View allAll Photos Tagged pathos
Nashik, India, 1985
Scanned image.
“THEY TELL THE STORY of the Sikh who, returning to India after many years, sat down among his suitcases on the Bombay docks and wept. He had forgotten what Indian poverty was like. It is an Indian story, in its arrangement of figure and properties, its melodrama, its pathos. It is Indian above all in its attitude to poverty as something which, thought about from time to time in the midst of other preoccupations, releases the sweetest of emotions. This is poverty, our especial poverty, and how sad it is! Poverty not as an urge to anger or improving action, but poverty as an inexhaustible source of tears, an exercise of the purest sensibility. “
An Area of Darkness
V. S. Naipaul
Bottrop
Ruhrgebiet
NRW
„Das hier hat nichts mit Pathos zu tun... In mir selbst steckt ein Bergwerk, in dem meine Emotionen abgebaut werden. Und meine Bilder sind dabei der visuelle Abraum... Mittlerweile bin ich zufrieden damit, dass ich mit beidem klar komme. Oder schwingt da schon ein wenig Zuversicht mit? Langeweile als Therapie. Aber die Ödnis dieser Orte stellt mir kein Bein... Die Spuren der Tiere sind das eigentliche Motiv in dieser Serie. Sie nutzen die Plätze, die wir zurück lassen. Ihr Lebenswille kennt keine unschöne Umgebung. Ich bin ihren Spuren gefolgt und habe mir zeigen lassen, wofür es sich zu kämpfen lohnt...“
Mug - Faye Tubetop - Pink (Maitreya/Petite/Flat, V-Tech, Legacy/Perky, Freya, Kupra, Reborn)
Mug - Faye Shorts w/Bulge - Black (Maitreya/Petite/Flat, V-Tech, Legacy/Perky, Freya, Kupra, Reborn)
{Sakura} Chibi's Cat - Black
Wasabi // Saturday HW Ed. Hair - Absolute Pack
tres beau x lelutka evox - hennessy skin (2.7) 60L Happy weekend
.lovelysweet. Pathos Eyes
shebzZzaar - TATTOO - 7FingeredFriend
Mono-No-Aware - A Japanese term for the awareness of the impermanence of things; a transient gentle sadness or wistfulness at their passing. It is also an appreciation of the transiency of existence.
Outfit:
Toksik: Pathos Blouse with Bloodlust Pants and Boots
Deadwool: Enigma Glasses
Hair: no.match_ ~ NO_NOISE ~ Pack of REDS
Demon: ::DisturbeD:: Halloween Horror - Nyx Mutant Beast
Candle and pose:
Secret Poses - Lestat at TMD this round
modified by AnyPose
Bottrop
Ruhrgebiet
NRW
„Vielleicht kann ich nicht mit Menschen. Vielleicht stoße ich sie irgendwann weg, weil sie mir zu nahe kommen. Aus Angst davor, sie zu verlieren. Es tut so unglaublich weh, nicht Abschied nehmen zu können. Nicht sagen zu können, was eigentlich schon längst hätte gesagt werden sollen. Es gibt zu oft keine zweite Chance. Es mag sein, dass ich darum zu oft nicht einmal mehr die erste Chance nutze... Die Einsamkeit zerfrisst mich wie Krebs. Die Gesichter verblassen. Was bleibt, sind die Erinnerungen. Und die Trauer und die Wut und der Zorn und die Leere. Das Ticken der Uhr. Die Angst beim Einschlafen davor, wieder mit diesem einen Gedanken im Kopf aufzuwachen... Gebrochene Versprechen. Gebrochenes Vertrauen. Gebrochenes Selbstvertrauen. Die Sinnlosigkeit in meinem Tun. Die Vergeblichkeit meiner Bemühungen. Die Nutzlosigkeit in meinem Sein. Nur der freie Geist kann gebrochen werden. Das ist meine Achillesferse. Warum sie und nicht ich? Was hätte alles sein können, wenn. Wenn was? Und was wäre dann aus mir geworden? Und wer bestimmt eigentlich, woran man ein Leben misst? Ich weiß, worauf ich einen Fick gebe. Und was mir am Arsch vorbei geht. Diese Rotzigkeit soll kein Maßstab sein. Und doch. Mit der Akzeptanz, gescheitert zu sein, lebt es sich unbeschwert. 40 Stunden in der Woche funktioniere ich. Den Rest der Zeit verbringe ich als dysfunktionales Mitglied der Gesellschaft. Mein eigenes Können in Frage zu stellen, nimmt mir meine Subjektivität. Und doch bleibe ich das Produkt von äußeren Einflüssen. Ich bin nicht gegen den Fortschritt und lebe nicht rückwärtsgewandt. Aber mich widert der Pathos an, mit dem alles Neue beweihräuchert wird... Was ist falsch daran, nicht von Kunst, sondern von einem Handwerk zu sprechen, dass man beherrscht? Ich weiß, was ich kann. Aber ich weiß oft nicht, wer ich wirklich bin... Don't need a movement to be me. I know where i'm from...“
Ryker's - Brother against Brother
C'è un solo mondo, ed è falso, crudele, contraddittorio, corruttore, senza senso....Un mondo così fatto è il vero mondo.
