Her First Take on a Pirouette...?
► █░▓ ≈≈≈≈≈≈≈≈≈≈≈≈ • DAYS OF THE FUTURE PASSED VIII
Yes, we could have approached the subjects in the frame to make them appear larger. But isn't this a better, fairer representation of the reality?
Cities are a fascinating phenomenon. A unique way of people living together, next to each other. A key to the development of the mankind as we know it. Cities are an indispensable chapter — and often served as initialising hearthstone — of the human history. Some of the pinnacles of the civilisation have roots in the cities or city-states and blossomed within its walls and confines.
But where have we arrived? What point have we reached?
Cities have swallowed its inhabitants. They have outgrown the human measures and the measures that are humane. Worst of all, they threaten to become a means of permanent surveillance, this time worse than what is known so far in history — because of its digitally based, far reaching, all-encompassing totalitarian nature.
The plateau in this image has proved to be a dysfunctional, wasted space in the reality. The architect has initially created an elevated 'square' which allowed the surrounding elements around to breathe, but the citizen did not feel anything for it. The plateau has remained a place to cross and nothing more than that. Yet the condos around were actually quite nice for the time in which they were built.
REVIVAL
We offer you the moment in which a small girl challenges the conglomerate of shapes, building blocks and spaces that by default dwarf her so much as to make her almost invisible, non-existing. But let us not forget that it is us who choose to disconnect from the native habitat, the nature; it is us who disband our inner wholeness, we do it by ourselves. The wholeness used to be reflected within us from the outside, by our original abode, our natural residence. Thus we kept unity with the nature and the creatures surrounding us. And that unity was the birthplace of every lasting culture; not the artificial separation from it.
Unbound by the original, historic incentives, we are not any more pushed to build fortifications and have no more need for physical concentration of intellect and power. Such things can and are now managed remotely over the large distances. Yet it is still us who conceive, plan and construct the totally useless towers of Babylon: from the first original one in ancient times, to Burj Khalifa in 2010. Interestingly enough, the latter was built not that far away from the original Babylonia, so distant in time!
Hence the freedom movement has to start from within the man. Let us hope that the kids of today, and their successors, the kids of tomorrow, recognise the need to break free from these chains within themselves. So they rebuild their new residences in a unison with our human nature, and with the unaltered nature itself.
— But actually this block should have been a bright example of urban growth in a country just before it ceased to exist. It doesn't take much to see worse projects, more failed and inhumane, indeed. But for the marks missed we can always find excuses; the more 'successful' they get, the more obvious becomes the essence of distorted relations and purposes.
And what about this amphitheater? These were the last stretches of Yugoslav socialist architecture. Designed in the end of the 1980s, it took almost two decades to finish. The project eventually circumvented and outlived the country in which it was conceived and started. Observed from the distance of four decades, it almost looks like a primitively flamboyant, ornate design; but also holds its own ground as a seamless transition to today's profit-oriented, unbalanced, ignorant, featureless wild-growth concepts. It represented a moderate anticipation of steel-and-glass rage that still rules the world (and is just a shade less rude than the concrete alone). But the first truly modern, no-nonsense project of the steel-and-glass in Belgrade — the one that also stood the test of time — was promptly built at the end of 1980s as Jugopetrol twins office building, just a mile down the road — the second of which had been sold to Hyatt during the construction phase.
Back to the girl 👯. The inspiration has chosen this unusual but nevertheless logical stage for her. Grandma stands for the large, attentive but forgiving first-row audience. Silent green pentahedrons are the jury. I was a passer-by, a street fisherman, a seeker of free spectacles, a collector of elusive precious moments. And I stumbled upon a jewel. Dead plateau lived up for a brief moment.
Probably nobody ever danced here before, so welcome to the première!
__________\\\\\\\___________
Equivalent focal length is 40 mm. A 2018 cameraphone sᴏᴏᴄ done in Snapseed, ‘Smooth’ preset + Tools. Uncropped, no perspective correcting, shaded 'expand'. With Flickr's own Legacy/Settled 20% + Legacy/Neat 15% filters. Original HEIC is sharper but I am loosing interest lately in sharpness that is unnatural and in other tech effects that introduce artefacts. The 'Smooth' Snapseed preset and other interventions I apply are aimed at killing that atrocious digitally sharpened look in this mobile phone's default HEIC files. I tried to correct the perspective distortion, easy job in Snapseed but applies a detrimental effect on human figures so I gave it up.
~SHORTCUTS~ ...→Press [F11] and [L] key to engage Full Screen (Light box) mode with black background ↔ Press the same key or [Esc] to return... →Press [F] to "Like" (Fave)... →Press [C] to comment.
To start the slideshow: go to my ᴘʜᴏᴛᴏsᴛʀᴇᴀᴍ. At the upper right of the screen – right next to the 'search' magnifying glass🔍 – click the small ‚play‘▶️ ᴀʀʀᴏᴡ inside the symbol of a ᴍᴏɴɪᴛᴏʀ️ rectangle.
