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Image © Jim Gormley.
Award winning comedian Nina Gilligan presents 'Rescued'
A darkly comic 'tail' follows the journey of a woman spinning out of control.
Alice has waited and waited for life to happen but is frustrated, dispondent and ultimately desperate.
Can a bull terrier called 'Dog', rescued from a shelter from John - aka The Wolf Man - change her perceptions as Alice is finally forced to confront the question:
What does it mean to be Rescued?
Rescued explores themes of Love,Loss and Salvation
Nina Gilligan leads a professional cast in this fast paced, pathos filled, doggy 'romp' com.
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In the not so distant future, human kind was enslaved by the then superior race of Moles. Something in their genetic code enabled them to leapfrog us on the evolutionary chain and before we knew it, we were merely their peons. They had us build these high-tech mole habitats all over the place. On the plus side we no longer have to take complete ownership over screwing out planet. Always have to think positive, guys. Even though we got spanked by the moles.
Academy of Sciences - San Francisco
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Louis Messidor Lebon Petitot dit Louis Petitot, né à Paris le 22 juin 1794 où il est mort dans le 5e arrondissement le 1er juin 1862, est un sculpteur français.
Jeune chasseur blessé par un serpent (1824-1827)
Marbre
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Contexte artistique et historique
Le sculpteur et le Salon
Louis Petitot, élève de l’École des Beaux-Arts de Paris et pensionnaire à la Villa Médicis à Rome, appartient à la génération de sculpteurs néo-classiques formés dans la tradition académique française. Il remporte le Prix de Rome en sculpture et se forme au contact de l’art antique et de la Renaissance italienne, ce qui conditionne fortement sa pratique plastique et esthétique.
Il présente cette œuvre au Salon de 1827 à Paris, alors l’événement artistique le plus important de France : le Louvre l’achète à cette occasion, ce qui scelle la reconnaissance officielle de l’artiste.
Période et influences
La sculpture s’inscrit pleinement dans le néo-classique, mouvement dominant au tournant des années 1820 en France : celui-ci prône le retour aux formes claires, l’inspiration antique, la maîtrise du dessin et la rationalité formelle. En sculpture, cela se traduit par :
une finition lisse et polie du marbre exposant les volumes avec clarté,
une figuration inspirée des motifs héroïques de l’antiquité, valorisant la noblesse du sujet,
un traitement noble du nu masculin, hérité de l’antique.
Description formelle de l’œuvre
Dimensions et matériau
Marbre blanc : matériau noble, symbole de pérennité et de pureté, utilisé ici dans la tradition classique.
Hauteur : ~1,36 m format humain, proche de l’échelle réelle, favorisant l’identification du spectateur au sujet.
Composition générale
La sculpture montre un jeune homme, assis ou légèrement incliné, épaule légèrement basse, le corps tendu par la douleur. Il est blessé à la jambe : un serpent vient de le mordre. Le chasseur tente de réagir à cette blessure — à la fois physique et symbolique.
Les éléments caractéristiques :
Le corps masculin nu évoque la tradition antique (l’étude du nu est au cœur de l’enseignement académique).
Le héros n’est pas un dieu mythique, mais un personnage humain confronté à une épreuve tragique.
L’interaction avec l’animal (le serpent) introduit un élément dramatique et narratif hors des récits mythologiques traditionnels.
Interprétation iconographique
Le serpent : symbolisme et métaphore
Le serpent dans l’art occidental a une longue histoire symbolique :
Il peut incarner le mal, la tentation, la fragilité face à la nature sauvage.
Il renvoie aussi à des récits anciens de la lutte humaine contre les forces naturelles.
Dans cette sculpture, le serpent mordant le chasseur est particulièrement significatif : il suggère l’imprévu de la nature, l’épreuve, le combat entre l’homme civilisé et le monde sauvage. Contrairement à certaines figures mythologiques où le serpent est un adversaire divin ou héroïque, ici il est un obstacle brutal et soudain.
Héroïsme et vulnérabilité
Petitot ne représente pas un jeune héros immortel triomphant :
Il met en scène la douleur, la vulnérabilité, et l’humanité du chasseur blessé. L’artiste s’éloigne ainsi du pur idéal héroïque (glorieux et triomphant) :
Le chasseur est en pleine souffrance : posture, tension musculaire, expression corporelle indiquent la lutte intérieure.
La lutte n’est pas mythologique mais concrète, presque documentaire dans sa violence.
Cette approche est intéressante car elle suggère que, même dans un style académique et néo-classique, il est possible d’exprimer un réalisme psychologique marqué : la sculpture ne célèbre pas seulement l’idéal antique, elle le nuance par une représentation plus humaine et empathique.