Nietzsche
This is one of the Trentham Lake swans gently preening and displaying such wonderful balletic pose. I like to photograph swans because exposing for the bright white plumage often means getting a nice black background. Here, i was also able to get the camera virtually a water level by standing on an unoccupied fishing peg and thus getting good angle for the shot. I find a certain pathos in the finished image that marries well with the balletic pose - hence the title.
The development soon discovers a new theme, alternately pathos-laden and stormy. By way of the first theme, and magically, the music almost empties of activity before arriving at the recapitulation … (Paul Griffiths in his introduction to the Allegro, ma non tanto part of Beethoven’s Cello Sonata in A Op. 69, Wigmore Hall, London, 30/4/2022)
Fujifilm X-E2 edited in Silver Efex Pro3.
I took this with the wrong lens and the wrong film from the wrong distance and with everything ... wrong! And yet, it is still imbued with the pathos of the original scene.
A small toy rabbit, lost, perhaps, by a child on the street and propped against a window to be found. January 2022. Pentax SPII, Super Multicoated Takumar 35/3.5. Rollei RPX400 in 510 Pyro, semi-stand (1:100, 25 minutes, agitation every 7 minutes).
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Ruhr-Universität Bochum
The Ruhr-Universität Bochum was the first university in the Ruhr area. Architect Helmut Hentrich won the urban planning competition announced internationally in 1962. The campus university is surrounded by greenery, accessible via a six-lane road and by train.
It is conceived as a "harbour in the sea of knowledge", its buildings symbolize ships. The roof of the audimax resembles a shell. The interdisciplinary concept of the university should also be reflected in its way of construction. An axis intersection divides the area into four rectangular fields of approximately equal size. The institute buildings of the individual disciplines are arranged inside these fields. At the intersection there is a square with the Audimax and the University Library.
Clear orientation, objective architectural language, functional spatial relationships and any renunciation of pathos are the qualities of the buildings. The chosen materials steel, concrete and glass conveyed the image of modernity.
copyright All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
“Companions in pathos, who barely murmur, go with your lamp spent and return the jewels. A new mystery sings in your bones. Cultivate your legitimate strangeness.”
― René Char
Ruhr-Universität Bochum
The Ruhr-Universität Bochum was the first university in the Ruhr area. Architect Helmut Hentrich won the urban planning competition announced internationally in 1962. The campus university is surrounded by greenery, accessible via a six-lane road and by train.
It is conceived as a "harbour in the sea of knowledge", its buildings symbolize ships. The roof of the audimax resembles a shell. The interdisciplinary concept of the university should also be reflected in its way of construction. An axis intersection divides the area into four rectangular fields of approximately equal size. The institute buildings of the individual disciplines are arranged inside these fields. At the intersection there is a square with the Audimax and the University Library.
Clear orientation, objective architectural language, functional spatial relationships and any renunciation of pathos are the qualities of the buildings. The chosen materials steel, concrete and glass conveyed the image of modernity.
copyright All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
Billy Bragg - The Man In The Iron Mask
Texture by Lenabem-Anna J.
www.flickr.com/photos/lenabem-anna/
The Man in the Iron Mask's outfit:
UNHOLY THE JACKAL HEAD CAGE
toksik - Pathos Blouse (Fatpack)
NOCHE. Andre Boxer Briefs Pink
[BodInk] Dirty Skin Brown -2Tones-
Theatrical Props:
[A] Dungeon Backdrop
PretentiousBuilder's Hanging skeleton
Con il cellulare ho ripreso, ieri 6 aprile, alcuni fotogrammi del video “Observance” in cui un gruppo di persone avanza verso quello che nella didascalia viene definito “un oggetto misterioso”. Video pieno di pathos, ipnotico, dove le persone che si alternano davanti alla scena tragica sono accomunate da un sentimento di partecipazione emotiva che si esprime sfiorandosi con le mani, abbracciandosi lievemente, soffermandosi con atteggiamento di dolore e di pietà davanti a qualcosa che non si può più cambiare, un evento accaduto che ora è davanti agli occhi e su cui si può solo piangere e addolorarsi per l'ineluttabilità degli eventi.
