The top image in this trio presents a surprising perspective on Microtubules In Vitro. The striking Edvard Munch-like image was taken by Ian Newton.
Below, the colourful array of bacteria derived from a flower bed soil sample, illustrates the wide range of beautiful colony shapes produced by these organisms. The bacteria in the image, by David Widdick, are the source of many antibiotics.
The bottom image is Blue Wing by Tom Matheson. The photo was inspired by his research into the neuromechanical control of limb movements in insects. This subject, lit by oblique blue light, shows an intriguing pattern of dark pigmented patches and intricate wing venation of the adult fore-wing.
These are just three of the images in our smorgasbord of images. Vote for your favourite at: http://bbsrc2014.picturk.com/
Doći će smrt i imaće tvoje oči – ta smrt što nas saleće od jutra do večeri, besana i gluva, kao stara griža savesti ili besmislena mana. Tvoje oči biće uzaludna reč, prigušen krik, muk. Vidiš ih tako svakog jutra kada se nadnosiš nad sobom u ogledalu. O draga nado, toga dana i mi ćemo znati da jesi život i ništavilo.
Za svakoga smrt ima pogled. Doći će smrt i imaće tvoje oči. Biće poput ispravljanja mane, Kao zurenje u ogledalo iz koga izranja mrtvo lice, kao slušanje zatvorenih usta. Sići ćemo u bezdane nemi.
oNE!svešćivanje
Pisac: Čezare Paveze (1908-1950). Knjiga: “Doći će smrt i imaće tvoje oči”. Izdavač: Rad, Beograd, 1977.
Ilustracija: Edvard Munch (1863-1944). “Todeskuss (The Kiss Of Death)”, 1899. Lithograph on wove paper. 47 x 63.5 cm.
What if art had been painted a long time ago in a galaxy far, far away? It’s “A HISTORY OF ART… STAR WARS STYLE” byWintersixfour. ViaKonbini&BoredPanda
WEIRD FORMAT WEDNESDAY: EDVARD MUNCH ETCHINGS, 1950
Perhaps this format isn’t quite as weird, this item contains a portfolio, several loose etchings from Munch, in a wrapper and matching box. There is also a separate booklet with contextual information.
Munch is best known for his work “The Scream.” He was a Norwegian artist whose work dealt with the depth of human psychology.
“As early as 1885, Edvard Munch felt the need to develop a bolder and more simplified style of painting, which we have now come to know as ‘expressionism’. He was one of those artists who reacted against naturalism, and led a movement which has since dominated modern art. It took Munch ten years to produce his own expressionist style, which was the formative influence of the German School of 1902, and which later in 1940 influenced American experimental art. Both as a painter and as a graphic artist, Munch searched to express the hitherto unplumbed depths of the human soul.”
Tutte ‘e cose belle finischeno, come sapemo bene noi romani che amo visto ’a fine d’impero dii Cesari, der potere temporale dii papi, e un giorno – chissà - perfino daa metro C. E così, cari truzzi e truzze mii, puro sto bloghhe a na certa se dovrà chiude. E quinni purtroppo questo qua è l’urtimo post, armeno pe un po’. Sò tre anni oramai che ve sfrantumo li zebbedei na vorta a settimana co er perché e er percome dell’arte, e aa fine l’idee scarseggeno, e io me sò puro un po’ stufata. Po’ esse che me invento quarche antra cosa, o che na vorta ogni tanto, si me viè ‘o sghiribbizzo, torno qua e scrivo: ma i post settimanali regolari finischeno qua.
Ecco perché er tizzio der quadro, disperato, fa Nooooooo! E’ un truzzo che nun sa più ndo sbatte quer testone ovale mo che vedrà quadri e statue e installazzioni e nun potrà più venì qua a cercà ‘a spiegazzione. Ma sò sicura che dopo tre anni, si solo se sforza un pochetto, a capì l’arte ormai ce riesce da solo. No?
A parte ‘i scherzi, questo è er famosissimo ‘Urlo’ de Munch. Che è ‘n espressionista norvegese, che appunto vò esprime er dramma daa vita: che molto spesso sarai d’accordo co me che te viè popo da piatte ‘a testa tra ‘e mano e caccià ‘n urlo da qua a Reggio Calabria. E st’urlo è ancora più atroce perché è muto, anfatti essenno un quadro nun ciavemo l’audio e quinni st’urlo è come strozzato, vorrebbe venì fora ma nun je ‘a fà. Perché a vorte ‘a vita manco te permette de sfogatte o de lamentatte, devi annà avanti e vive co st’urlo drento, puro si te succedeno cose teribbili tipo che er blogghe tuo preferito va in vacanza.
1. Izumi Shikibu, from The Ink Dark Moon Love Poems by Ono No Komachi and Izumi Shikibu // 2. painting by Ron Hicks // 3. Mirabai, from The Winged Energy of Delight // 4. Painting by Tony Belobrajdic | Angelica Alzona // 5. Sierra DeMulder, from Today Means Amen // 6. Painting by Alexander Brie //7. Françoise Sagan, from Bonjour Tristesse //8. Painting by Ron Hicks | Edvard Munch
Edvard Munch and his constant reminder of death has a special place in the ocean of art, which lurks deep beneath where no pessimism can reach. I am talking about the man who created The Scream. His traumatic masterpieces of symbolism and expressionism grips its viewers unlike anything. His paintings show everyday tragedy, jealousy,anxiety and mental illness. But right now i want to draw your attention towards this painting. It seems rather simple at first sight, a girl embracing death which is shown as a skeleton. But i always try to find,in a piece of art, some things that i am missing in my life. I want to talk about those things and in the meantime, try to shine some light on how this paiting brings it to surface. Girl here represents love . A naked women evokes a sort of desire but here it tries to draw a far more complex response than any pornographic imagery. It represents, like many ancient greek art, innocence and purity of mind that is rather a lot to ask from homo sapiens. The girl is seen embracing a skeleton. It makes you think about love and death instantly. We are so afraid of death and uncertainity, loss and pain, that we seek safety and comfort in love, attempting to make it more permanent than it actually is. The world tries to tell us that we will never lose love, through fairy tales of couples of who “lived happily ever after”. This idea stifles the very aspects of love that enabled it to thrive in the first place— uncertainty, unpredictability, excitement, and passion. Without these key ingredients, complacency and ingratitude are likely to grow in its stead. We try to manipulate love according to our needs for safety and security, we ignore the possibility of any pain and suffering. I despise this kind of superficial connection. The acknowledgement that love is transient like life and as vulnerable as death will give love what it needs to thrive. The purity and sensuality of naked girl represents this love. She has come to terms with this dark truth and embraces love with death in mind. Birth and love lead to oblivion one day, and ignoring it will do us more harm than good.
Instead of trying to rant more on this issue, I will leave you with a quote from Abraham Maslow,
“The confrontation with death—and the reprieve from it—makes everything look so precious, so sacred, so beautiful, that I feel more strongly than ever the impulse to love it, to embrace it, to let myself be overwhelmed by it…. Death and its ever-present possibility makes love, passionate love more possible.”