Comparaison stylistique
Bien que l’œuvre soit principalement néo-classique par sa finition et son équilibre formel, sa dramatisation rappelle aussi certaines préoccupations romantiques à venir : l’expressivité, la confrontation à la nature et le pathos physique. Ce mouvement vers l’expression de l’expérience humaine — au-delà de l’idéalisme strict — s’amplifiera dans les décennies suivantes dans la sculpture française.
Signification esthétique
Néo-classicisme humanisé
Petitot réussit à marier :
la rigueur classique du dessin et du nu sculpté,
à la dimension narrative et émotionnelle du sujet.
Le résultat est une œuvre bien équilibrée entre forme idéale et contenu dramatique, faisant de ce chasseur blessé un symbole universel de la lutte contre l’adversité.
Sens moral et philosophique
Plusieurs niveaux de lecture peuvent être envisagés :
✔ La lutte de l’homme contre la nature motif classique, mais rendu ici de façon immédiate et concrète.
✔ La fragilité humaine l’homme est blessé, vulnérable, mais digne dans sa résistance.
✔ L’émotion contenue loin de l’outrance romantique, Petitot exprime une émotion retenue, conforme à l’idéal académique, mais convaincante.
Place dans l’histoire de l’art
Cette sculpture est représentative d’un moment charnière de la sculpture française du début du XIXᵉ siècle :
encore héritière des canons classiques,
mais déjà ouverte à une dimension narrative et expressive accrue.
Elle préfigure, en quelque sorte, les tensions entre néo-classique et romantique qui marqueront les décennies suivantes.
Conclusion
Le « Jeune chasseur blessé par un serpent » est une œuvre profondément équilibrée entre :
la maîtrise technique du marbre héritée de l’antiquité,
et une sensibilité moderne à l’expérience humaine.
Plutôt qu’un simple hommage à la forme, Petitot met en scène un moment de souffrance universelle et, par là, enrichit la tradition académique d’une nuance émotionnelle qui annonce l’évolution de la sculpture française au XIXᵉ siècle.
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UNIQUEMENT POUR LE PLAISIR DES YEUX.
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Have you any idea how very long it takes to get to Lhasa from San Francisco? It takes, one forty-five minute 3:00am shuttle ride, a four hour wait at the airport, a two hour flight to Vancouver for a six hour layover before an eleven hour flight to Beijing, an hour in line waiting for a taxi, followed by an hour taxi ride into the city, one overnight stay, then another one hour long taxi ride back to the airport, three hours as you check in and go through customs, a four hour flight to Chengdu with a two hour connection, before you are back in the same exact plane you just evacuated, a two hour flight into the Lhasa airport and finally a one hour bus ride into the city. Somewhere along the line you loose track of all sense of time and space and you are weathered down into a state of placid servitude to the transportation authorities. Go to the left line, pass through those gates and sit there until you hear your flight being called. Yes sir.
If you are interested in squeezing some value from the experience, you can look at it as an exercise in patience and a test of your resolve to get to your location. Usually on one of these escapades, I am determined to get to my destination on the way there, but once I am there I just let events unfold and go with the flow. It usually works out well, with the exception of the few cases where I am being run out of town or I have to bribe some corrupt government official to stop harassing me for no legal reason. In this case I was just passing through the Chengdu airport, looking forward to coming home to my family. What a great feeling.
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This poor soul now wears a hoodie to hide his face from public. I can't say I've seen him very recently. He may have been moved to a hospice (I hope and pray). He consented to this photograph and I asked him what happened, "I just woke up one morning and it was like this," was all he could say. Speaking was difficult for him. You might want to throw in a prayer for this poor, lost soul.
Today I found this amusing and thought-provoking site called, "Someone Else Will Put It Back."
The site had two main points, which skittered off in many directions from those beginnings, provoking great humor and occasional pathos. One point was a general awareness of the work we create for others by not picking up after ourselves along the many paths we take. Kind of how we create entropy, and how each momentary lapse of personal responsibility and lack of awareness of the impact of our actions on others creates a path that spirals slowly (in babysteps) toward the destruction of the world. For a richer explanation of the basic philosophy in a more grandiose and evocative form, see the Young Wizards books by Diane Duane (archive version here, and no, I am not sure it is authorized), and the Wizard's Oath.
I am probably putting way more thought into this than the SEWPIB site did! The idea of putting things back where you found them is something we always try to break people of in libraries. The books are valuable, and if you put them in the wrong place, there is a very real possibility that they may never be found again, or not for decades. We also have no idea whether the book is being used unless folks leave it out where we can find it, and that information sometimes determines whether or not a book is kept. If you love a book, take it OFF the shelf and DON'T put it back. In libraries, we do NOT want patrons putting the books back. We want the statistics, and we want to be absolutely certain it goes back in exactly the right place. It was a bit of a surprise to me that grocery stores have the opposite philosophy, however this explains why we have so much trouble breaking people of the habit.
