This article is a picture story that talks about the stark reality of Indian society and the irony that Instagram pictures show of incredible India.
I guess it is ironical that I have a chance to say to Jesse Jackson, 'You need to be mature. You need to be positive. You need to be bigger than the folks who are trying to tear you down.' Bert Lance | Check out other quotes: https://ordinaryquotes.com/pictures-quotes/best-bert-lance-quotes/
Sachchi Baat | Dhoomil. Hindi kavita, poem about how ironical it is when it comes to humans having morality in the current times.
In an ironical twist, it is being estimated that robotic process automation would create about 2 lakh jobs in India by 2021. It’s a bit ironical because automation has been named as a big reason for job loss across industries and the worst hit seems to be the IT sector. The Chief Marketing Officer of…
Rirkrit Tiravanija’s new work, at Galerie Chantal Crousel in Paris, seems an ironical attempt to construct a mausoleum for the now defunct punk aesthetic.
Somewhere in the Victorian era, people started coming up with ideas for making corsets more comfortable to wear. Gigglishiously ironical though that may sound, some
Millets are the new superfoods. It is ironical that after throwing them out in favour of imported cereals and other breakfast foods, Indians have discovered millets anew, thanks to western research…
"The American Dream is the largely unacknowledged screen in front of which all American writing plays itself out," Arthur Miller has said. "Whoever is writing in the United States is using the American Dream as an ironical pole of his story.
Tarot-o-bot is an online experience that can predict your digital future. At the touch of a button, users can trigger the draw of three different illustrated Tarots. Tarot-o-bot reads the data beyond the three Cards and generates an ironical prediction over design, art, tech and creative life.
"A different treatment was accorded to Wendy, who came last. With ironical politeness Hook raised his hat to her, and, offering her his arm, escorted her..." -Peter Pan Thoughts: Anyone, Lost Boy or no, who has spied a scurrilous band of pirates can identify them by their bristling weapons, stripey attire, and distinctive hats. Savory and awesome,…
A quite ironical coverartwork for the spin-off of The Dark Eye: The Black Cat! LIVE IN CROWDFUNDING RIGHT NOW!: https://www.gameontabletop.com/crowdfunding-140.html Anna Steinbauer was so kind, do allow me using some parts of her own coverartwork like the stand. :D Thanks, Anna, stay awesome! <3 Click here for the original: https://www.deviantart.com/depingo/art/The-Dark-Eye-510860587
Hi ! Here is my 32nd entry for the Character Design Challenge on facebook. Theme = Robot/ AI / Android Jardino was a renowned gardener on his late years. None of his children - boys / girls - neither people in the neighborhood was likely to continue the business. So he asked to his friend Misfix the troublesolver. She came with GADAMASTAH, an android who cares about gardening how ironical. Its mission was to preserve Jardino's heritage and it can do more than that ! Have a nice day
If your perfect Valentine's day ideas consist of hating everyone who likes this festivity, then you've clicked on the right post. And it's an even better match if you hate the kitschy side of Valentine's Day, yet like to impress your significant other of how much you don't care about it anyway. In that case, we have a selection of very ironical, deeply sarcastic, totally un-romantic Valentine cards for you to greet your loved one without getting all pukey cute.
How ironical and ridiculous is the Idea, that a perfect and all knowing God premeditated and made people--then realized he made a mistake. Ha ha! (1) Genesis 1:26-31, God said making man was very good. (2) But in Genesis 3:16, 22-24 he curse them. (3) By Genesis 6:5-7 God was ready to destroy mankind completely. (4) In Genesis 7:16-24 God liquidates mankind except for eight righteous ones. From the holy eight people earth was repopulated with sin and gross wickedness. What was the purpose of saving the righteousness? God of the bible is a fraudulent and fictional character.
