View allAll Photos Tagged postmortem
तस्वीरों में देखें : दुनिया के सबसे प्रसिद्ध बाघ का पोस्टमार्टम
भोपाल.यदि आप मध्य प्रदेश को बाघों की सैरगाह मानते हैं तो एक बार फिर से सोच लें। क्योंकि, अब मध्य प्रदेश वाकई बाघों के सुरक्षित नहीं रह गया है। बांधवगढ़ टाइगर रिजर्व में एक बाघ की मौत ने एक बार फिर से पार्क प्रशासन के साथ सरकार की नियत पर भी सवाल खड़ा कर दिए हैं।
दुनिया के सबसे प्रसिद्ध बाघों में शुमार बी2 अब इस दुनिया में नहीं रहा। रविवार को पार्क प्रबंधन के कर्मचारियों द्वारा शिफ्टिंग के दौरान बी2 बाघ की मौत हो गई। यह वही बाघ था, जिसने न सिर्फ बांधवगढ़ को बल्कि मध्य प्रदेश को भी इंटरनेशनल लेवल पर ख्याति दिलाई। इस बाघ को लेकर कई फिल्में बन चुकी हैं, जिसे डिस्कवरी और नेशनल जियोग्राफी जैसे चैनलों पर लगातार दिखाया जाता है।
14 साल 7 महीने का बी2 का मुख्य क्षेत्र बाधंवगढ़ किले के नीचे वाला क्षेत्र था लेकिन कई बार वहां नए बाघ आ जाने के कारण वह लगातार अपना क्षेत्र बदलता रहा। उसके माता-पिता भी इंटरनेशनल लेवल पर काफी फेमस था। मां सीता और पिता का नाम चार्जर था। सीता का कुछ साल पहले ही शिकार हो गया था जबकि चार्जर घायल अवस्था में दम तोड़ दिया था। लेकिन रविवार को बी2 मौत की आगोश में चला गया। आशंका जताई जा रही है कि बाघ को बेहोशी की दवा की अधिक डोज दिए जाने के कारण संभवत: बाघ की मौत हुई।
रविवार को पार्क के कर्मचारी घुनघुटी वन परिक्षेत्र के चौरी बीट से बाघ को पार्क ले जा रहे थे। इस दौरान बाघ को बेहोश करने के लिए गन से दवा दी गई। बेहोशी की हालत में उसे पिंजड़े में रखकर पार्क एरिया मे लाते समय रास्ते में बाघ ने दम तोड़ दिया। उमरिया में लंबे वक्त से बाघों के लिए काम कर रहे वन्यप्राणी प्रेमी पुष्पेंद्र कहते हैं कि सामान्यत: एक बाघ 12 साल ही जीता है लेकिन बी2 की उम्र काफी अधिक हो गई थी। लेकिन इसकी मौत से सिर्फ बांधवगढ़ को ही नहीं बल्कि दुनियाभर के बाघ प्रेमियों को झटका लगा है।
तस्वीरों में देखें : दुनिया के सबसे प्रसिद्ध बाघ का पोस्टमार्टम
भोपाल.यदि आप मध्य प्रदेश को बाघों की सैरगाह मानते हैं तो एक बार फिर से सोच लें। क्योंकि, अब मध्य प्रदेश वाकई बाघों के सुरक्षित नहीं रह गया है। बांधवगढ़ टाइगर रिजर्व में एक बाघ की मौत ने एक बार फिर से पार्क प्रशासन के साथ सरकार की नियत पर भी सवाल खड़ा कर दिए हैं।
दुनिया के सबसे प्रसिद्ध बाघों में शुमार बी2 अब इस दुनिया में नहीं रहा। रविवार को पार्क प्रबंधन के कर्मचारियों द्वारा शिफ्टिंग के दौरान बी2 बाघ की मौत हो गई। यह वही बाघ था, जिसने न सिर्फ बांधवगढ़ को बल्कि मध्य प्रदेश को भी इंटरनेशनल लेवल पर ख्याति दिलाई। इस बाघ को लेकर कई फिल्में बन चुकी हैं, जिसे डिस्कवरी और नेशनल जियोग्राफी जैसे चैनलों पर लगातार दिखाया जाता है।
14 साल 7 महीने का बी2 का मुख्य क्षेत्र बाधंवगढ़ किले के नीचे वाला क्षेत्र था लेकिन कई बार वहां नए बाघ आ जाने के कारण वह लगातार अपना क्षेत्र बदलता रहा। उसके माता-पिता भी इंटरनेशनल लेवल पर काफी फेमस था। मां सीता और पिता का नाम चार्जर था। सीता का कुछ साल पहले ही शिकार हो गया था जबकि चार्जर घायल अवस्था में दम तोड़ दिया था। लेकिन रविवार को बी2 मौत की आगोश में चला गया। आशंका जताई जा रही है कि बाघ को बेहोशी की दवा की अधिक डोज दिए जाने के कारण संभवत: बाघ की मौत हुई।
रविवार को पार्क के कर्मचारी घुनघुटी वन परिक्षेत्र के चौरी बीट से बाघ को पार्क ले जा रहे थे। इस दौरान बाघ को बेहोश करने के लिए गन से दवा दी गई। बेहोशी की हालत में उसे पिंजड़े में रखकर पार्क एरिया मे लाते समय रास्ते में बाघ ने दम तोड़ दिया। उमरिया में लंबे वक्त से बाघों के लिए काम कर रहे वन्यप्राणी प्रेमी पुष्पेंद्र कहते हैं कि सामान्यत: एक बाघ 12 साल ही जीता है लेकिन बी2 की उम्र काफी अधिक हो गई थी। लेकिन इसकी मौत से सिर्फ बांधवगढ़ को ही नहीं बल्कि दुनियाभर के बाघ प्रेमियों को झटका लगा है।
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
I've been inside this store. They have a European-style coffin made of wicker. Many photos of people, laid out for funerals. A foot-pumped dentist drill. Glass photographic negatives.
