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Tales From The Dollie Dungeon: A Holiday Interlude
Sequence Two: in which the production commences, and pathos ensues.
Aluna: Marieta Serpa
Foto: Denise Wichmann
Modelo: Manú (JOY)
Cabelo/maquiagem: Johnny Left
Tratamento de imagem: Luly Salle
Trabalho desenvolvido para o editorial do livro Pathos Projeta-me (disciplina Desenvolvimento de Coleções II, a qual ministro), onde o aluno desfilará a sua coleção no dia 11 de dezembro na Feevale.
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People and animals alike come from near and far to ask Bo for this advice on matters of the heart, the mind and the soul. This wise Baboon from the Oakland Zoo always has time for someone in need and is more than happy to impart his wisdom on your confused self. Some speculate on the source of his knowledge, but most are just happy to hear him speak. When I was there, he helped me broker a peaceful resolution to the territory battle I have been having with the gang of pigeons that has been targeting my car. We agreed that they could poop on my car, but only on the days right before I took it in for a wash. Thanks, Bo!
Cover Shot: Pathos In Print
Today's front page of the New York Times features a photo by an AP photographer, Muhammed Uraibi. Never heard of him, but he caught an incredible, albeit Cover Shot: Pathos In Print
Today's front page of the New York Times features a photo by an AP photographer, Muhammed Uraibi. Never heard of him, but he caught an incredible, albeit horrifying image. To me, it looks like one of Max Beckmann's painting of intense horror and pathos. The mixture of pain and the beautiful warm light in the background is just almost too much to take.
. To me, it looks like one of Max Beckmann's painting of intense horror and pathos. The mixture of pain and the beautiful warm light in the background is just almost too much to take.
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This is not an actual forest fire. I just liked the way that sounded as a title, so don’t go waking up Smokey the Bear. I was out walking with my family in Mountain View when I happened to look to my left and *BAM*, the sun was setting and the colors were absolutely wild. I didn’t expect such an awesome sight when we headed out so I had only brought my 35mm portrait lens. I climbed to the top of a nearby jungle gym and took the photo from there. I got a few curious looks from the kids playing around, but that may have been more due to the fact that I had previously challenged them to a race on the monkey bars. I would have totally won …
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“There is a peculiar pathos in the extinction of a nation.” ―Homer B. Hulbert, The Passing of Korea
Logos, Pathos, and Ethos the three parts of speeches. Miss one and the others fall. Eloquence, heart, and a sturdy moral standing.
a tryptic for the 3 of a kind show at Bear and Bird
811 Mil Mi-35P Hind-F/ Panther (023362) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Elton John - The Red Piano Tour
Hallenstadion Zürich, 16.10.09
Tages-Anzeiger, 17.10.09:
Und inmitten des Pathos erstrahlt Elton Johns bange Stimme
Das Rockkonzert als Rückblick auf ein Rockerleben: Elton John spielte am Freitag im fast ausverkauften Hallenstadion seine grössten Hits.
Da hat sich jemand etwas überlegt: Weil Elton John an diesem Abend vor allem über die Liebe singt, und weil die Farbe der Liebe das tiefe Rot ist, ist auch der Flügel rot. Am Ende dürfen sich ausgewählte Zuschauer (das heisst jene auf den ausgewählt teuren Plätzen) um ihn versammeln wie um ein knisterndes Kaminfeuer, und das ist natürlich der Höhepunkt dieser Show, die «The Red Piano» heisst, in Las Vegas von 2004 bis letzten Frühling gelaufen ist, seit zwei Jahren auch um die Welt tourt und am Freitag Abend nun schliesslich in Zürich angekommen ist, bei 10'300 Konzertbesuchern.
Verkleidet, aber nicht versteckt
Klar, das war und ist bis ins letzte Detail abgekartet, die Titel und die Reihenfolge der Lieder, die der 62-jährige Brite singt, sind seit Jahren unverändert. Wer aber routinierten Glamour erwartete, als weiss livrierte Diener das rote Klavier enthüllten, täuschte sich: Elton John war in seinen Liedern ja schon immer mehr ein Weltumarmer als eine illuster glitzernde Ikone. Da konnten ihn auch seine komischen Verkleidungen nie verstecken, seine strahlend bange Stimme verrät ihn immer; wohl darum, weil er die Umarmungen der Welt mindestens so sehr braucht.
So gibt es nach einem beschwingten Auftakt mit «Benny and the Jets» und «Philadelphia Freedom» viele von Elton Johns grossen Balladen zu hören in diesem Best-of-Programm, in dem der neueste Song vierzehn Jahre alt ist – die letzten Platten werden ignoriert. Elton Johns Stimme erweist sich auch an diesem Abend als unverwundbar, selbst wenn rund um sie der Pathos der klebrigen Musik und des Bühnenkitschs steigt wie eine heillose Flut. In «Rocket Man» kämpft der Sänger allerdings einen doppelten Kampf: auf der Bühne gegen die schmierigen Chöre, auf der Videoleinwand gegen die Einsamkeit des Superstars. Es ist, als hätte sich das jemand besonders raffiniert überlegt.
«Someone Saved My Life Tonight»
Ja, es geht in dieser Show auch um die Fährnisse dieses gefrässig-glamourösen Rockstars, der als Elton John um die Welt tingelt – bis hin zum Selbstmordversuch, den er 1975 in «Someone Saved My Life Tonight» geschildert hat und den er jetzt auch in einem neuen Videoclip nacherzählt. Man muss nur die Augen schliessen, um ihm zu glauben.
Aber natürlich sind auch diese alten Songs – drei Viertel des Repertoires stammen aus den Jahren 1970–1976 – längst Oldies, die einen grossen Teil ihrer biografischen Dringlichkeit verloren haben. Und nicht immer gewinnt Elton John im Hallenstadion den Kampf gegen die Routine einer x-tausendsten Wiederholung eines Songs: «Nikita» ist, alleine am Flügel aufgeführt, leer – und auch «Goodbye Yellow Brick Road» klingt verschliffen und alt. «Don’t Let the Sun Go Down on Me» und «Sorry Seems to Be the Hardest Words» sind dann aber wieder von der flehenden Grösse, die sie brauchen.
Und bald sitzt Elton John wieder allein am Klavier und singt «Your Song». Der Vorhang fällt, das rote Piano verschwindet in einem Hochsicherheitscontainer, und Zürich ist wieder unumarmt.
Why am I here? Why are you there? Is our humanity taking us forward to a bright future? Or are we destined to fail due to our collective inhumanity ... and be forced to start all over? I was struck by this poignant reflection, the young woman and the Silverback both so pensive. What do you think they're thinking?
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri
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
Clinical advisor James Shin MD, of the Johns Hopkins Department of Pathology, is shown here with students showing off PathoS’ Clearview, a new way to prepare histology slides for use during breast-cancer surgery. The CBID team includes Hector Neira, Vaishakhi, Qing Xiang Yee and Anjana Sinha (left to right).