View allAll Photos Tagged provocation
Maurizio Cattelan, the great provocateur...
Five horses which want to run (jump) headfirst into the wall.
(when shadows are even more impressive than the sculpture itself) ...
Anyone who engages with Maurizio Cattelan as an exhibition organizer never really knows what awaits them. Born in Padua in 1960 and originally a laborer, the Italian artist has made a name for himself as a rule-breaker, a provocateur, but also a player of perceptions, an intelligent art clown, and a generator of surprising and often confusing ideas.
In 1993, he provoked audiences when he rented his exhibition space at the Venice Biennale to a PR firm that was promoting a commercial product. In 2000, he surprised the audience at Zurich's Migros Museum of Contemporary Art by emptying the halls. The only perceptible work of art to be discovered was a small wax figure in a Beuysian felt suit and with Cattelan's facial features, hanging helplessly from the coat rack. And another time, he even had the door of a gallery that had announced a Cattelan exhibition bricked up.
Five Horses with Their Heads in the Wall
He wasn't quite so radical in his refusal to exhibit at the Fondation Beyeler in 2013. His works were indeed on display there in a conventional museum setting. But strictly speaking, it was originally just one work, just one horse, the sculpture "Untitled" from 2007: a taxidermied brown horse with its head stuck high up in the museum wall, its muscular body hanging helplessly and pitifully. It appears as if the horse had leaped impetuously into the wall and remained there.
Cattelan had the horse prepared in five versions (he apparently hardly ever touches it himself). Three copies are owned by various international private collections, two are exhibition copies.
Breaking the Rule
With this, Cattelan once again broke a rule in the art world, namely that exhibition copies and "originals" are never shown at the same time in the same place. This is because doing so would impair the aura of the original. Maurizio Cattelan wouldn't be himself if he adhered to this rule. The owners of his originals are aware of this, of course. And indeed, the five copies of an old work now combine to form a new, temporary group of works. However, it's difficult to say whether a single horse with its head in the wall leaves a more lasting impression than five neatly lined up next to each other.
In 2011, Maurizio Cattelan bid farewell to the art world with a large-scale retrospective entitled "All" at the Guggenheim Museum in New York. Of course, no one really believed him. But it must have been an exceptionally spectacular farewell exhibition, with 130 of his works, all hanging from the museum's ceiling like a giant mobile. Among them were Cattelan's most famous works, such as the Pope Thrown to the Ground by a Meteorite (first shown at the Kunsthalle Basel in 1999) and the equally famous praying Hitler figure.
The same work, which was first shown in this arrangement in Switzerland, is now in the Centre Pomdedou in Metz. It hangs higher here than it did at the Fondation Beyeler, making it even more spectacular, I think.
In my triptych, I show the proportion of height to the human figure. A homeless person has also been added here, which further irritates the viewer. And finally, the third painting demonstrates the banalization in the colorful context of the large space with the exposed building techniques typical of the centre and distracting colorful artworks. Biomorphic is contrasted with inorganic construction, which seems to be a recurring theme in the exhibition...
Deutsch
Maurizio Cattelan, der große Profokateur ...
Fünf Pferde, die mit dem Kopf durch die Wand wollen.
(Wenn Schatten noch beeindruckender sind, als die Skulpturen selbst)
Wer sich als Ausstellungsmacher auf Maurizio Cattelan einlässt, weiß nie so richtig, was ihm letztlich blüht. Der 1960 in Padua geborene italienische Künstler, der ursprünglich Hilfsarbeiter war, hat sich einen Namen gemacht als Regelbrecher, Provokateur, aber auch Spieler mit Wahrnehmungen, intelligenter Kunstclown und Generator mit überraschenden und oftmals auch verwirrenden Ideen.
So provozierte er 1993, als er seine Ausstellungsfläche an der Biennale in Venedig an eine PR-Firma vermietete, die dort für ein kommerzielles Produkt warb. Im Jahr 2000 überraschte er das Publikum im Zürcher Migros Museum für Gegenwartskunst mit leergeräumten Hallen. Als wahrnehmbares Kunstwerk war lediglich eine kleine Wachsfigur im Beuys’schen Filzanzug und mit Cattelans Gesichtszügen zu entdecken, die hilflos an der Garderobe hing. Und ein anderes Mal liess er die Türe einer Galerie, in der eine Cattelan-Ausstellung angekündigt war, gar zumauern.
Fünf Pferde mit dem Kopf in der Wand
Ganz so radikal verweigerte er sich anlässlich einer Ausstellung 2013 in der Fondation Beyeler nicht. Dort waren tatsächlich Werke von ihm in einem gängigen musealen Rahmen zu sehen. Doch genau genommen war es ursprünglich nur ein Werk, nur ein Pferd, die Plastik «Untitled» aus dem Jahr 2007: Ein präpariertes braunes Pferd, das mit dem Kopf hoch oben in der Museumswand steckt und dessen muskulöser Körper hilflos und jämmerlich herunter hängt. Es scheint so, als ob das Pferd ungestüm in die Wand gesprungen und dort hängen geblieben sei.
Cattelan hat das Pferd in fünf Ausführungen präparieren lassen (selber legt er ja offenbar die Hand kaum je an). Drei Exemplare befinden sich im Besitz von verschiedenen internationalen Privatsammlungen, zwei sind Ausstellungskopien.
Bruch mit der Regel
Damit brach Cattelan einmal mehr mit einer Regel im Kunstbetrieb, nämlich dass Ausstellungskopien und «Originale» eigentlich niemals zur selben Zeit am selben Ort gezeigt werden. Dies, weil damit die Aura des Originals beeinträchtigt wird. Maurizio Cattelan wäre aber nicht er selbst, wenn er sich an diese Regel halten würde. Das wissen natürlich auch die Besitzer seiner Originale. Und tatsächlich vereinigen sich die fünf Kopien eines alten Werks nun zu einer neuen Werkgruppe auf Zeit. Dabei ist aber schwierig zu sagen, ob nun ein einzelnes Pferd mit dem Kopf in der Wand einen nachhaltigeren Eindruck hinterlässt als gleich deren fünf, sauber nebeneinander aufgereiht.