It's . . .curious!
Entry in category 1. Object of study; Copyright CC-BY-NC-ND: Eloisa Aldomar
In the context of the COVID-19 pandemic, postmortem computed tomographic (PMCT) examination of lung disease is gaining importance to make suspicious findings visually apparent relatively quickly. This study focuses on visual mediation and development of new visual display modes using the so-called volume rendering technique (VRT).
The three-dimensional reconstruction illustrates a PMCT of the lungs of a 30-year-old man with classic pattern of findings of COVID-19 pneumonia. In this reconstruction, the lung tissue structures with normally lower density values in the CT data are shown in blue-turquoise, while higher density values with a combination of yellow to red model the organic shapes.
Collaboration: Dr. med. Wolf Schweitzer, Virtopsy, Forensic Medicine & Imaging, Institute of Forensic Medicine, University of Zürich
Fotografia tomada/creada para concursar en el festival de cine de horror "Post Mortem" edición 2010 en Aguascalientes, Ags.
Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018. Photo: Noemi Jariod. Courtesy the artist.
Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
POSTMORTEM. Pour en finir avec le jugement de dieu
[POSTMORTEM: To Have Done with the Judgment of God] 2006–2007
Fragment from panel 7 of "POSTMORTEM. Project in Seven Tableaux" (2006–2007). The performance uses the radio poem "To Have Done with the Judgment of God" (1947) by Antonin Artaud, with a duration of 23 min 49 s, as its choreographic score. The first performance of this piece for a single
female performer took place as a part of "POSTMORTEM". It was repeated as a part of later projects with either a female or male performer.
Made inert as an individual by the skin-tight garment that
covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.
Text by Latitudes.
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
From Jem to CastleVille - A "Truly Outrageous" Game Narrative Postmortem
Christy Marx | Principal Game Designer, Zynga
Location: Room 3016, West Hall
Date: Tuesday, March 3
Time: 10:35am - 11:00am
Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018. Photo: Noemi Jariod. Courtesy the artist.
Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
POSTMORTEM. Pour en finir avec le jugement de dieu
[POSTMORTEM: To Have Done with the Judgment of God] 2006–2007
Fragment from panel 7 of "POSTMORTEM. Project in Seven Tableaux" (2006–2007). The performance uses the radio poem "To Have Done with the Judgment of God" (1947) by Antonin Artaud, with a duration of 23 min 49 s, as its choreographic score. The first performance of this piece for a single
female performer took place as a part of "POSTMORTEM". It was repeated as a part of later projects with either a female or male performer.
Made inert as an individual by the skin-tight garment that
covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.
© Text by Latitudes
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
The mortuary building basicly consists of three rooms, chapel of rest on one end, fridge room on the other and in the middle a postmortem room with creepy 'up and over' window. The floor it covered in insulated boxes used for transfering body parts!
I don't buy postmortem photographs because I think they are a little creepy. But I had to get these three vintage photos. I think they were very unusual because of their large size. The three photographs are mounted to cardboard frames that measures about 13, 3/4 inchs wide X 11, 3/4 inch tall. The photographs themselves are about 7, 1/4 inch X 9. 1/4 inch wide. The photos are very clear and show a lot of details. The photos are so large that they will not fit on my scaner. The two interior photos look the same, just different frames. It must have been a windy day at the cemetery. The grave site photograph shows some of the flowers in a blur.
Photos by Osgood
Photo Supply Co.
Galesburg, ILL.
No info on the backs.
Here are some other photos by Osgood from the Galesburg Publis Library Collection.
www.umvphotoarchive.org/cdm4/browse.php?CISOROOT=%2Fgales...
Post Mortem CDV by D. McLeod, Sterling, Illinois. The lady's name is scrawled on the back, but I cannot read it.
David McLeod was listed as a photographer in Sterling, Whiteside County, Illinois, in the 1880 census. He was 35 years old, born in Canada. His parents were born in Scotland. He was listed as married, but there is no family listed.
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
Slayer @ The Fillmore Silver Spring, Silver Spring, MD, on Tuesday, November 19, 2013.
North American Tour 2013:
Hell Awaits
The Antichrist
Necrophiliac
Mandatory Suicide
Captor of Sin
War Ensemble
Postmortem
Altar of Sacrifice
Jesus Saves
At Dawn They Sleep
Die by the Sword
Spirit in Black
Hallowed Point
Seasons in the Abyss
Strike of the Beast
(Exodus cover)
Dead Skin Mask
Raining Blood
Black Magic
Encore:
South of Heaven
Angel of Death