View allAll Photos Tagged provocation
'A Map of the Sea and the De La Warr Pavilion' is Helen Cann’s newly commissioned mural for the De La Warr Pavilion’s Rooftop Foyer.
Cann’s drawing depicts the Pavilion facing a swirling sea of historic events and figures, current desires, provocations and predictions, and maritime details. Queen Cynethryth of 8th Century Mercia, the Pavilion’s architects, and the Maharajah of Cooch Behar, drift amongst spider crabs, sandbanks, the wreck of the Amsterdam, and a dinosaur whose footprints from the Mesozoic era were found on Bexhill beach. Ebbing and flowing throughout are comments and questions shared at community events, about how the Pavilion can collaborate with publics towards the creation of a more equitable, environmentally sustainable society.
The drawing is based on an Admiralty Chart that maps the seven-mile stretch between Norman’s Bay to the Pavilion’s West, and Bulverhythe to the East. While the map that Cann refers to accurately depicts the current shoreline, predictions about rising sea levels indicate that by 2050, many areas around the Pavilion may be subject to regular flooding, and the Pavilion may be completely under water in the future.
Helen Cann sees the area as “a border, constantly washing up visitors – invaders, tourists, migrants, refugees and those seeking health from a sunny beach and waters. And, of course, Pevensey Bay is part of the National Marine Conservation Area and home to a multitude of other creatures like shellfish, crabs, seahorses, and fish. This is an unconventional map, perhaps, but one that I hope gives a broader view of the place and its many layers.”
Helen Cann is an award-winning illustrator and artist with a special interest in mapmaking. Her illustrated maps have helped wanderers, armchair explorers, festival goers and nature lovers. They have appeared in books, TV and film props, folded small into brochures or shouting loudly as murals. Her personal work explores the intersection of place, flora, fauna, history, linguistics and community knowledge. She believes that multi-level mapping like this can lead to a deeper understanding and appreciation of the personal environment, resulting in the motivation to protect.
Previous clients have included Towner Gallery, the National Trust x the Cider Museum, Ditchling Museum of Art + Craft, Lionsgate Films, Ridley Scott Ass., MMoser Ass. x Unity Technologies, Bloomsbury, Octopus, BBC and HBO amongst others. She is the author of Hand Drawn Maps – a Creative Guide (Thames and Hudson).
(Source: The De La Warr Pavilion website)
Tomi Ungerer was the artist / illustrator which was invited in our libray for its inauguration.
Une citation de lui que j'adore et trouve salvatrice:
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Sous couvert de provocation, Tomi Ungerer pose bien l’enjeu de la fiction :
offrir une surface de projection pour des émotions qui existent, que nos enfants connaissent ou connaitront, quoi qu’on fasse, pour qu’ils apprennent à s’y confronter et à les maîtriser.
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A quote from him that I love and find lifesaving
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Under the guise of provocation, Tomi Ungerer puts the stakes of fiction well:
To offer a projection surface for emotions that exist, that our children know or will know, whatever we do, so that they learn to confront and control them.
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We inaugurate too an exposition around him:
One of my first i help to build.
I was /am proud to meet this great human and share many time with it, because i was his driver to the travel to his Paris's Hostel and our library each morning / night.
He stay with us one week, full time!.
Funny time, when we lived a big story in our establishment.
Big thanks to my passionate Dominique Tabah (my "Chief"), which make all these events possible.
Admittedly, the GBH is one of my favorite birds to photograph (as a fairly new photographer, I started with big birds and, well, I'm working my way down---just can't resist a good Great Blue Heron shot, though). Great subjects, as they can remain perfectly still for long stretches of time (but they will fly off at the slightest provocation).
Rockport, TX; 050512; IMG_6009
For Bald Eagle lovers, Haines is nothing short of paradise. It’s a chilly, remote paradise, but paradise, nonetheless. At almost any given time you can drive out of town, stop along the road, and pick out dozens of these symbolic birds of prey in the surrounding trees. In the east, they still seem fairly timid, flying off with the least provocation. In Haines, the birds seem more resolute. They are much more approachable. Who knows, perhaps they’re just too darned cold to fly away, but I think not. There is something about Haines and its eagles that are special. Despite the journey and the cold it is a place I long to return to. #BaldEagles
Compared to previous years this has been a strange and limited year for me geographically.