The second point seemed to be to crowdsource the concept and have people pay special awareness to finding these beasts in situ, so to speak, and then to tell the implied stories. Why and how did those two incongruent items become juxtaposed in real life?
With that idea priming the pump, we went shopping today to find turtlenecks for my son, who pulled a muscle in his neck and wanted something to keep it warm. We didn't find turtlenecks for men, but we did find lots of funny tshirts, hoodies, sweaters, and other warm clothes. Since I had just finished reading the book from my Christmas stocking, I whipped past the book rack to see what piqued my interest and seemed appropriate brainless holiday reading. That was where I found this - a mix for pumpkin pie bars sitting in the book rack amidst the romances. As a librarian I am rather delighted with the idea that if someone had to choose between a less than healthy high-calorie treat and reading a book that supports imagination and hopes and dreams, that one would choose the latter. I love the idea of books as diet food. :) Excellent choice, whoever did it!
Borrowed again from the excellent 'National Library of Ireland on The Commons' with no Copyright Restrictions. To read the comments underneath the original image gives one an idea of what the Hive-Mind is starting to generate. I have embedded that image again below, take a look in the comments there. There is some profound evidence of a sort of continuum, and a possibility.
Nicolas Poussin, Villers 1594 - Rom 1665
Gewitterlandschaft mit Pyramus und Thisbe (1651)
Städel, Frankfurt
Fast alle Werke Poussins, des Hauptvertreters jener klassizistischen Spielart des Barock, die in der antikisch geschulten Beherrschtheit ihres Pathos unserer Vorstellung von der Epoche zuwiderläuft, sind in Rom entstanden, wo er den größten Teil seines Lebens verbrachte. Dies gilt auch für eines seiner bedeutendsten Gemälde, die „Gewitterlandschaft mit Pyramus und Thisbe“, die er 1651 für den römischen Gelehrten Cassiano dal Pozzo schuf. Literarische Grundlage ist die bekannte Geschichte von dem tragischen Liebespaar, wie sie Ovid in den „Metamorphosen“ erzählt. Im Vordergrund stürzt Thisbe auf den am Boden liegenden Leichnam des geliebten Pyramus zu, der sich selbst gerichtet hatte im Irrglauben, Thisbe sei von einer Löwin zerrissen worden. Die Figurenerzählung jedoch wird um eine Dimension erweitert durch die dramatische Stimmung der atmosphärisch genau beobachteten Gewitterlandschaft, die ein Blitz durchfährt, der die Diagonale von Thisbes Körper und Entsetzensgestus aufnimmt. Poussin ist mit diesem Werk die geniale Verschränkung von mythologischer Geschichte, idealer Landschaft und Naturgewalt in einem geschlossenen Bildgeschehen gelungen.
Quelle: www.städelmuseum.de
Oradour sur Glane, left as a memorial to the hundreds of people killed by the Germans during the later stages of WW2. Near Limoges, France.
Blah blah blah blah blah. My brother "tagged" me for this on Facebook and I also got "tagged" on here, so what the hell.
16 things:
1. I had really long hair when I was a kid. Everyone thought I was a girl.
2. If I was a girl I would’ve been named Kendra.
3. If my sister had been a boy I would’ve been named George.
4. My first memory is snapping the head off my X-Wing Luke action figure. It was also my first and only out of body experience.
5. Once, in my teens, I shaved my arms for no good reason.
6. My current celebrity obsession is Selena Gomez. The previous one was Viggo Peter Mortensen, Jr.
7. I went through a phase where I ate straight peanut butter sandwiches because I thought jelly was “wicked”.
8. I’ve taken violin, piano, and guitar lessons. I can’t do anything with the violin anymore. I can play part of one song on the piano. I can still play guitar.
9. I usually order the club sandwich.
10. I was twenty-six years old when I bought my first bra.
11. I like shoveling snow at night.
12. I’ve had one vision and one prophetic dream. They were both about football.
13. My goal in life is to become a spacefaring immortal.
14. My favorite book is The Zoo Where You’re Fed To God by Michael Ventura. I reread it every six months or so.
15. I passed two semesters of French in college without being able to comprehend a single spoken word of the language. This is only a slight exaggeration.
16. If I were on death row I’d want fruit salad for my last meal.
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I wish I visited the zoo more often. I mean, it is full of furry beasts that could take you apart without any warning, but they are so much more agreeable than humans. Take this pile of flamingos for example; unlike humans, who often get testy about being photographed, these sweet sweet birds just stood there as I took pictures of them. Not a single wry look or confrontational gesture. The baboons were a little less accommodating, but all you need to do it throw some fruit in their general direction and they chill out. Anyway, animals are way cooler than humans.