2011 hat sich Maurizio Cattelan mit einer gross angelegten Retrospektive mit dem Titel «All» im New Yorker Guggenheim-Museum vom Kunstbetrieb verabschiedet. Natürlich glaubte ihm das niemand so richtig. Aber es muss sich um eine ausgesprochen spektakuläre Abschiedsausstellung gehandelt haben mit 130 seiner Werke, die allesamt wie ein riesiges Mobile von der Decke des Museums hingen. Darunter Cattelans bekanntesten Arbeiten, wie etwa der Papst, der von einem Meteoriten zu Boden geworfen wurde (1999 erstmals in der Kunsthalle Basel zu sehen) oder die nicht weniger bekannte betende Hitlerfigur.
Das gleiche Werk, das in dieser Zuammenstellung erstmals in der Schweiz gezeigt wurde, befindet sich jetzt im Centre Pomdedou in Metz. Es hängt hier höger als es in der Fondation Beyeler hing und ist damit noch spektakulärer, finde ich.
In meinem Triptychon zeige ich die Proportion der Höhe zum Menschen. Hier ist auch noch eine Obdachlose hinzugekommen, die zusätzlich Irritationen auslöst. Und schließlich zeigt das dritte Bild die Banalisierung im bunten Kontext des großen Raumes mit den centre-typischen, freigelegten Gebäudetechniken und ablenkenden bunten Kunstwerken. Biomorphes wird gegen anorganische Konstruktion gestellt, was mehrfach in der Ausstellung Thema zu sein scheint ...
Ihr könnt euch vorstellen, das 4 Bilder vorzubereiten und alle wichtigen Informationen dazu zusammen zu stellen, viel "Arbeit" erfordert ... hoffe, es findet sich jemand, der das zu schätzen weiß ;-) ...
_V0A4976_pt2
... of wars and rumours of wars: see that ye be not troubled: for all these things must come to pass, but the end is not yet. Matthew 24.6
Here is an interesting observation from Joel C. Rosenberg:
www.joelrosenberg.blogspot.com
UPDATED: Are Russia and Georgia on the verge of all out war? Tensions have been growing for the last few years, but the situation has deteriorated rapidly in the last twenty-four hours and fighting along the border has broken out. Most serious so far: Russian fighter jets have bombed two towns in neighboring Georgia, killing and injuring innocent civilians, Georgian President Mikhail Saakashvili said Friday. [At 9:35am eastern, Fox News reported that Georgia had shot down four Russian fighter jets....an hour ago, the New York Times reported that two Russian jets had been shot down, something AP reported as well....AP is now also running this headline: "Russia Invades Georgia."....at 10:47am eastern, AP reported hundreds dead in fighting....Sen. McCain has just called on Russia to halt its action in Georgia and withdraw....]
One critical issue to watch as the crisis develops: Who is really in charge in Moscow, Prime Minister Vladimir Putin or newly installed President Dmitry Medvedev? For the moment, it seems to be Putin who is calling the shots and speaking out most forcefully on the crisis with Georgia. Putin, of course, believes deeply in restoring the glory of Mother Russia. He certainly does not want to lose Russian territory and is determined to expand the Russian empire. As I have written about previously, he knows he cannot expand Russia westward because NATO is expanding eastward. Putin also knows he cannot expand Russia eastward because of China. He has claimed ownership of the North Pole, but the real opportunity for Russia is to expand southward, and that is where Putin has been focusing all of his attention in recent years. He is determined to control the Caucuses region, and South Ossetia -- though not a name or place most Westerners have ever heard of much less cared about -- is a key piece in Putin's southward strategy. Interestingly, a new poll finds that four times more Russians think Putin is the most powerful man in Moscow than Medvedev, and tensions between the two men have been growing all summer.
The Russian bombs allegedly fell on Gori and Kareli, two towns near South Ossetia, a volatile region smaller than the size of Rhode Island with a population of less than 70,000. South Ossetia broke away from the Republic of Georgia in the early 1990s and has been controlled ever since by Moscow-backed separatists. To effectively hold the territory for themselves -- or at least keep the territory of South Ossetia from being reclaimed by Georgia, Russia sent military troops designated as "peacekeepers" into the area several years ago and provides economic support to the rebels. Now Georgian military forces have just launched a major attack on those rebels in a bid to regain control of the territory.
Putin warned Georgia that her attack on South Ossetia would trigger a retaliation. Putin did not say precisely what form that retaliation would take, and as of this writing, Russia is denying that it has bombed Georgian towns.
"The Georgian leadership has launched a dirty adventure," the Russian Defense Ministry said on Friday. "We will not leave our peacekeepers and Russian citizens unprotected."
"Heavy weapons and artillery have been sent there, and tanks have been added," Putin told reporters this morning. "Deaths and injuries have been reported, including among Russian peacekeepers....It's all very sad and alarming. And, of course, there will be a response."
The Republic of Georgia is a democratic country that wants to join NATO, remove Russian troops and military bases from its soil, allow the U.S. to build a missile defense system on its territory, and become a full-fledged ally of the West. For those very reasons, tensions between Georgia and Russia have been growing steadily.
In April of this year, under intense pressure from Moscow, NATO decided not to invite Georgia and Ukraine join its 26-member alliance immediately, but promised to revisit the issue soon. This may prove to have been a serious mistake, inviting Russian provocation. Days later, Putin ordered the establishment of semi-official ties with the rebel "government" in South Ossetia, which Georgia charged was a violation of international law. A few weeks later, Russia began sending more troops to the border of South Ossetia, which NATO said was a provocation of Georgia. In July, Russian fighter jets penetrated Georgian airspace and flew a reconnaissance mission over South Ossetia in a show of force -- a warning, really -- designed to "cool hot heads in Tbilisi [the capital of Georgia]," the Kremlin said. The President of Georgia immediately recalled his ambassador from Moscow, all but cutting off diplomatic ties, to protest the aggressive Russian move.
Back in September 2006, as I wrote about at the time, Russia warned of dire consequences if NATO provided arms and continued building strong ties to Georgia. In October 2006, Russian forces blockaded Georgia from air, rail and ground transportation and Putin sent the Russian navy to maneuver off Georgia's Black Sea coast.