To begin with the immediately concrete, I’ve hardly gone outside in the past week and a half, thanks to an extended episode of my right foot being stiff and swollen from gout. This time it struck without warning or provocation, unlike the previous time earlier this year, which you can see foreshadowed on the map as a day of biking around exploring West Oakland and then to Berkeley. The next day I could barely walk, and I haven’t dared to ride a bike in months.
My daily routine has been dominated all year by getting between home and MacArthur or Rockridge BART stations and between Civic Center BART and the Mapbox office on 9th Street. There are also many short walks from 16th Street BART for the Friday morning ritual of geobreakfast, and some longer ones taking advantage of some extra time in the morning to walk between 16th Street and Castro or Church stations instead of going straight to work. Another couple of early mornings I went to Glen Park and Noe Valley just to count pedestrians.
The long straight lines in the Oakland Hills are GPS tracks from airplanes. The rules changed and now you can use a GPS receiver during takeoff and landing, but it’s still hard to get a good signal. The trips were to Boston, to speak at the OpenVis conference (and then from there to Maryland to visit Steph’s family), and to Minneapolis, to speak at Eyeo Festival. Not visible on the map are two trips to visit my parents in southern California.
Locally, I talked at the Macro City conference at the Brava Theater, at Swissnex on Montgomery, at the National Association of City Transportation Officials at SPUR, and to a cartography class at San Francisco State, gave lunch talks at SFMTA and Gehl Architects, and was in SPUR’s Urban Cartography exhibit.
One Saturday I took the F Market around the Embarcadero to go to the library book sale at Fort Mason and came away with seven bound volumes of the Armed Forces Song Folio, monthly compilations of popular sheet music issued by the military in the 1940s and 50s. By systematically working through them, I’ve finally become a competent “fake book” pianist, able to play songs I’ve never heard before from the written melody and chords, although playing full standard piano arrangements is still beyond me.
I think the only new infrastructure reflected here is trying out BART’s Oakland Airport Connector on its opening day.
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In general, black is walking, red is bicycling, blue is cars or buses, and green is above-ground rapid transit or freeways. (Color is from speed, not from an actual record of transportation mode.) Not shown: tunnels and subways. How big is your world?
Other people doing similar things: Nicole Aptekar.
It is an ancient obligation. The emperor has to fly incessantly and never halt.
The king’s obligation is encoded in his very being. A visceral whisper prompts him to fly day and night. The primeval covenant has promised him paradise in a faraway jungle. His life does not have many reasons to be, so the king beats his wings to the ancient rhythm and flies over a vast land. But getting to the Promised Land is not easy. The path is gloomy and is ridden with savages and venomous sirens. Nightmares lurk at every corner and incubuses hiss melancholy all along. There are times when the king breaks down within as the dark horizon hardly budges despite flying for months. There is no jester to bring him a smile and the night only dims and threatens to ruin without provocation. Perched on the very edge of sanity, the king realizes he has only two options: succumb or fight back. And then… the royal arrogance takes over. The emperor of the vast land fights back.
Summoning spirits of his ancestors, he crafts magical wings. These wings are built with a mysterious parchment that lets heavenly light stain through setting his soul free in his mystic cathedral. His wings became his protective charm; his dreamcatcher. These charms let him seek his destiny without fear. His destiny, the King realizes in the stained light, is not the Promised Paradise but this very journey towards it.
Weaving his solitude into a hymn, the wandering Monarch thus flies forever in the symphony of his visceral whisper.
Top: Provocation - Ksanna top
Shorts: AsteroidBox -Iris
Pantyhose: Velvet design
Boots: Bax
Hair: Ayashi - Kauna
Quite honestly, never with Bogart. Have you ever seen a more tolerant dog?
[SOOC, f/1.4, ISO 400, shutter speed 1/320, +2 EV]
1) Detail of an Original Study private collection E. and J. H.
2) "Original" written on foam by Claudia Bosse, part of "Schiele Experiment - Melancholy and Provocation". Museum Leopold.
DMC-G2 - P1280831 (13.2.2012) + DMC-G2 - P1270868 (3.2.2012)
My new works on show now at Colab Gallery for "Public provocations" group show. If you are in #Basel this week don't forget to take a look.
Panniru Thirumuari Vizaa - Kapaleeswarar Temple , Mylapore .
பன்னிருதிருமுறை விழா
The Shaiva Tirumurais are twelve in number. The first seven Tirumurais are the hymns of the three great Shaivite saints, Sambandar, Appar and Sundarar. These hymns were the best musical compositions of their age.
