View allAll Photos Tagged Complexity
Double exposed pylon tweaked through lightroom to make it pop even harder. I actually really like this shot, it's best on black. Glad I grabbed it before going for the finale.
dear friends,,,
in this mind world of increasing complexity, i have found it is healthy at regular intervals to go back to what is simple,,, to find a resting place there and a solace.
more is not always better, especially when much of that 'more' is filled up with non-essential, distracting yet strangely consuming trivia.
when the continuity of life - that of a loved one, or your own - is suddenly called into question, there is often an equally sudden clarity that comes to the body and mind. instantly, it is clear to you what is important, what is valuable,,, and what is not. resources you had tied up in hurt feelings, accusations and justifications immediately untangle as you are drawn intensely into the present reality.
interesting to note: even if the threat subsides, or is discovered to be unfounded, that moment of clarity is just as real and striking.
so then, we can reasonably agree that such clarity is not dependent upon life-threatening circumstance, but can be called upon at any time by our choice,,,
we could call this choice a decision to simplify.
foremost, Webster defines simple as without guile, offering the synonym innocent. a beautifully keen description.
if we were to be completely honest with ourselves, we might agree that a large percentage of the suffering we both take upon ourselves and spread to those around us has roots in 'trivial', non-essential kinds of complexities. the cyclic frustrations and tiny agonies both, a product of our programmed perspectives. if we can agree to this, we might also recognize such consumption of our internal resources as a kind of guile - trading that which is precious for that which is valueless and even destructive,,,
is it possible that the worst crimes are the ones we commit against ourselves? the worst lies, the ones we tell ourselves? how can we hope to be true to others if we are not first true with ourselves?
i stood in awe today for several minutes watching a thousand thousand colors move, blend and change shape in rapid succession,,, listening to an orchestra of a thousand thousand players that never played the same combination of notes twice. no, it wasn't HDTV ; ) it was the tall tree outside my house, moving with a wind.
i looked at that undeniably gorgeous, living piece of work, and thought,,, it's been here all the while i've lived in this house,,, likely just as beautifully perfect and peaceful as it is right now. every time i was frustrated, angry, feeling sorry for myself, complaining,,, it was right here, being,,, alive.
and i laughed, spun and laughed, doing my human best to join the tree in its celebration. this is life, i thought. life is simple. as i looked up i saw also how incredible the clouds were,,, miles away, a thousand times magnificent, but moved by that same wind.
and somewhere in that turning, a decision,,,
every part of this tree is directly involved in the tree's benefit and growth. so will i resolve to ensure that every part of me is involved and contributing to my growth and aliveness,,, and those parts that are not, those i will resolve to let go of.
just as no tree would thrive whose leaves were eating away at its own branches,,, neither can we thrive by allowing the self destructive aspects of our nature to consume our health and resources.
if the beauty of humans is sometimes found in our complexities, surely there must be a balance, a careful watch to ensure those complexities don't disconnect us from the simple joy it is to be alive.
love to you my beautiful friends,,, from a heart resolved to grow as big as it can,,,
jesh *
This image of Pluto's largest moon Charon, taken by NASA's New Horizons spacecraft 10 hours before its closest approach to Pluto on July 14, 2015 from a distance of 290,000 miles (470,000 kilometers), is a recently downlinked, much higher quality version of a Charon image released on July 15. Charon, which is 750 miles (1,200 kilometers) in diameter, displays a surprisingly complex geological history, including tectonic fracturing; relatively smooth, fractured plains in the lower right; several enigmatic mountains surrounded by sunken terrain features on the right side; and heavily cratered regions in the center and upper left portion of the disk. There are also complex reflectivity patterns on Charon’s surface, including bright and dark crater rays, and the conspicuous dark north polar region at the top of the image. The smallest visible features are 2.9 miles 4.6 kilometers) in size
Credit: NASA/Johns Hopkins University Applied Physics Laboratory/Southwest Research Institute
This is an entry to Dpchallenge photochallenge in 2006. The theme was Electricity and the impact of it on daily life.
The shot is from year in Denmark just after I bought my Canon EOS 30D.
My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
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The photographs in my set, "Weed Flower Micros," may appear to be close-ups of regular-sized flowers – they are not!
These are micro (macro) photos of tiny little flowers which bloom on ordinary weeds found in my lawn.
How tiny? The largest weed flower in the set is only, when measured across its widest part from petal tip to petal tip, 3/4" in diameter (19mm)!
Some of these miniscule flowers are so small that the entire blossom you are looking at is 1/4" in diameter (6mm)…or smaller! Again, that’s measuring from petal tip to petal tip across the widest part of the bloom!
The smallest part of a weed flower that I have managed to successfully shoot and achieve good detail in is a photo I made of a bud that measured LESS than 1/32" in diameter (0.7mm) across its widest part!
For size references I have included a photo of certain flowers and buds next to the head of an ordinary paper match, which dwarfs the blooms and buds.
