View allAll Photos Tagged pathos
Airship 27 Productions is thrilled to present Sgt.Janus – Spirit Breaker by Jim Beard. Part detective, part occultist, Janus is himself a man of mystery whose own past is shrouded and the motivations behind his calling kept hidden.
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Sgt. Janus•Spirit-Breaker Vol. 1
Within this volume you will find eight tales as narrated by Sgt. Janus' clients, each with his or her own perspective on this uncanny hero and his amazing career. Filled with suspense, terror and agonizing pathos, each a solid mesmerizing journey into the unknown world beyond.
Featuring a cover by artist Jeff Herndon and eight stunning illustrations by Eric Johns, Sgt.Janus – Spirit Breaker is the first in a new series by one of today’s leading stars in New Pulp Fiction.
“…Beard’s fiction is anything but pat and routine. While he may deliberately conjure the spirits of authors of Victorian and Edwardian occult fiction before him, Beard’s prose is fresh and entirely modern in his, at times, frank and unsettling tales of the wages of his characters’ past sins. Each story breezes by and like the best tales told round the campfire, it leaves the reader hungry for more.” William Patrick Maynard (The Terror of Fu Manchu & The Destiny of Fu Manchu.)
There is a pathos about any object that once had employment and utility, but has fallen into disuse. Of what industrial process was this contrivance once a part? I have no idea, but it seems to bear a sort of family resemblance to the mangles one used to see in old-fashioned flagstoned kitchens when I was a boy ...next to the sink, with its spluttering brass cold water tap. Coal mining and pottery had been the two mainstays of Swadlincote, Derbyshire, where the photograph was taken on Saturday 3rd January 1970.
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I am pretty sure this is where I would hide me lucky charms if I ever managed to get them back from that ill mannered leprechaun. It was supposed to be a friendly game of "who can throw the boulder farther", but he cheated and ran off with me lucky charms. Who knew he had magical powers?! I hear he even got his own cereal ... pssh! Whatever, I like Coco Pebbles better anyway.
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
He was a French Baroque painter, sculptor, architect and engineer. His sculpture expressed emotion, pathos and drama.
It is good to learn that a revision of the Suffolk volume of Pevsner's Buildings of England is "in progress". The currently available edition is, I am bound to say, not much use. Suffolk is not an urbanised county, yet Lowestoft is the second among its towns. Pevsner's coverage amounts to four pages, two of which are devoted to the churches. Accordingly I can tell you nothing of this arresting frontage just across the road from the Waveney Dock. You'd think it worth a few lines in any guide to the town's buildings.
In contrast to the elaborate decoration of the upper storey, the rest of the façade is plain in the extreme. I would conjecture that the entire frontage was intended to receive decorative tiling, but the money ran out. Notwithstanding the Walter Craneish beauty of the tiles, the best features for me are those paired, flat-topped Art Nouveau capitals. The blank panels between them must have been intended for some kind of adornment. As it is they remind one of the empty niches, intended to receive statuary, that one sees high up in the walls of cathedrals. I don't think the design, as first envisaged, would have incorporated such commonplace windows either. There is a might-have-been pathos about this building. What was not completed we must supply in imagination.
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Every so often you come across a place that sends you back in time. I was walking around San Francisco a few years ago, looking for a place to live and came across Grace Cathedral at the top of a hill overlooking the city. It was such a juxtaposition of thriving urban culture and medieval stone architecture that my mind did one of those upside down triple axle somersaults and landed in a different era. I was transported to the times when Knights Templar scorched the Earth and damsels were still in distress. I am sure someone is going to say that Grace Cathedral is actually a fine example of blagh, blagh architecture, but I don't care. To me it is the place where some religious belief or another was securely fortified and defended against a quickly diminishing pagan world. Too bad the endless pursuit of religious propagation had such a heavy hand.
I took this picture recently and wanted to process it in a way that would accentuate the dark times it must have lived in. The darkened angry sky surrounding the cold stone fortification almost looks like an admonishment of the ideals safeguarded inside. But rather than shrinking back, the structure stands tall and menacingly imposing in defiance. I like how the labyrinth in the foreground seems to represent the search for spiritual truth. Coming back to the present time, it is awesome how Grace Cathedral in actuality represents an open-minded search for God and the inclusion of all faiths. Visiting this gorgeous cathedral leaves you with the comforting feeling that we might be on the right track after all.
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Not too long ago, I was in Carmel with my family and I took the opportunity to visit Point Lobos State Reserve. I wanted to catch a sunset, but the park closes well before the sun goes down and the thought of being taken unawares by a mountain lion got me nervous, so I just spent a few hours climbing over this and that to look for interesting things to photograph. I found this little rock formation right before I left for the day. It seemed to me like some sort of stoic monolith looking out into the sea, as if waiting for something that may never arrive.
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This is another shot of Oakland’s ultra-modern Cathedral of Christ the Light. I spent a good hour here roaming around with complete freedom and I was just about to leave when I saw this guy standing at one end of the church, waiting for his wife to come meet him. It all seemed very romantic and the futuristic dome gave the scene a cool feel. I love this church.
You can almost feel the pathos dripping off this lonely chair, can't you?
Michael Reese Hospital, Chicago.
Creating Creative Digital Photographs
It’s that time when your boots go to the back of the closet and strappy sandals come to the front. Times are tough or a new spring wardrobe may be unattainable but no necessity for your style to suffer.
This time at the store got me thinking about...
www.premayogan.com/blog/creating-creative-digital-photogr...
営業マンは眠らない④
Salesperson never sleep
NikonF Photomic FTn
Ai Nikkor 85mm F1.4S
FUJICOLOR REALA ACE100
Kumagaya City Saitama Japan
Mil Mi-35P Hind-F/ Panther Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
A pathos-laden scene from the Konkani play "Tulsi", which was staged by the Kalaakul troupe on the inaugural day of the two-day national seminar on "Scripts & Languages of modern India, with special reference to Konkani" at the Kalaangann in Mangalore (March 10-11, 2012). Each one of the several actors enacted his/her role to perfection... The style, diction, lighting, background effect and props... every single element of good theatre was there to produce the desired effect. "Tulsi" was based on a novel written by the late Ravindra Kelekar depicting the plight of a hapless village woman and her child and the vicious environs surrounding her.
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
The Tombs of the Kings is located about 2 km north-west of the Paphos harbor in the city of Paphos, which is within the Paphos district of Cyprus. It was built near the Mediterranean Sea during the Hellenistic period as part of the ancient city of Nea Paphos. This necropolis was used as a burial ground during the Hellenistic and Roman periods.
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden's bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
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About This Collection
This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.