The first three Tirumurais (meaning parts) of Tevaram are composed by Sambanthar, the next three by Appar and the seventh one is composed by Sundarar. There is a famous saying about the Saiva trio that "Appar sang for me, Sambanthar sang for himself and Sundarar sang of gold". Appar and Sambanthar lived around the 7th century, while Sundarar lived in the 8th century. During the Pallava period these three travelled extensively around Tamil Nadu offering discourses and songs characterised by an emotional devotion to Shiva and objections to Vaishnavism, Jainism and Buddhism.
Sambanthar is a 7th-century poet born in Sirkali in Brahmin community and was believed to be suckled by the goddess Parvathi, whereupon he sang the first hymn. On the request of queen of Pandya Nadu, Sambandar went on pilgrimage to south, defeated Jains in debate, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them He was a contemporary of Appar, another Saiva saint. Information about Sambandar comes mainly from the Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai, along with the earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar Tiruvandadi. A Sanskrit hagiography called Brahmapureesa Charitam is now lost. The first volumes of the Tirumurai contain three hundred and eighty-four poems of Campantar (in 4181 stanzas), all that survive out of a reputed more than 10,000 hymns. Sambanthar is believed to have died at the age of 16 in 655 CE on the day of his marriage. His verses were set to tune by Nilakantaperumalanar who is set to have accompanied the poet on his yal or lute.
Appar's (aka Tirunavukkarasar) was born in the middle of 7th century in Tiruvamur, Tamil Nadu, his childhood name for Marulneekiar. His sister, Thilagavathiar was betrothed to a military commander who died in action. When his sister was about to end her life, he pleaded with her not to leave him alone in the world. She decided to lead an aesthetic life and bring up her only brother. During boyhood, Appar was very much interested in Jainism and started studying its scriptures. He went away from home and stayed in their monastery and was renamed Darmasena. Details of Appar's life are found in his own hymns and in Sekkizhar's Periya Puranam (the last book of the Tirumurai). Appar had travelled to nearby Patalipura to join a Jain monastery where he was given the name Dharmasena. "Seeing the transient, ephemeral world he decided to probe into truth through renunciation." After a while, afflicted by a painful illness, Dharmasena returned home. He prayed for relief at the Siva temple where his sister served and was cured. He was also involved in converting the Pallava king, Mahendravarman to Saivism. This was also the period of resurrection of the smaller Shiva temples. Appar sanctified all these temples by his verses and was also involved in cleaning of the dilapidated temples called uzhavarapadai. He was called Tirunavukkarasu, meaning the "King of divine speech". He extolled Siva in 49,000 stanzas out of which 3130 are now available and compiled in Tirumurais 4-7. When he met Campantar, he called him Appar (meaning father). He is believed to have died at the age of 81 in Tirupugalur.
Sundarar (aka Sundaramurthi) was born in Tirunavalur in a Brahmin family during the end of 7th century. His own name was Nambi Arurar and was prevented from marrying by the divine grace of Siva. He later married a temple girl namely Paravi and a vellala community girl by name Cankili.[17] He is the author of 1026 poems compiled as 7th Tirumurai.
Manikkavasagar's Tiruvacakam and Tirukovayar are compiled as the eighth Tirumurai and is full of visionary experience, divine love and urgent striving for truth. Manickavasgar was the king's prime minister and renounced his post in search of divinity.
The ninth Tirumurai has been composed by Tirumalikaittever, Sundarar, Karuvurttevar, Nampikatava Nampi, Gandaraditya, Venattatikal, Tiruvaliyamutanar, Purutottama Nampi and Cetirayar. Among these the notable is Gandaraditya (950-957 CE), a Chola king who later turned a saivite saint.
Tirumandiram by Tirumular unfolds siddantha (attainment) as a fourfold path - virtous and moral living, temple worship, internal worship and union with Siva. Tirumular worked out an original philosophical system and southern scholl of Saiva siddantha draws its authority from Tirumandiram, a work of 3000 verses. Tirumandiram represents another school of thought detailing agamic traditions, which run parallel to the bhakthi movement. It does not glorify temples or deities as in the case of other Tirumurais.