Commemorazione dei Defunti
Tomba Ribaudo – Onorato Toso (1852–ca.1920)
Cimitero Monumentale di Staglieno, Genova.
La Tomba Ribaudo, nel Cimitero Monumentale di Staglieno a Genova, è una delle opere più emozionanti dell’arte funeraria italiana.
Realizzata dallo scultore genovese Onorato Toso verso il 1885, raffigura un angelo femminile abbandonato sul sepolcro, con le ali spiegate, il volto nascosto tra le mani e un gesto di profonda disperazione.
L’intensità drammatica e la perfezione anatomica ne fanno un capolavoro del realismo simbolico ottocentesco.
L’opera è spesso confusa con l’“Angelo del Dolore” di Giulio Monteverde (Roma, 1894), ma è anteriore e ne costituì un evidente modello ispiratore.
Onorato Toso (1852 – ca. 1920) – scultore genovese attivo tra la fine dell’Ottocento e i primi del Novecento.
Allievo di Giovanni Scanzi, partecipò a varie esposizioni nazionali e realizzò numerosi monumenti per il Cimitero di Staglieno.
Le sue opere si distinguono per il forte pathos emotivo, la raffinata resa dei dettagli e la capacità di fondere dramma e poesia in forme plastiche di grande eleganza.
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The Ribaudo Tomb, in the Monumental Cemetery of Staglieno (Genoa, Italy), is one of the most powerful masterpieces of Italian funerary art.
Created by Genoese sculptor Onorato Toso around 1885, it depicts a female angel collapsed over the tomb, wings spread, face hidden in her hands in a gesture of deep grief.
Its dramatic realism and emotional power make it a quintessential example of symbolic realism in 19th-century sculpture.
Often mistaken for Giulio Monteverde’s later Angel of Grief (Rome, 1894), Toso’s angel actually predates and inspired Monteverde’s composition.
Onorato Toso (1852–c.1920) was a Genoese sculptor, pupil of Giovanni Scanzi, active between the late 19th and early 20th centuries.
His works at Staglieno combine emotional realism and delicate craftsmanship, achieving a rare balance of drama and grace.
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8618 2009 rev 2025
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FashionNatic - Pathos Fatpack Jeans Pants
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Backdrop : SYNNERGY.TAVIS// Dreadful Drive Backdrop
ContraptioN] Duelist's Pride Revolver
toksik - Pathos Blouse
toksik - Pathos Skirt
Raven Bell - Theodora Veiled Hat
lassitude & ennui Alice boots
Quando ne racconta qualcuna
non può farne a meno
seduto su quelle panchine laggiù a guardare il mare
rimani incantato e quasi dimentichi il respiro
personaggi fantastici
che mai quei panni hanno vestito
irrompono sulla scena
mentre l'attesa diventa pathos
e l'ossigeno comincia a venir meno
...ma allora com'è andata a finire!
senti te lo dico un'altra volta...
mi stanno verniciando il fondo maa...
questa è finita bene...
fidati...io c'ero!
An ugly or grotesque subject may be moving because it has been dignified by the attention of the photographer. A beautiful subject can be the object of rueful feelings, because it has aged or decayed or no longer exists. All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability :-)
Susan Sontag
HBW!!
compact Walter's viburnum, 'Christmas Snow', j c raulston arboretum, ncsu, raleigh, north carolina
[Best viewed enlarged.]
This is a composite picture made up of nine different digital photographs. There is an interesting history to these sorts of images. It stemmed from the work of renowned British art photographer Henry Peach Robinson in his 1869 book, “Pictorial Effect in Photography”.
His aim was “to set forth the laws which govern… the arrangement of a picture, so that it shall have the greatest amount of pictorial effect.” Robinson and other photographers, like the Swedish-born Oscar Gustave Rejlander, would use multiple negatives to produce a final combination print.
Robinson’s most famous example was “Fading Away” (1858). www.metmuseum.org/art/collection/search/302289
Using five different negatives he produced an albumen print of pure pathos supposedly representing a grieving family around a dying young woman's bed. As Michael Wilson writes, “Though the scene was a complete fabrication, Robinson’s picture was true enough to nature to incite public outcry that he would photograph an intimate deathbed gathering.” (Intoduction to “Pictorialism in California”, Getty Museum, 1994).
The backlash to this kind of photography came with the work of Peter Henry Emerson (1856-1936), who was a major influence on the American Pictorialists, and basically split Pictorialism between those who produced effects in camera (pure photography), and those who, like painters, constructed their work from the treatment of negatives. Emerson produced some outstanding examples of early soft focus compositions, and was a major influence on the first great American photographer, Alfred Stieglitz (1864-1946).