In January 2006, two explosions ripped through pipelines carrying Russian oil to the former Soviet Republic of Georgia. The blasts effectively cut off Georgia's main supply of energy amidst a brutally cold winter. The Kremlin called the sabotage acts of terrorism, but Georgian President President Saakashvili, top Georgian officials, and even a number of Western analysts were not convinced. They accused Russian intelligence of triggering the explosions to send Georgia a chilling message: don't join NATO, don't insist that Russia give up its military bases in Georgia, don't keep criticizing Putin as he re-centralizes power and rebuilds the Russian military, don't oppose Russia's application to join the World Trade Organization, stop calling for UN Secretary-General Kofi Annan to “internationalize” peacekeeping operations in the troubled southern Russian regions Abkhazia and Ossetia, and stop promoting pro-democracy movements throughout the former Soviet Union.
The pipelines were eventually fixed, and oil began flowing again, but tensions were never defused. "Russian-Georgian relations have deteriorated to the point that some Kremlin officials are seriously weighing a military operation, which they hope will hand Georgia a military defeat and topple President Saakashivili," wrote Heritage Foundation Russia expert Dr. Ariel Cohen in March. Cohen quoted one veteran Russian foreign policy as saying, "It’s springtime -- a time to start a war with Georgia." Cohen noted that Kremlin political strategist Gleb Pavlovsky actually called for Saakashvili to be assassinated, and that Vladimir Zhirinovsky’s Liberal Democratic Party issued a statement in February statement saying the call for assassination should be seen as a warning to the Georgian leader. “Saakashvili is out of control, and needs to be brought to heel,” said one Kremlin insider, quoted by Cohen. “If Georgians keep quiet and behave, we may even tolerate their joining NATO, but if they are loud, we’ll take measures.”
ALSO WORTH NOTING: Observers of Biblical prophecies such as Ezekiel 38 and 39 will note that directly or effectively controlling Georgia would be key when Moscow one day begins moving Russian military forces through Turkey and into Lebanon, Syria and eventually against Israel.
🎉Get ready to shine this season! From December 15th to 25th, enjoy 50% OFF everything at {Limerence}, [Provocation], -MikiNe-, and [Ephemerica] — except gift cards.
✨ Don’t miss out on the perfect chance to stock up on your favorite items or find the ideal holiday gifts!
🎁Hurry, the clock is ticking, and so are the deals. Let the festive shopping begin!
Years, centuries, even millennia of warfare was noble, if tedious work. The Empress sought to solidify her control of the galaxy, and in the eyes of her trillions of subjects, as well as the myriad other species who called the galaxy home, had made humanity a force to be reckoned with.
Yet with each new world, the haze of corruption seeped in all the stronger. Those who yielded to these barbaric and unnatural forces grew in number, strength and cunning. It was seen not just at the end of her own blade, but in the seemingly endless string of casualty reports and the slowing advancement of her forces.
She could not lead her forces at every front while maintaining an empire. A glint of satisfaction shined across her features as the solution became obvious: those of her own bloodline would be ideal forces to act in her stead.
If the galaxy would fight her dominion with legions, her children would lead legions in kind to fight back the darkness.
Take your lovely lady to see Celine Dion in the Caesars Palace Colosseum -- Take your lovely lady to dinner at Spago's in the Caesars Palace Forum Shops -- Do these two simple things and perhaps your lovely lady will reward you by letting you take her lingerie shopping here. What do you think...
ddmagazine.it/2009/numeri.2009/09set/09set.html
HOTB (Ita)
Is anybody home?
HOTB composes figures where other people, in past centuries, had made Phylosophical systems, or had been hunted by the evil persistance, writing books on cruelty.
HOTB with his provocation helps us to feel how alive and adorned by commercial images is our televisive conscience.
In HOTB a genital and sometimes pornographic humanity interprets an unhinged life pulsion, while black phones, disseminated like ruins in a romantic landscape, rest, waiting for a call.
Patrizia Miliani in “schizzi d’ inchiostro”
Hot Chi?
E' finito il tempo in cui un'immagine scatenava baruffe e si pigliavano botte a cotè di un dipinto dove una puttana nuda guardava lo spettatore senza fare la maddalena? E' finito.
Non c'è più modo che un'immagine possa èpater le bourgeois, facendo un botto nel suo salotto disneyano? No, non c'è più.
HOTB compone figure, là dove altri nei secoli hanno costruito sistemi filosofici, o si sono tormentati sulla persistenza del male, e hanno scritto volumi sulla crudeltà. HOTB non è il nipote di De Sade, e non finirà alla Bastiglia per le sue immagini. Anzi. Il fruitore della sua personale potrà sentirsi piacevolmente compiaciuto o sottilmente sconcertato, ma tornerà a casa comunque con un frizzico blu nella schiena. HOTB con la sua provocazione ci aiuta a sentire quanto è viva la nostra coscienza televisiva, adorna di immagini pubblicitarie, dove c'è sempre casa, ovunque nel mondo e in qualsiasi malaugurata situazione, basta avere il fusillo in tasca. HOTB lo sa, e alleste per noi il suo teatrino poco rassicurante nello scantinato umido e fetente delle sue pulsioni di morte. Manca l'ultimo sfregio, quando la creatura soccombe, senza ritorno, all'esplorazione di quello scantinato,dove le donne di Barbablù sono custodite in stile macelleria.
E' femminile, l’oggetto che si ritrova nello scantinato di HOTB, serrata nelle corde, nastro adesivo sulla bocca, spesso senza occhi, un essere senza sguardo, negato, come nei lager, dove i prigionieri non dovevano mai guardare negli occhi i carcerieri.
Perchè lo sguardo è lo specchio, e il torturatore non vuole specchiarsi.
Gli occhi ricompaiono nei primissimi piani maschili, dove HOTB assume il ruolo di colui che ama, e il colore è sparato nelle iridi degli amati.. Lo sguardo cancellato della donna, vittima per definizione, traspare nascosto nelle iridi fluorescenti degli amati, che accompagnano, come faceva l’Iride del mito, le donne"morte" nell'aldilà.