The eleventh Tirumurai has been composed by Karaikkal Ammeiyar, Ceraman Perumal, Pattinattu p-pillaiyar, Nakkiratevar, Kapilateva, Tiruvalavaiyudaiyar, Nampiyantarnampi, Iyyadigal katavarkon, Kalladateva, Paranateva, Ellamperuman Adigal and Athirava Adigal. Nambi's Tirutottanar Tiruvanthathi followed an exclusive style of mincing Tamil and Sankrit verses in anthati meter similar to Tevaram of the trio. Karaikkal Ammaiyar (550-600 CE)is the earliest of the woman Saivite poets who introduced the kattalai-k-kali-t-turai meter, which is a complicated structural departure from the old classical Tamil meters. The other meter used by Ammaiyar was old venba and also antathi arrangement in which offset of one line or stanza is identical with the onset of next line or stanza.
Periya Puranam (Tamil:பெரிய புராணம்), the great purana or epic, sometimes also called Tiruttontarpuranam(read as "Tiru-Thondar-Puranam") (the purana of the holy devotees) is a Tamil poetic account depicting the legendary lives of the sixty-three Nayanars, the canonical poets of Tamil Shaivism. It was compiled during the 12th century by Sekkizhar. It provides evidence of trade with West Asia Sekkizhar compiled and wrote the Periya Puranam listing the life stories of the sixty-three Shaiva Nayanars, poets of the God Shiva) who composed the liturgical poems of the Tirumurai, and was later himself canonised and the work became part of the sacred canon. Sekkizhar was a poet and the chief minister in the court of the Chola King, Kulothunga Chola II.
Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court. He sought the help of Nambi Andar Nambi, who was a priest in a temple. It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram. The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by consecrating the images of the saint-poets through the streets of Chidambaram.Rajaraja thus became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai. Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple. Nambi arranged the hymns of three saint poets Campantar, Appar and Sundarar as the first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63 nayanar saints and added his own hymns as the 11th book. The first seven books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th book, Sekkizhar's Periya Puranam (1135 CE) is wholly known as Tirumurai, the holy book. Thus Saiva literature which covers about 600 years of religious, philosophical and literary development.
Samburu National Reserve
Kenya
East Africa
BEST VIEWED IN LARGER SIZE
Musth or must /ˈmʌst/ is a periodic condition in bull (male) elephants, characterized by highly aggressive behavior and accompanied by a large rise in reproductive hormones. Testosterone levels in an elephant in musth can be as much as 60 times greater than in the same elephant at other times. However, whether this hormonal surge is the sole cause of musth, or merely a contributing factor, is unknown; scientific investigation of musth is problematic because even the most placid elephants become highly violent toward humans and other elephants during musth, requiring segregation and isolation until they recover. Female elephants do not undergo musth.
Often, elephants in musth discharge a thick tar-like secretion called temporin from the temporal ducts on the sides of the head. Temporin contains proteins, lipids (notably cholesterol), phenol and 4-methyl phenol,[2][3] cresols and sesquiterpenes (notably farnesol and its derivatives).[4] Secretions and urine collected from zoo elephants have been shown to contain elevated levels of various highly odorous ketones and aldehydes. The elephant's aggression may be partially caused by a reaction to the temporin, which naturally trickles down into the elephant's mouth. Another contributing factor may be the accompanying swelling of the temporal glands; this presses on the elephant's eyes and causes acute pain comparable to severe root abscess toothache. Elephants sometimes try to counteract this pain by digging their tusks into the ground.
Musth is linked to sexual arousal or establishing dominance, but this relationship is far from clear. Cases of elephants goring and killing rhinoceroses without provocation in national parks in Africa have been documented and attributed to musth in young male elephants, especially those growing in the absence of older males. Studies show that reintroducing older males into the elephant population of the area seems to prevent younger males from entering musth, and therefore, stop this aggressive behavior.
Look closely at the unused clip on the Lone Ranger-era cannon on the right. Now, compare it to the one on the left and notice the difference. This happened without provocation, where the broken clip in question (which was holding a cannon plunger since ~2015 with no problem) suddenly decided to dispense of it's load. Not sure where the tip landed, as I can't find it.
Oh, and the train cars in the background are from the 8-wide Wild West 4-10-0 + military train. I've built everything but the steam loco itself, but I can't finish this whole MOC today. I've had to redesign the prisoner car's exploding wall area (twice!) and have realized I'm short a couple parts for the tender that I know I don't have extras of. Frankly, I'm afraid at this point the loco won't work as planned, judging by how this day is going so far!
When this train get's completed, it will join four other trains on the photography table. I'll get the pictures taken at that point, due to this being the last Western train I plan on making. (yeah, I'm not so confident that will argument hold up in the future!)