It’s delightful to discover the beauty, complexity, and variety in something so small that it’s easily ignored, taken for granted, dismissed as a pest, or just downright difficult to see with the naked eye.
And it’s an even greater delight to realize that this incredible beauty has been growing wild in my lawn, year after year, right under my un-seeing eyes as I’ve repeatedly mown them down with my lawn mower, never realizing the unseen beauty that I was trampling under my feet.
I hope you enjoy viewing these as much as I do. I have a lot of fun making them for us to look at!
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See more of these incredible, tiny jewels in my NEW SET, "Weed Flower Micros – II:"
www.flickr.com/photos/motorpsiclist/sets/72157627844487270/
And peruse 400 photos in my original set, "Weed Flower Micros:"
Since "Avatar Complexity" was introduced in the SL Viewer many of my fellow Berliners looked a bit sad. I realized that everything i had from Kauna and even some combis of Loki wear made me a source of BAD LAAAAAG! Was fun to find a less complex dress. Now i am around 20000 complexity. If i smoke my PFC pipe i am 30000. Well, smoker's lag.
my.secondlife.com/de/ole.etzel/snapshots/57461344b015405b...
Recorded at The 1920s Berlin project in Second Life.
meta_creation lab: inter-actors, attractors and the aesthetics of complexity
marlon barrios solano
www.dance-tech.net/page/meta-creation
A collaborative workshop interfacing movement art practices, digital creativity, portable computation and networked systems.
This workshop is a collaborative lab to creatively explore the contemporary approaches, practices and aesthetics of self organization and of complex systems within the dynamic couplings of mind, body and information/data flows.
This workshop is an open space for experimentation and inquiry within a well defined theoretical/aesthetic frame and open space format: the participants self-organize in different node projects (collaborative and flexible groups) in order to investigate and deploy bottom-up architectures as compositional prototyping strategies and processes. It explores interactivity plus generativity.
An embodied/distributed cognition approach is used to generate physical activities and games, guided discussions/conversations about relevant artists works and concepts exploring the aesthetic of complex systems and emergence.
Open source technologies and methodologies will be explored in combination with composition in real-time.
Inter and trans-disciplinary explorations are encouraged and diversity is the main asset.
Several nodes of research projects are suggested:
Sampling, recombinations and mashups
New Internet technologies (web 2.0) and collaborative creation
Post-pc technologies apps, tablets and mobile technologies
Life logging and creative process
Media Capturing and Real time processing
Bottom-up architectures of generative systems
Hybrid realities and alternative sites
Portable cameras and video production
Online video and video straming
Cloud/social computing
Locative media/Mobile
Performance, rule systems and algorithms.
Computer aided choreography
Portable hardware as interfaces/interactive media control
Social media for distributed creativity and knowledge production
Networked documentaries/storytelling.
Photos from workshops in Beirut, Lebanon.
October 2011
composition from roses, thorned branches, rose petals and cartenter tools showing complexity of relationship
An ecosystem on a stick.
So many wonderful things! Ferns, Lichen, Moss!
A very brief search indicates that this lichen may be one known as Carpet Pelt, Felt Lichen, Frog Pelt Lichen, Peltigera neopolydactyla. But I am not a lichenologist by any stretch of the imagination.
I wished I had a different lens with me.
I really like the abstract nature of this image. However, it also shows the huge biodiversity present in marine biofilms.
In the trailer of a Rumanian railcar set out of Stargard Szczeciński Wask., arriving at Trąbki. The metre gauge had to cross the standard gauge (coming also from Stargard) - why? To get to the other side, and its further destinations. It did so in multiple crossings on the level. Behind the trailer you can see the metre gauge; to left and right, the electrified standard gauge, and sidings thereof. The station on both gauges was behind the camera, to the right.
Clear, now? I haven't seen anything like this in preservation.
In such green palaces the first kings reign'd, Slept in their shades, and angels entertain'd; With such old counsellors they did advise, And by frequenting sacred groves grew wise.
Edmund Waller
see original shot
just from a wall at the sydney aquarium while i was behind the crush of people trying to get a look at the penguins. This was much nicer than the penguins.
Today's VIS image is located in northern Arabia Terra. This region is dissected with numerous unnamed channels of all sizes and complexities. The channel in this image is one of many small tributary channels that coalesce into larger channels that eventually empty into the lower elevation northern plains.
This martian scene spans 19 x69 kilometers (12 x 43 miles). To see where on Mars this area lies, and to download high-resolution versions of the image go to themis.asu.edu/zoom-20200127a
See the Red Planet Report at redplanet.asu.edu for updates on Mars research and exploration. For more about Mars geology, check out the Mars-ePedia: marsed.asu.edu/marsepedia
For the latest THEMIS Mars images as received by mission scientists, see themis.asu.edu/livefrommars. To learn more about the THEMIS camera and its Mars images, see themis.asu.edu
This image is in the public domain and may be republished free of charge. If used, please credit it as NASA/JPL-Caltech/Arizona State University.