Since the summer of 2009 I have been keeping myself busy with small artistic projects that involve minimal financial outlay. While my era of Airfix model making was influenced by the phenomenal artwork of Roy Cross (1960/70s), I have found that replicating the Type 2 (T2) Header Cards from a previous generation (1950/60s) is both therapeutic and ideally suited to my level of PhotoShop competency. I also find these header cards both attractive and their ironical 1950s style very true of the period. The original Type 2 Header Cards were secured on eBay or scanned ‘n’ emailed by kind and generous enthusiasts. While I try and remain true to the original, I don’t mind adding detail, as my recreations were enlarged with printing in mind. I also see these images as very much work in progress – with individual header cards constantly being improved upon. I would like to thank Chris from www.onethirtysecond.co.uk for providing me with a scan of the original header card.
A brilliant modern translation by Christine Donougher of Victor Hugo's thrilling masterpiece, with an introduction by Robert Tombs. This is the best translation of the novel available in English, as recommended by David Bellos in The Novel of the Century. Victor Hugo's tale of injustice, heroism and love follows the fortunes of Jean Valjean, an escaped convict determined to put his criminal past behind him. But his attempts to become a respected member of the community are constantly put under threat: by his own conscience, and by the relentless investigations of the dogged policeman Javert. It is not simply for himself that Valjean must stay free, however, for he has sworn to protect the baby daughter of Fantine, driven to prostitution by poverty. 'A magnificent achievement. It reads easily, sometimes racily, and Hugo's narrative power is never let down ... An almost flawless translation, which brings the full flavour of one of the greatest novels of the nineteenth century to new readers in the twenty-first' - William Doyle, Times Literary Supplement 'The year's most interesting publication from Penguin Classics was [...] a new translation by Christine Donougher of the novel we all know as Les Misérables. You may think that 1,300 pages is a huge investment of time when the story is so familiar, but no adaptation can convey the addictive pleasure afforded by Victor Hugo's narrative voice: by turns chatty, crotchety, buoyant and savagely ironical, it's made to seem so contemporary and fresh in Donougher's rendering that the book has all the resonance of the most topical state-of-the-nation novel' - Telegraph 'Christine Donougher's seamless and very modern translation of Les Misérables has an astonishing effect in that it reminds readers that Hugo was going further than any Dickensian lament about social conditions [...]The Wretched touches the soul' - Herald Scotland
Human life can be summed up as a continuous quest for self-identity. Individual identity is necessary for inclusion into peer groups, because humans are social animals and we need to be a part of a larger community to survive. For these reasons, human cultures have, since prehistoric times, created visual markers that tell stories of the self and of communities these marked bodies belong to. This quest for visual markers was perhaps the reason why humans first started scarring, piercing and tattooing their bodies. As civilisations became more complex and diverse, the tattooing culture expanded its role to suit a wide range of purposes. Tattooing transcended from being purely semantic (providing meaning) to serving spiritual and aesthetic purposes. Over time, tattoos have been used as markers denoting rites of passage, symbols of birth status and social rank, iconography related to religion and spirituality, insignia of victory in hunting and battle, display of sexual virility and fertility, protective talismans for love and luck, and much more. However, not everything about tattooing was related to meaning or expressing creativity. Tattooing was also used as a form of marking ownership, brutally used to brand outcasts, slaves, minorities and criminals. My interest in tattoos has inspired me to delve deep into this tradition found in various cultures of our country. During the course of my research, I had previously explored the tattooing traditions of tribes like the Apatanis in the North-East. This time, I wanted to expand my study to the Baiga tribe scattered in the states of Madhya Pradesh, Jharkhand and Chhattisgarh. Traditionally, Baiga women made elaborate tattoos on their forehead, arms, legs, back, neck and breasts. For Baigas, tattoos are strongly linked with the beauty of their women. They also believe that tattoos are carried into the afterlife because the ink integrates with the body itself. The Baigas are a forest-dwelling tribe and the motifs of Baiga tattoos are primarily inspired by nature. They consider the cow’s eye to be beautiful and enigmatic, hence the ‘cow eye’ tattoo is depicted strategically on the breasts and the back. Patterns of triangular lines depict mountains