C'è del manierismo nelle immagini di HOTB, nel sovraccarico di grafismi che addensano oscurità, accanto a qualche colore primario steso a contrappunto di una luce che non illumina. L'immagine è come sottoposta alle interferenze del tempo, litografica e bloccata nelle righe, nelle vetrate a quadrati, quasi sbarre.
Il pathos è' confinato nei titoli, nell'abbandono lirico di un capannone industriale, nella rovina accorata di una vasca da bagno, nelle macerie di un luogo senza luce, dove le sole finestre possibili si spostano, e sono occhi di visi infantili, in altre immagini, sparse qua e là, come una grammatica di luce in mezzo all'opaco.
Una discesa agli inferi con redenzione promessa dai visi infantili. E se il nazareno capitasse nella galleria dove espone HOTB, tornerebbe alla carica, con i suoi amici pescatori ed esattori delle tasse, lenti e permalosi, per trovare altri amici, lenti e permalosi.
Per sua sfortuna e nostra fortuna, HOTB non ha letto Melanie Klein, che racconta con dovizia del "terribile comportamento sadico" dei bambini piccoli. E così, per HOTB l'innocenza resta, e rischiara o disturba la nostra visione delle sue immagini.
In HOTB un'umanità genitale e a tratti pornografica interpreta una sgangherata pulsione di vita, mentre neri telefoni disseminati, come ruderi in un paesaggio romantico, sono in attesa di una chiamata.
Forse, la chiamata di colui che un tempo era l'Interlocutore, ora muto.
Il fotografo pugliese non ci racconta nulla della signorina stesa a terra con i polsi legati dalle corde ben serrate. Lo sconcerto per noi, il vero teatro della crudeltà, sarebbe scoprire che è nostra sorella o la vostra fidanzata. Ma HOTB ce lo risparmia. Anche Isacco era incaprettato sulla pira, pronto al sacrificio, ma fu risparmiato. Ecco, le immagini di HOTB parlano dell'impossibilità del sacrificio.
E dell'essere risparmiati.
L'impossibile sacrificio costringe a ripetere rituali dove la vittima è sempre risparmiata, e alla fine, si toglie le corde, si riveste e torna a casa, a farsi una piatto di fusilli e a guardare la tivù.
Patrizia Miliani
Collaboratrice del DDproject
TUTTO PRONTO PER L'ACCOGLIENZA
L’atmosfera si fa incandescente ancor prima del gong d’inizio dell’Adunata di Udine. Al centro del vivacissimo dibattito il timore che il capoluogo friulano possa fare da teatro a polemiche incrociate come quelle viste all’opera al raduno di Rimini. A far ribollire gli umori ci hanno pensato messaggi girati in chat e sulle pagine social dedicate all’attesa del raduno di Penne nere, con un testo in cui si invita a fare attenzione a chi - nell’ipotesi del tutto opinabile degli autori o dell’autore - manderebbe «donne a provocare e farsi toccare per poi denunciare» e si sollecita i partecipanti all’Adunata a non cedere «alle provocazioni: avranno complici che filmeranno per avere prove valide sulle molestie. Solo per farsi pubblicità», si legge. In questo quadro, se le associazioni femministe si preparano a schierare sentinelle anti-molestie armate di telefonino per inchiodare eventuali malintenzionati alle loro responsabilità, la presidente della Commissione pari opportunità regionale (che guida anche il coordinamento nazionale dei vertici delle Cpo) Dusy Marcolin si augura che «non ci siano provocazioni di alcun genere» e che nessuno «ceda alle provocazioni», invitando comunque le donne, in caso di molestie, a denunciare.
Informazione tratta dal sito del Gazzettino
-------------------------------------------------------------
EVERYTHING READY FOR THE RECEPTION
The atmosphere becomes incandescent even before the starting gong of the Udine Adunata. At the center of the lively debate is the fear that the Friulian capital could act as a theater for cross-controversies such as those seen at the opera at the Rimini meeting. Messages circulated in chat and on the social pages dedicated to waiting for the gathering of black feathers have thought of making the mood boil, with a text inviting you to pay attention to who - in the entirely questionable hypothesis of the authors or of the author - would send «women to provoke and be touched and then report» and the participants in the Gathering are urged not to give in «to provocations: they will have accomplices who will film to have valid proof of the harassment. Just to get publicity. In this context, if the feminist associations are preparing to deploy anti-harassment sentinels armed with mobile phones to hold any criminals to their responsibilities, the president of the regional equal opportunities commission (which also leads the national coordination of the Cpo leaders) Dusy Marcolin hopes that "there are no provocations of any kind" and that no one "give in to provocations", however inviting women, in case of harassment, to report.
Information taken from the Gazzettino website
Immagine realizzata con lo smartphone SAMSUNG NOTE 4
One of Africa's most iconic and formidable animals. Adults weigh up to 900 kg. Usually a highly social animal, living in herds of hundreds — sometimes thousands. Known for their unpredictable aggression and willingness to charge, even without provocation. Considered one of the most dangerous animals on the continent. Head-on pictures have the strongest impact, but may be followed by a similar impact on the photographer.
Interestingly, herds make collective decisions through a form of voting — for example, females point their bodies in the direction they want to travel.
They are herbivores, feeding mainly on grass.
140822 244
An original story by Geoffrey Piltz copyright 2023
Balgrain is an ancient house. Of the many stories of those who have lived in it, the most well known and strangest is the tale of the Black Hound.
In 1765 Margaret Borthwick was heiress to the Balgrain estate. She had been orphaned at seven when father was killed in a hunting accident, her mother having died soon after her birth. Her father’s sister and husband became her guardians and raised Margaret as a daughter, their two sons becoming as brothers to her.
As heiress to a considerable estate many men courted her. The older were turned away by Margaret herself, and the younger by her guardians, concerned as they were to protect her from mere fortune hunters. Although Margaret understood their reasons for each rejection, and it did not embitter her towards her aunt and uncle, she became, like most young women of the time, increasing anxious for a husband as the time of her majority, when she could wed whom she chose, approached.
Finally her twenty-first arrived and she entered into her inheritance. Balgrain House, which had been kept in repair for her by a small staff, saw full life again for the first time in fourteen years to host a grand ball in celebration of her birthday and her new status as the Lady Balgrain.