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It seems the good folks over at the San Francisco Academy of Science understand that space exploration can be so uncomfortable. Why else would they have built such a convenient space habitat system? It features things you would need while sailing through deep space: a virtual rain forest, butterflies, a 360 degree view and … oxygen. They just haven’t figured out how to launch this puppy, but as soon as they do, I am sure this space habitat will be a hot item.
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San Francisco's Palace of Fine Arts is another one of those places that seems to be inside of its own time bubble. Each step you take towards the entrance sends you back 100 years and by the time you reach the center, you are firmly in another era. The more you look around this colossal house of the old Greek Gods, the more likely it starts to become that you will turn a corner and see Zeus lounging on a throne or Ares studying a map in preparation for major warfare.
I felt like an ant as I walked around trying to capture its essence with my camera. Lucky for me the sun had just come up and the light was hitting it from a low angle that illuminated the inside of the dome with a warm glow. I hope you enjoy the final product as much as I enjoyed being there!
The Sciarra amazon ' often attribuyed to Kresilas) offers a completely different reading : pathos, studiously avoided by the others is the keynote. Both her breasts are bare and she uses her dead horse's bridle for a belt ; she has clearly been raped. Exausted, she leans one elbow on a pillar (a boundary of the sactuary ?) , resting the other hand on her head as if about to faint . These responses to her situation regulate the poise or the entrire stature, wich employs polycleitan contrapposto as a purely sencondary aesthetic device , to unify the composition. No attemp is made to integrate the wound into all this : placed below and behind the right breast, it appears almost as an afterthought. Yet whareas it was the polycleitant amazon (Sosikles ?) that reportedly gained the prize, it is the Sciarra with its momentary pathos, and indications of settings, that announces the future. Andrew Stewart
L'amazone lève le bras droit et passe l'autre devant le torse pour dénuder le sein gauche blessé. Cette composition est connue par une série de répliques dont la meilleure copie, signée par le sculpteur Sôsiclès, est conservée au musée du Capitole à Rome. Elles reproduiraient un original attribué au bronzier argien Polyclète, réalisé lors d'un concours organisé vers 440-430 avant Jésus-Christ, pour le sanctuaire d'Artémis à Ephèse. Les plus grands sculpteurs classiques y participeront parmi lesquels Crésilas, Phidias et Polyclète qui sera déclaré vainqueur. Le nez et une partie du menton, le bras gauche et l'avant-bras droit, ainsi que les jambes, sont des restaurations en partie attestées dès le XVIIème siècle. L'oeuvre en marbre pentélique figurera dans la Collection Richelieu, puis dans celle de Mazarin, avant d'être acquise par Louis XIV à la mort de ce dernier en 1661. Elle sera saisie sous la Révolution et entrera au Louvre en 1804.
Class A zero-feedback hybrid integrated amplifier. Stereoplay "Absolute Spitzenklasse" rated. Tube preamplifier and two solid-state monaural power amps in the same chassis.
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… I sometimes run out of creative titles for these pictures.
Have you heard of the famous “Monk Debates”? They are held in Sera Monastery and are both a form of verbal sparing as well as a method for teaching Monks about Buddhism. The basic premise is that one monk asks a questions and the other has a limited amount of time to answer. But it is more lively that than. The monk asking the questions makes martial art-like gestures while the monk sitting on the floor tries to retort before he gets a figurative karate chop to the head. The questions are all relating to the teachings of Buddha and I am sure they are really tough to answer, because this little monk kept making a can-you-repeat-the-question face. It was fun to watch these otherwise, peaceful dudes, let out some steam with all their crazy gestures and yelling.
… I feel your pain little monk, I wouldn’t know the answer to half those questions …
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I felt a little bad posting this today because I deliberately isolated this little fella from his family for the sake of my selfish artistic vision. He was happily swimming in his circle of safety when all of the sudden he started noticing his wolf pack disappear one by one. At first he thought he must be imagining their absence, but then he actually witnessed his cousin being erased from existence by my Adobe Photoshop eraser. He looked up at me with these big googly-jellyfish-eyes and asked “Why?” I told him that they were still around in another layer but I wanted to focus on him because I thought he had the stuff to be one of the aquarium’s top models. He took some time to consider this and finally said, “You know, ever since Aunt Margaret told me I was the cutest jellyfish she had ever seen, I knew I was destined to be a jelly-model.” We quickly worked out a contract and he happily posed for this picture. He may only be a jelly, but he had some mad negotiating skills. Somehow I owe him an annual stipend of two tons of tuna and 90% of all profits from the sales of his photo …