arrangement of the slighly parted bangs favors the hypothesis that it is a prince of the Julio-Claudian family. There is general agreement on the name of Nero, by comparison with coin portraits, though on the coins he does not wear this hair style. Further comparison with other portraits of the sovereign would enable this probable identity to be confirmed; but Nero's excesses led the Senate, after his suicide in AD 68, to condemn his portraits to "damnatio memoriae," that is, to destruction and oblivion. Therefore, only a few remnants remain of the images of this emperor - some portraits of him as a child, and statues saved from destruction by their geographical distance (perhaps the case of these fragments found in Turkey).
Memory of the Hellenistic kings
This portrait marks a break with the classical-style treatment of Julio-Claudian works. The face remains idealized, but with a note of pathos foreign to Augustian moderation: on the contrary, the sharp movement of the head, the movement in the hair and the facial expressiveness hark back to the traditional Hellenistic royal portrait.
These stylistic elements, which reflect an enduring baroque sensibility in Asia Minor, are well suited to a representation of Nero, whose political ideology they highlight. Fascinated by Greek civilization, the prince sought to infuse the role of emperor with the absolutism of the Hellenistic monarchies.
educational use only
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
This is the forty-sixth Instruction for the Street Photography Now Project, written to inspire fresh ways of looking at and documenting the world we all live in.
The Tombs of the Kings is a large necropolis lying about two kilometres north of Paphos harbour in Cyprus. It is a UNESCO World Heritage Site.
The underground tombs, many of which date back to the 4th century BC, are carved out of solid rock, and are thought to have been the burial sites of Paphitic aristocrats and high officials up to the third century AD (the name comes from the magnificence of the tombs; no kings were in fact buried here). Some of the tombs feature Doric columns and frescoed walls. Archaeological excavations are still being carried out at the site. The tombs are cut into the native rock, and at times imitated the houses of the living.
SPNP 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
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Rodin, Rodin, you were a very talented and creepy man. I wonder if we would have been friends had we lived in the same time? But, I heard you were a bit harsh with Camille Claudel because you were jealous of her talents ... that was not cool. Either way, you made some great pieces of art, and my particular favorite is La Porte de l'Enfer also know as The Gates of Hell. I found this particular depiction of Dante's "Inferno" at Stanford's Cantor Arts Center.
When you see it from a distance it looks intriguing, and as you get closer and you start to make out more of the details and you get a deep gripping sense that something profound is being conveyed and before you know it you are caught in the sheer gravity of the scene. At first you are horrified at the wretched bronze portrayals of the human state, but there is something appealing that keeps you staring. It takes a few moments of quiet contemplation, but there is a bit of an inflection point when it ceases to frighten you and then becomes a thing of beauty. It is hard to explain unless you have stood in front of it, but that is why I chose to process the picture in a way that would make it look like some sort of discarded relic that you would find in a forgotten corner of heaven.
Caution: Do not listen to "Summer Overture" by Clint Mansell & Kronos Quartet while looking at this photo ... way too eerie.
( Day's Break*ing . . Chasing(the)Light/Night . . Day*Break .. . )
Un*Latch the Light . * * . . (**).
(pm.nb.!.) Waiting .. :.
:: - WAITING.!!. - ::
:: Monochromatic Study ::
{ * : * Ascension Sunday * : * }
(( subtle,sombre,solitude,solitary,season,white,light,dark,brown,black,through,between,surface,textural,sculptural,B&W,brown&white,white&brown,cream,white,shade.s,crossing,touching,pathos,wabi-sabi.wildlife-garden-wildlife.plant.s.'Japonnaise'. .. . ))
" Our spent time flutters and tumbles imperceptibly towards our feet where it gathers like the fallen blossoms of a pear tree. We bear this invisible umbra at all times, occasionally kicking up a discarded petal, a memory, through which we can precisely experience the ‘mono no aware’ of our lives."
From a little book of words and pictures I made a while back. You can download a free pdf at:
www.magcloud.com/browse/issue/194385
... that is, only if you want to!
Yashica Mat 124G | Fuji Neopan 400 | Rodinal (1+25)