All the gentry of the surrounding countryside and relatives and friends from farther afield attended the gala. Among them came an Irish adventurer by the name of Edward Powers who was staying in the vicinity as a guest of a distant neighbour. He was, as in all the best romances, tall, dark and handsome, and Margaret, longing as she was for a husband, was irresistibly attracted to him, and before the evening ended had convinced herself that she was wildly in love with this stranger.
Handsome, with impeccable manners, conversation and deportment, Powers’ only slight defect, readily overlooked, was his odd eyes - the right one was blue and the left hazel. His hosts, the distant neighbours, believed that he was of the great Powers family of Wicklow. Accepting this Margaret, now being of age, married Powers inside three months against her adoptive family’s advice and wishes.
Powers’ true position and nature showed immediately. His position was that he was of lowly birth, penniless and lived by gambling and sponging off his hosts as he moved from one country house party to another. He was by nature a wastrel. When he learnt that the Balgrain house and estate were entailed so that he could not sell or raise money on the real property, and that fourteen years of estate income had been invested in irredeemable 3% Government annuities, he became livid with anger and railed against his wife for entrapping him into poverty! After running through Margaret’s ready money in a mere three months he began drinking to excess and was frequently drunk and violent, striking servants with no provocation. He held wild late night drinking bouts at the house accompanied by low-life companions found in local ale houses. The only check to his actions came when following a drunken diatribe against his wife he actually struck her. Her cousins on hearing of this openly threatened him with a public horse whipping if it happened again. The vehemence of their language and the violence of their demeanour caused him to break off all association with Margaret so that they occupied separate parts of the house and ceased to even see or talk to each other.
Margaret and Powers had only been married for four months when the night of Powers’ disappearance, or transformation, came. One morning after a late night filled with loud sounds from Powers’ side of the house - sounds of drunken carousing, slamming doors, shouting and a dog’s barking - a house maid had tentatively and timidly opened the door to Powers’ drawing room to see a dark figure asleep in the shadow beneath the table. This was not unusual and the maid had started to quietly clean up the room when the figure awoke and crawled from under the table. At this the maid fled screaming.
The maid’s cries brought other servants and then Margaret to the drawing room door. The maid was almost incoherent and the only sense that could be had from her was that “drink had turned the master into a beast”. Fearful of what Powers may have done two man servants, followed by Margaret, cautiously entered the room to see that its only occupant was a large black dog. Puzzled surprise turned to astonishment as the dog stood up on its hind legs and walked towards Margaret looking directly into her eyes with its own, one blue and one brown. Stunned, Margaret uttered a faint sound and collapsed insensible upon the floor.
On acquaintance the dog proved friendly and amiable, unlike Powers, and, apart from a desire for beer which he would beg for on his hind legs whenever he saw a tankard, he had no vices. All agreed that he was much to be preferred to Powers. He was christened “Master” and took Powers’ place as faithful companion to Margaret and guardian of Balgrain, duties he discharged faithfully for many years.
Of Powers the man no trace was ever found and no report of him ever came from distant places. Opinion became equally divided between those who believed that he had been turned into a dog by some enchantment or curse and those who simply saw the thing as an insoluble mystery. No mystery is insoluble, in full or part, however, if only those with some knowledge of the matter can be found. One such person appeared seven years later, the year that “Master” died, Powers was declared legally dead and Margaret remarried.
An itinerant came into the area earning money by exhibiting at local fairs and inns a large brown dog that walked on its hind legs and drank beer. This naturally aroused the interest and curiosity of the people, for all were familiar with the story of the Black Hound, and the showman was brought before the magistrate. Here he told this story.
Seven years previously the showman had come north bringing with him a trained black dog. On a light summer’s evening he met on the road a tall, dark gentleman with one blue and one brown eye who was a little drunk. The gentleman was greatly taken with the dog, for like him it drank, was dark haired and had the same odd eyes, and the gentleman insisted on buying the animal. The showman did not want to sell his livelihood but was unwilling to resist a social superior who could make trouble for him so the sale was made. He then followed the gentleman home hoping to steal back the dog and witnessed a violent incident. Two young men rode up to the door of the house and knocked loudly calling for Powers. After some time Powers suddenly threw open the door, stuck a pistol into the stomach of one of the callers and pulled the trigger. Fortunately for the young man the pistol flashed in the pan without firing. The other young man then struck Powers violently on the head knocking him to the ground. The young men rode off, both on one horse leading the other horse with Powers’ body on it. The showman fled in great fear and had never been north again in seven years.
While this solved the mystery of the appearance of the Black Hound the matter of Powers’ disappearance remained unresolved. Suspicion naturally fell upon Margaret’s cousins but on the showman’s evidence the blow to Powers’ head could be claimed to be justifiable, his body had never been found and he was now legally dead. So to the satisfaction and approval of all it was decided to let sleeping dogs lie.
Avery sat and read a 152-page book all on her own, with no provocation from anyone else :) Love that girl!
The Trade Unions Building, or Budynok Profspilok (officially in Ukrainian: Будинок спілок Федерації професійних спілок України, Union house of the Federation of Trade Unions of Ukraine), is a large office building in Kyiv, Ukraine. Located on the city's main Khreshchatyk Street, its façade faces the central Maidan Nezalezhnosti square and contains the city's main clock tower.
During the late 2013 to early 2014 Euromaidan protest campaigns, the Budynok Profspilok was occupied by protesters and turned into their main center housing political headquarters, the press center, security center and the main kitchen. A number of important Euromaidan events, including recurrent attacks and provocations by police, occurred in and around the building.
The building was completely burnt down during the night of 18–19 February, the day before the mass sniping fire took place during the 2014 Ukrainian Revolution.
Due to the severe damages the building suffered from the fire, it was covered with large canvas screens on two sides with the words "Glory to Ukraine" printed on them in large letters. The building is since then rebuilt and will include a museum dedicated to the Euromaidan events.