and a motif of the sun is tattooed in the middle of the chest. Dots, crosses and circles are the other major shapes that are tattooed in a symmetrical manner between larger and thicker lines. The tattoo on the forehead consists of a symbolic moon shape in the middle and geometric lines continuing above the eyebrows—the placement of this tattoo, I learnt, was the mark of being a Baiga. The forehead tattoo is done when a girl is close to puberty, around the age of 8–10 years, marking her entry into adulthood. The back, arms and legs are fully completed by the time she is of marriageable age. However, the thighs are done post marriage, only if requested by the husband. The neck and breasts are generally tattooed after childbearing, to signify that she has now fulfilled womanhood. The Baigas do not tattoo themselves, but use the services of the Ojhas. These women, called Badnins, who are essentially tattoo artists, have learnt the art from their mothers and grandmothers. In this way, tattooing has been passed down through generations and designs are made entirely from memory or oral history. They collect soot from a sesame oil lamp and dilute it with water. Using a thin piece of wood, first the design is drawn on the body and the liquid soot is then poked into the skin using needles, one prick at a time. For thinner lines, a single needle is used; to make a thicker tattoo, 3–4 needles are tied and pricked together. In recent years, due to human migration, deforestation and enforcement of the Forest Protection Act, the Baiga tribe slowly moved out of forest lands and are now living close to small towns and cities. This displacement from their ancestral environment has had an adverse effect on their culture and traditions. During my travels I observed that the Baiga women who live closer to the cities do not bear the elaborate traditional tattoos. Most of them did have a tattoo on their forehead; but instead of the lines and patterns on their arms and legs, they had smaller motifs which seemed to be influenced by the Gond tribe. The only place where I found Baiga women with their entire bodies tattooed was in the interior villages in Dhindhori district. It is only the older generation who still carry these marks. I asked a woman why her daughter isn’t tattooed. I was told that she won’t get tattooed as she goes to school and the teachers and children who come to the school from other tribes and villages make fun of her. In most of the tattooed tribes, with the death of its older members, the skills and oral memory associated with tattooing will also be lost forever. Conflict between urban and tribal values is not the only reason this art form is disappearing. In the last century, there has been a major demographic change in central India due to the influence of Christian missionaries. I found that many members of the Baiga community have converted to Christianity. Most of the members of the Ojha community, who according to caste-based traditions were tattoo makers, do not make tattoos any more. The disconnect of the Baigas from their pagan roots has been a major factor in the steady decline of their native culture and old belief systems. On one of my visits to a Baiga village, a woman happily brought out a Holy Bible for me to see. It was written in Hindi. It was ironic to see her holding the Bible and flipping through the pages when she didn’t even know how to write her own name. The decline of the tattooing culture among the tribal groups is not a reflection of the overall culture of tattooing in India. With increasing urbanisation, tattooing has gained popularity amongst the young population as a form of self-expression. In the urban space, tattoos are associated with being a ‘rebel’ and being ‘cool’. This has created a binary where traditional tattooing is looked down upon as something uncultured and primitive—terms which are derogatory towards the art form and its carriers. This is ironical, because unlike modern tattooing which is largely individualistic, tribal tattoos are rooted in collective memory, origin myths, local religious beliefs, folklore, ancestor worship, representation of the natural environment, etc., which carry far more value for the people who wear them and holds a shared language and meaning. Whenever I travel to the interiors of India, my tattoos become the shared visual language between the tattooed women living in these remote regions and myself. The barrier of spoken language is overcome over mutual admiration of each other’s tattoos and this helps in breaking ice between people who otherwise have very little in common. For example, while shooting this photo essay, I was very keen on getting at least one image of tattoos on the breasts of the Baiga women. I was unsure of getting the opportunity as it is an intimate part of the body. I showed the women the tattoos I have on my body and in return they showed me the beautiful and elaborate tattoos they have on their breasts. This trust and comfort that emerged between us was because of the shared history of ink that we carry on our bodies.