Her First Take on a Pirouette...?
► █░▓ ≈≈≈≈≈≈≈≈≈≈≈≈ • DAYS OF THE FUTURE PASSED VIII
Yes, we could have approached the subjects in the frame to make them appear larger. But isn't this a better, fairer representation of the reality?
Cities are a fascinating phenomenon. A unique way of people living together, next to each other. A key to the development of the mankind as we know it. Cities are an indispensable chapter — and often served as initialising hearthstone — of the human history. Some of the pinnacles of the civilisation have roots in the cities or city-states and blossomed within its walls and confines.
But where have we arrived? What point have we reached?
Cities have swallowed its inhabitants. They have outgrown the human measures and the measures that are humane. Worst of all, they threaten to become a means of permanent surveillance, this time worse than what is known so far in history — because of its digitally based, far reaching, all-encompassing totalitarian nature.
The plateau in this image has proved to be a dysfunctional, wasted space in the reality. The architect has initially created an elevated 'square' which allowed the surrounding elements around to breathe, but the citizen did not feel anything for it. The plateau has remained a place to cross and nothing more than that. Yet the condos around were actually quite nice for the time in which they were built.
REVIVAL
We offer you the moment in which a small girl challenges the conglomerate of shapes, building blocks and spaces that by default dwarf her so much as to make her almost invisible, non-existing. But let us not forget that it is us who choose to disconnect from the native habitat, the nature; it is us who disband our inner wholeness, we do it by ourselves. The wholeness used to be reflected within us from the outside, by our original abode, our natural residence. Thus we kept unity with the nature and the creatures surrounding us. And that unity was the birthplace of every lasting culture; not the artificial separation from it.
Unbound by the original, historic incentives, we are not any more pushed to build fortifications and have no more need for physical concentration of intellect and power. Such things can and are now managed remotely over the large distances. Yet it is still us who conceive, plan and construct the totally useless towers of Babylon: from the first original one in ancient times, to Burj Khalifa in 2010. Interestingly enough, the latter was built not that far away from the original Babylonia, so distant in time!
Hence the freedom movement has to start from within the man. Let us hope that the kids of today, and their successors, the kids of tomorrow, recognise the need to break free from these chains within themselves. So they rebuild their new residences in a unison with our human nature, and with the unaltered nature itself.
— But actually this block should have been a bright example of urban growth in a country just before it ceased to exist. It doesn't take much to see worse projects, more failed and inhumane, indeed. But for the marks missed we can always find excuses; the more 'successful' they get, the more obvious becomes the essence of distorted relations and purposes.
And what about this amphitheater? These were the last stretches of Yugoslav socialist architecture. Designed in the end of the 1980s, it took almost two decades to finish. The project eventually circumvented and outlived the country in which it was conceived and started. Observed from the distance of four decades, it almost looks like a primitively flamboyant, ornate design; but also holds its own ground as a seamless transition to today's profit-oriented, unbalanced, ignorant, featureless wild-growth concepts. It represented a moderate anticipation of steel-and-glass rage that still rules the world (and is just a shade less rude than the concrete alone). But the first truly modern, no-nonsense project of the steel-and-glass in Belgrade — the one that also stood the test of time — was promptly built at the end of 1980s as Jugopetrol twins office building, just a mile down the road — the second of which had been sold to Hyatt during the construction phase.
Back to the girl 👯. The inspiration has chosen this unusual but nevertheless logical stage for her. Grandma stands for the large, attentive but forgiving first-row audience. Silent green pentahedrons are the jury. I was a passer-by, a street fisherman, a seeker of free spectacles, a collector of elusive precious moments. And I stumbled upon a jewel. Dead plateau lived up for a brief moment.
Probably nobody ever danced here before, so welcome to the première!
__________\\\\\\\___________
Equivalent focal length is 40 mm. A 2018 cameraphone sᴏᴏᴄ done in Snapseed, ‘Smooth’ preset + Tools. Uncropped, no perspective correcting, shaded 'expand'. With Flickr's own Legacy/Settled 20% + Legacy/Neat 15% filters. Original HEIC is sharper but I am loosing interest lately in sharpness that is unnatural and in other tech effects that introduce artefacts. The 'Smooth' Snapseed preset and other interventions I apply are aimed at killing that atrocious digitally sharpened look in this mobile phone's default HEIC files. I tried to correct the perspective distortion, easy job in Snapseed but applies a detrimental effect on human figures so I gave it up.
~SHORTCUTS~ ...→Press [F11] and [L] key to engage Full Screen (Light box) mode with black background ↔ Press the same key or [Esc] to return... →Press [F] to "Like" (Fave)... →Press [C] to comment.
To start the slideshow: go to my ᴘʜᴏᴛᴏsᴛʀᴇᴀᴍ. At the upper right of the screen – right next to the 'search' magnifying glass🔍 – click the small ‚play‘▶️ ᴀʀʀᴏᴡ inside the symbol of a ᴍᴏɴɪᴛᴏʀ️ rectangle.