Cette œuvre s’inscrit dans le contexte des tendances artistiques internationales à partir des années 1950 et surtout 1960, au moment où le pop art donne le ton en Occident. Les adeptes de ce mouvement refusent le cloisonnement des arts et s’emploient à restaurer le lien entre l'art et la société. Ils puisent leur inspiration dans la société de consommation contemporaine et intègrent ses produits et ses manifestations dans leurs œuvres, tout en fustigeant au passage son nivellement par le bas. Au moment de sa réalisation en 1975, la sculpture de Verduyn a une connotation critique : la jeune femme se conforme délibérément aux codes imposés (vêtements, coiffure et maquillage). L'installation de cette figurante dans le temple du musée tient de la provocation. Malgré la nostalgie rétro que cette œuvre peut aujourd’hui susciter, son sens initial n’a rien perdu de son actualité. Le personnage hyperréaliste grandeur nature de Jacques Verduyn incarne la désacralisation de l’œuvre d’art et son intégration de la vie quotidienne, dans la lignée des artistes pop.
This work is part of the context of international artistic trends from the 1950s and especially the 1960s, when pop art set the tone in the West. Followers of this movement refuse the compartmentalization of the arts and work to restore the link between art and society. They draw their inspiration from contemporary consumer society and integrate its products and manifestations into their works, while criticizing its leveling down in the process. At the time of its creation in 1975, Verduyn's sculpture had a critical connotation: the young woman deliberately conforms to imposed codes (clothing, hairstyle and makeup). The installation of this extra in the museum temple is provocative. Despite the retro nostalgia that this work can arouse today, its initial meaning has lost none of its relevance. The life-size hyperrealistic character of Jacques Verduyn embodies the desecration of the work of art and its integration of daily life, in the tradition of pop artists.
Manual of the Warrior of the Light
A warrior of the Light does not spend his days trying to play the role that others have chosen for him
A Warrior of the Light knows what he wants, and he has no need to waste time on explanations
A Warrior of the Light never resorts to trickery, even if he knows how to distract his opponent
A Warrior of the Light does not waste his time listening to provocations
A Warrior of the Light does not seek approval through explanation or justification, but through alignment between his actions and his truth
A Warrior of Light never fights with somebody who does not deserve the honour of combat
The European robin (Erithacus rubecula), known simply as the robin or robin redbreast in the British Isles, is a small insectivorous passerine bird, specifically a chat, that was formerly classified as a member of the thrush family (Turdidae) but is now considered to be an Old World flycatcher. About 12.5–14.0 cm (5.0–5.5 inches) in length, the male and female are similar in coloration, with an orange breast and face lined with grey, brown upperparts and a whitish belly. It is found across Europe, east to Western Siberia and south to North Africa; it is sedentary in most of its range except the far north.
The robin is diurnal, although has been reported to be active hunting insects on moonlit nights or near artificial light at night. Well known to British and Irish gardeners, it is relatively unafraid of people and drawn to human activities involving the digging of soil, in order to look out for earthworms and other food freshly turned up. Indeed, the robin is considered to be a gardener's friend and for various folklore reasons the robin would never be harmed. In continental Europe on the other hand, robins were hunted and killed as with most other small birds, and are more wary. Robins also approach large wild animals, such as wild boar and other animals which disturb the ground, to look for any food that might be brought to the surface. In autumn and winter, robins will supplement their usual diet of terrestrial invertebrates, such as spiders, worms and insects, with berries and fruit. They will also eat seed mixtures placed on bird-tables.
Male robins are noted for their highly aggressive territorial behavior. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. Such attacks sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas.
Because of high mortality in the first year of life, a robin has an average life expectancy of 1.1 years; however, once past its first year it can expect to live longer and one robin has been recorded as reaching 19 years of age. A spell of very low temperatures in winter may also result in significant mortality.
For more information, please visit en.wikipedia.org/wiki/European_robin
This image represents the defensive reflex of abusive power: the attempt to transform the witness into the culprit. When a system is fractured, the easiest way to preserve the illusion of integrity is to silence the one who points out the cracks.
The scene is a visual proverb on the culture of blame. While my finger identifies a deep, undeniable fracture in the wall of our reality, other fingers are pointed back at me. They do not look at the damage; they look at the one showing it. They prefer to attack the messenger because fixing the crack would require a conscience they do not possess.
In this dynamic, the act of pointing a finger is a mask for cowardice. They attempt to dominate the narrative by focusing on me, hoping that the noise of their judgment will distract from the silence of the collapsing structure behind them. But truth does not need consensus to exist; it only needs to be seen.I use artificial intelligence as an artistic instrument, shaped deliberately to serve my expressive needs. It is not a replacement for the pure arts—poetry, music, painting, sculpture, photography, cinema—which remain for me primary and irreplaceable languages. Here, AI is simply a tool, bent to my intention, used to translate these visual proverbs into images that embody my artistic vision and my resistance.
Macro Mondays - Fill the Frame
The calm, composed gaze and the serene expression of Buddha.
The Eyes are usually cast downwards in a state of meditation with a hue of spiritual aura. It signifies looking beyond materialistic things only towards the truth. It is virtually awakening of the inner eye or 'URNA'.
The Third eye, the dot which appears on the forehead between the eyebrows, signifies to the devotee to inculcate ethical behavior, indulge in meditation, be generous, make offerings and free oneself from materialistic provocations. The third eye symbolizes spiritual awakening of knowledge and wisdom besides providing divine vision with the ability to see past our mundane universe of sufferings. it also symbolizes that He was a great beings.
--- bhoomshanti.com
In between lock downs I ventured out to explore, within the five kilometre limit no doubt. This, then abandoned, service station now has a cafe and an operating fuel seller.
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
Despite their amusing appearance, hippos are one of the greatest killers in Africa.
They weigh up to 3 tons, the third biggest land animals. They have enormous tusk-like canines and slicing incisor teeth, developed for fighting. At a measured force of 1821 PSI, the hippo’s bite is over twice that of any big cat. And whilst they may prefer to wallow around in muddy pools, they can get a fair gallop on reaching speeds of 30 km/h.
While most herbivores ignore anything that is not a direct threat, hippos are highly territorial. The majority of attacks on humans have been without provocation and occur both in and out of the water. The exact figures are patchy, but the number of people killed by hippos each year is between 500 and 1,000, depending on the source.