"Tutto il pathos e tutta l’ironia del lasciarsi la giovinezza alle spalle è implicito in ogni momento di felicità di un viaggio; ci si rende conto che non si possono riavere le prime gioie, e il viaggiatore, quello saggio, impara a non cercare di ripetere i successi ma a trovarne altri in nuovi luoghi. "
Paul Fussell
"How can we manage to illuminate the pathos of our lives?" A quote by Jorge Luis Borges.
"Be like the sun who fell in love with the moon and shared all his light." A quote by Kamand Kojouri.
A painterly, textured piece using my own photos with custom textures and effects. Perhaps a book cover or a jazz cd cover...
My original thought was something on the order of a "Miles Davis" jazz album cover... Illumination in Time.
Dopo anni rimetto mano ad un soggetto a me caro... Il ratto delle Sabine... Meno sognante come approccio... Meno pathos ma medesimo senso di "rapimento"...
in der Seeschlacht bei Lissa I, 1878-80 | in the Naval Battle of Lissa I, 1878-80
Öl auf Holz | oil on wood
Anton Romako (1832 Atzgersdorf, now a part of Vienna - 1889 Vienna)
"One of the most famous clashes in 1866 Third Italian War of Independence was the battle of Lissa. Not far from the island Lissa/Vis off the Dalmatian coast, the Austrian navy - also commanding the Venetian frigates - fought a numerically superior Italian fleet. On July 20, 1866, Austrian commander Admiral Wilhelm von Tegethoff achieved a surprinsing victory. This work by Viennese painter Anton Romako differs from traditional nineteenth-century battle paintings.When it was first publicly exhibited in 1882, the painting was even seen as a caricature, for it revealed none of the conventional pathos and hero worship." (Information text in the exhibition)
From the exhibtion "Viva Venezia! The Invention of Venice in the 19th Century" in the Lower Belvedere www.belvedere.at/en/viva-venezia
Anton Romako's "late works are painted in a nervous expressionist style which disturbed his contemporaries. More than a decade passed before his works were reconsidered and appreciated. [...] His best-known work, the portrait of Admiral Wilhelm von Tegetthoff during the naval Battle of Lissa, shows the admiral and a few sailors without the usual heroism at the moment when his ship Ferdinand Max is going to ram an Italian flagship." en.wikipedia.org/wiki/Anton_Romako
Bribery and corruption, portrait of a good boy! Archie, who lives in Bo'ness, Scotland, was 3 years old when I took this photo of him in our home studio.
The six figures of Rodin's theatrical composition represents the leading citizens of Calais who in 1347 offered themselves as hostages to the King of England to end the siege of their city.Closely arranged they sometimes touch,and yet the burghers seem isolated from each other by their unique,often energetic poses and gestures.Already modeled larger than life,Rodin heightened the figures monumentally by enlarging their hands head and feet.Rodin ultimate desire for the original monument was to install it close to ground level as it is displayed in this gallery,where the bronze bodies are able to best communicate to us their tension and pathos.
“Tutto il pathos e tutta l’ironia del lasciarsi la giovinezza alle spalle è implicito in ogni momento di felicità di un viaggio; ci si rende conto che non si possono riavere le prime gioie, e il viaggiatore, quello saggio, impara a non cercare di ripetere i successi ma a trovarne altri in nuovi luoghi.” (Paul Fussell)
Unused porch swing, days of unopened newspapers, ignored new phone books, detritus, detached porch rails, crumbling steps, remnant of yellow caution tape, empty (I hope) pet carrier.What is going on here? Does anyone live here?
Shot in the early evening light.
I’m not sure how long the Royal Liver, Cunard, and Port of Liverpool Buildings (aka The Dock Office) have been called “The Three Graces”. It’s relatively recent, but recent to me goes back a few years, that’s what age does!
The Liverpool Pier Head has, since early childhood, had a very soft place in my heart. Ferries and ships of all sizes were there to see. My mother would take me there and later I'd go there on my bike, maybe on my way to North Wales.
At 1pm a gun was fired at Cammel Laird's Shipyard, not far from where I shot this image. At midnight, a whistle would be blown, at which point all of the many buses shot off like the start of an F1 Grand Prix, just in time for those running up from the last Ferry to miss their bus home. It was timed to perfection, delighting the owners of the snack bar who served steak pies before the last hungry customer departed for a long trek home.
There were always performers escaping from chained sacks and singers who couldn’t sing. A fun place, sometimes with added pathos.