Whichever the real number, I am glad to be far away and to rely on my telephoto lens to get a closeup of this group.
The commissioner of the Metropolitan police went on the offensive today, defending his officers for an "astonishing" police operation during the G20 that he said had received international praise.
Sir Paul Stephenson said his comments were made in the context of a man having died during the demonstration, and of footage that was deeply concerning. But he went out of his way to praise what he said were an overwhelming majority of officers who carried out a professional job on the day.
Picking out the territorial support group (TSG) – which is at the centre of two IPCC investigations into Ian Tomlinson's death and an assault on a woman protester – Stephenson said it was a specialist unit the Met relied on.
"These and others are our first line response to some of the most difficult and challenging situations," he said.
The commissioner, who has spoken personally to TSG officers in a bid to raise their morale, said all knew they were individually accountable for their actions.
He said officers who were found to have deliberately hidden their numbers would be severely disciplined. "If someone is trying to deliberately avoid being identified and their reason is so they can behave inappropriately, criminally, then of course they could face the sack," Stephenson said.
He planned to tackle the problem of police identification by examining whether every officer should wear name tags.
The commissioner said there were supervision problems with some groups of officers and he wanted this improved. "The overwhelming majority did [wear their numbers]. There is not sufficient concentration on intrusive supervision.
"That is what I believe in. It is the job of supervisors to go and find out how good your people are so that you can say well done and sometimes to find out where they are going wrong."
The commissioner spoke as a pathologist was carrying out the third postmortem on Ian Tomlinson's body. It was done at the request of lawyers for the TSG officer seen in footage obtained by the Guardian apparently attacking Tomlinson. The Met will be present at the postmortem after receiving advice from its lawyers.
The IPCC is investigating the circumstances of Tomlinson's death; a second incident in which a TSG sergeant is seen hitting a woman protester; and a third case that resulted from another complaint from a protester about police violence.
Stephenson has asked for a review of all footage in the Met's possession. This is being carried out by the Met's department of professional standards. Denis O'Connor, Her Majesty's inspector of constabulary, has been asked to examine the tactics used by the Met for public order events, specifically the issue of containing demonstrators for several hours.
Stephenson said the use of containment had begun after a demonstration in June 1999 when protesters caused £13m worth of damage. "The policy of containment has come from our history. As a consequence of this we … developed a policy of graduated control which at some point may involve containment. If there is a better way to do it we are up for learning it, but we don't know of a way."
Stephenson said he had received acknowledgment from police forces internationally for what the Met achieved during the G20.
"Part of the headlines should be … astonishing operation pulled off by the Met who did a first-class job," he said.
"The overwhelming majority of officers, whatever the stress or provocation, carried out their duties in a professional manner and I want to give them credit for what they achieved." He said his comments were in the context that some of the footage he had seen caused him deep concern, and the Met was cooperating with the IPCC to help provide the answers that Tomlinson's family wanted.
Stephenson said the Met had never misled anyone in the aftermath of Tomlinson's death. He said the scene where he collapsed was secured, sealed off and treated as a crime scene and the press statement the Met released in the aftermath of the death was approved by the Independent Police Complaints Commission.
www.guardian.co.uk/politics/2009/apr/22/tomlinson-g20-met...
Exciting Announcement from Provocation! Introducing the Secretary Gacha, exclusively at The Arcade!
Get ready to channel your inner secretary in style with Provocation's latest release! The Secretary Gacha offers a complete office-ready ensemble, including a sleek secretary costume, a stylish nametag, and a clipboard with a pose for that extra touch of professionalism.
But here's the twist – the RARE item in this gacha is a naughty version of the costume! It's time to add a dash of spice to your office fantasy.
Don't miss your chance to collect these irresistible items. Head over to The Arcade now and try your luck in the Provocation Secretary Gacha!
[https://www.flickr.com/photos/187890736@N07] [https://www.flickr.com/photos/196034141@N07] 🎉🎉✨are the winners of this giveaway. ✨🎉🎉
provocationplay.blogspot.com/2023/09/provocation-secretar...
Night Provocation Set FULLPACK
Night Provocation Set for @Lewd Station> maps.secondlife.com/secondlife/Lewd%20Station/59/161/89
Compatible with:
- Legacy+Perky
- LaraX
- Reborn+Juicy Boobs+Rolls+Waifu+Squish
- Maze
Please try demo before purchasing!
Store Info:
Marketplace: marketplace.secondlife.com/en-US/stores/224573
LM Store: maps.secondlife.com/.../Wildflower.../78/59/21
Flickr: www.flickr.com/photos/188545941@N07/
My Flickr > www.flickr.com/photos/byatrizthecat/
My Insta > www.instagram.com/djbyatriz/
My Face > www.facebook.com/Byatriz.TheCat/
My Primfeed: www.primfeed.com/byathecatresident
I vacillate on the name of this area, part of the rail infrastructure in and around North Melbourne Station. There have been big changes too, due to the Westgate Tunnel Project, in recent years. The now idle Melbourne Star, ferris wheel in the background.
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Shot on Kodak 120 Portra, using a Hasselblad.
This site has undergone major changes and forms part of a larger infrastructure project for Melbourne. It now forms part of an album dedicated to this area, small as it may be.
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of my many ongoing approaches is to move through the world as a harvester of images. I stumble, stroll, and lurch, equal parts accident and intent. Each frame is a fragment, a glitch, or a whisper from the margins. My decades-deep, archive serves as both a compass and a crucible: a living constellation of negatives and proof sheets that drive and generate further inquiry. It’s where entropy meets annotation, where decay and growth are catalogued not as opposites but as co-conspirators.
I circle questions that resist resolution: time as texture, presence as performance, and possibility as rupture. I search for quiet collisions, between gesture and ruin, between what’s seen and what’s overlooked, where meaning might flicker into being. I attempt to create each image not as a document and but more a provocation, an invitation to reframe perception and interrogate the ideological choreography of attention.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Some new planting in the foreground only hint at the then almost complete Westgate Tunnel project. The Southern Star, sits idly in the background.. This is a walk I often walk multiple times a year, now with changed living circumstances, I can do it 7 days a week if I so chose.
Inspired by the Joel Meyerowitz series St. Louis and the Arch
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
The Wire Fox Terrier breed standard says they should be 'on the tip-toe of expectation at the slightest provocation.' Once a mainstay of traditional British foxhunts, today's Wire is a handsome and amusing companion and master show dog.
AZOURY Provocation Mask for Kinky
AZOURY Corset
www.flickr.com/groups/1617166@N22
marketplace.secondlife.com/stores/38367
STORE : maps.secondlife.com/secondlife/Fountainhead/143/30/1798
Red Vespa & Subversive Windows — Rue Haute, Brussels
🇬🇧 Brussels, Rue Haute, sun-drenched sidewalk.
A red Vespa streaks the curb like a brushstroke, backed by a storefront that dares and disrupts.
“The Sexual Life of Tintin”, frozen faces, twisted icons… Here, the city reveals its layered meanings — part street art, part pop satire, all framed by spontaneous street theatre.
Everyday life turns into a gallery, and every passerby becomes part of the show.
🇫🇷 Bruxelles, Rue Haute, en plein soleil.
Une Vespa rouge comme un trait de peinture sur le trottoir, et derrière elle, une vitrine qui provoque, interroge, détourne.
“La vie sexuelle de Tintin”, des visages figés, des icônes recontextualisées… Ici, la ville expose ses couches de sens, entre art de rue, satire pop et passants curieux.
Le quotidien se fait galerie — et chacun devient spectateur d’une mise en scène urbaine involontaire.
A long forgotten shop, who did indeed move closer to Sunshine Station.
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
Kensington Circa 2018
A multilayered torn poster reveals an almost archeological perspective on consumer advertising.
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
{Limerence} Sofia hair special for Shiny Shabby
maps.secondlife.com/secondlife/Shiny%20Shabby/173/101/21
[Provocation] Maid costume
marketplace.secondlife.com/p/Provocation-Maid-costume-Rig...
Wine dispenser by ChicChica OUT @ Cosmopolitan
Nikon D200, nikkor 180mm f/2.8 AF D
I am amazed at how many times my photography has been used around the world.
Playing Dress-up With AI, created by British design consultancy Graphic Thought Facility.
The exhibition 'CUTE' at Kunsthal Rotterdam explores the global rise and evolution of the concept of "cuteness," from Japanese kawaii culture to modern internet memes and futuristic design. Created in collaboration with Somerset House in London, the exhibition demonstrates how cuteness can be a powerful tool for comfort, manipulation, or provocation. Visitors can experience interactive installations, such as a Hello Kitty disco and a game arcade with digital monsters, and immerse themselves in the multi-layered world of CUTE.
Kunsthal Rotterdam: CUTE exhibition from July 5 to November 23, 2025.
in the face of what happens every day, the word protest appears euphemistic. what you are seeing here is not a demonstration but a crowd defending taksim, so that people can demonstrate and 'occupy' there. yesterday saw a lot of police provocation in order to lure protesters out of the greater taksim area and arrest them, but some strong voices were able to hold back most of the less strategically minded who wanted to throw stones at the water cannons waiting beyond the barricades (a rather futile excercise).
A bold and irresistibly sensual look: the black lace top with sparkling details embraces the silhouette with a touch of rebellious elegance, while the flared sheer tulle miniskirt adds movement and lightness. The fishnet stockings complete the ensemble with a strong punk-chic vibe, creating the perfect balance between provocation and style. An outfit designed for those who love to dare with class.
Maeve outfit is composed by top, jacket, skirt, fishnet stockings and boots. It is available for LaraX, Legacy, Nhumana, Reborn.
At the Distrubed Event starting today, November 7th:
maps.secondlife.com/secondlife/Elites/232/189/580
Inworld Store:
maps.secondlife.com/secondlife/Celaeno/67/55/3012
Other outfit details on my blog:
www.suggestions-by-tilly-opaline.com/blog/2806281_axe-mae...
At up to 2 1/2 inches (6.5 cm) long, tarantula hawk wasps are among the largest of wasps. They are relatively docile and rarely sting without provocation. However, the sting is among the most painful of all insects, though the intense pain only lasts about five minutes.
Tucson, AZ
Vielleicht faszinieren mich Engel, weil sie oft friedlich und sanftmütig dargestellt sind und beschützen.
Ich mag keine Provokationen und Streit, aber Menschen sind anscheinend so...
Go gentle through your life....
Perhaps I am fascinated by angels, because they look peacefully and gentle/meekly.
I don't like provocations and quarreling, but people/humans are no angels ...
Go gentle through your life ....
Looking north back towards the Westgate Freeway, 2019.
_____________________________________
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
013/365
Patience:
What it is: Patience is the state of endurance under difficult circumstances, which can mean persevering in the face of delay or provocation without becoming annoyed or upset; or exhibiting forbearance when under strain, especially when faced with longer-term difficulties. It is also used to refer to the character trait of being steadfast.
"Through patience a ruler can be persuaded, and a gentle tongue can break a bone" (Proverbs 25:14-16, NIV)
The Bible urges Christians to be patient, and " see how the farmer waits for the precious fruit of the earth,...until it receives the early and the late rains." (James 5:7-11, NAB)
The Giant House Spider (Eratigena atrica) is one of several similar looking species which inhabit houses and outbuildings - hence the common name "House Spiders".
These spiders make a thick sheet web, about 15cm across, usually in a neglected corner of a house or shed. The web has a tubular retreat at the rear where the spider sits and waits for dinner to drop by.
They become more noticeable in autumn, which is their mating season. The males are often seen scuttling across a room or falling into bath tubs as they move around in search of a female. The males have longer legs than the females, while the females have broader abdomens than the males.
The 'Aggressive House Spider' (Eratigena agrestis formerly Tegenaria agrestis), which has been made famous by a thousand Internet horror stories, belongs to the same Genus of spiders. Agrestis is rarely seen in houses, preferring sheds, garages, and log piles. In the United States, where it's known as the 'Hobo Spider', it has a reputation for biting humans with very little provocation. The ones found in Europe are quite timid in comparison, preferring to run for cover.