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The rites of Holy Week are present in Sicily with complexity of content and symbologies due to numerous influences, very present those due to the Spanish culture, dominating the island between the sixteenth and seventeenth centuries; in the mystery of the death and resurrection of Christ, it is attended by a popular culture, referring to ancient pre-Byzantine rites that originated long before those of Mediterranean Christian culture.
These ancient rituals represent the most significant moments of the Passion of Jesus Christ, described in the Gospels, from his arrest by the Romans to the Resurrection and are part of the Holy Week celebrations, together with the normal religious functions.
The Good Friday procession at Bronte has its roots far beyond the characters received by Spanish domination, realizing itself as one of the most complex and archaic in absolute, a procession impregnated with prayer, penance and symbolism. The protagonists are the city confraternities that give a reconstruction of the Scenes of the Passion, featuring the apostles, the pious women, the Roman soldiers and Christ, and the statues of Our Lady of Sorrows, Christ the Column, Christ Crucified and Dead Christ, decorated with fresh beans, led by the faithful invoking grace in brontese dialect.
The porters of Dead Christ are in silence because Christ is dead, while the bearers of Our Lady of Sorrows intonate the songs of the adoration of the Cross of Christ.
It is a sequence of scenes that live along the winding streets of Bronte, which on Holy Friday become a great stage in which the Passion and Death of Christ is recited.
Since the morning everywhere is silent, it is not sung and does not laugh, the bells do not ring because they were "tied up" on Thursday. In a sign of sadness you can only hear the woody sound of "troccola" and drums.
The three "pious women" (with large black dresses, the face is hidden by long natural hair, grown and cared for by vote) in religious silence; there are clerics and childre veiled and dressed in white; each of them is entrusted with an object that finds precise references to the symbols of passion (a palm, chalice, cross, hammer and nails, sponge, ladder, spear, sheet of shroud, and other objects); there is Saint Michael the Archangel, who is traditionally a seven-eight-year-old child dressed in classic iconography, slowly goes along with an angel-girl who carries the "chalice of the Passion," with a cadence-step marked by the rhythm of a drum to make them a mimic with a movement that recalls that of Sicilian puppets.
The Christ is tied up and dragged by the violence of the Roman soldiers, and the Christ, curved that carries the cross helped by the little Cireneo.
The two figures of Christ are members of two families who pass the vote and devotion from father to son and carry their covered face and bare feet in the sign of penance.
All the statues, except that of the Dead Christ, are adorned with flowers and with the first fruits of the earth, especially beans and peas, as a sign of God's offering of the first fruits of this period, are carried on the shoulder of devotees: the rituals of Easter Jewish Christian period recall a symbolic pre-Christian ritual .
This is a short and long report on the procession of Bronte's Holy Friday of this year, 2017.
I riti della Settimana Santa presentano in Sicilia una complessità di contenuti e di simbologie dovute a numerosi influssi, molto presenti quelli dovuti alla cultura spagnola, dominante nell’isola tra il XVI ed il XVII secolo; nel mistero della morte e della resurrezione di Cristo, si assiste nella cultura popolare, a riferimenti risalenti da antichi riti pre-bizantini che originano da molto prima di quelli della cultura cristiana mediterranea.
Questi antichi riti rappresentano i momenti più significativi della Passione di Gesù Cristo, descritti nei Vangeli, dal suo arresto da parte dei romani alla Resurrezione e fanno parte, insieme alle normali funzioni religiose, delle celebrazioni della Settimana Santa.
La processione del Venerdì Santo a Bronte affonda le sue radici ben oltre i caratteri ricevuti dalla dominazione spagnola, realizzandosi come una delle più complesse ed arcaiche in assoluto, processione impregnata di preghiera, di penitenza e di simbolismo. Protagoniste sono le confraternite cittadine che danno vita ad una ricostruzione delle scene della Passione, con figuranti che fanno rivivere gli apostoli, le pie donne, i soldati romani ed il Cristo, insieme ad essi le statue della Madonna Addolorata, del Cristo alla Colonna, del Cristo Crocifisso e del Cristo Morto, addobbate con le fave fresche, condotte dai fedeli che invocano la grazia in dialetto brontese.
I portatori del Cristo Morto restano in silenzio perché il Cristo è morto, mentre i portatori della Madonna Addolorata intonano i canti dell’adorazione della Croce del Cristo.
E’ una sequenza di scene che prendono vita lungo le tortuose strade di Bronte, le quali durante il Venerdì santo diventano un grande palcoscenico, nelle quali si recita la Passione e la Morte del Cristo.
Già dal mattino dappertutto è silenzio, non si canta e non si ride, le campane non suonano perchè sono state «legate» il giovedì. In segno di tristezza si può ascoltare solo il suono legnoso della “troccola” e dei tamburi.
Sfilano in religioso silenzio le tre "pie donne" (con grandi abiti neri, il volto è nascosto da lunghi capelli naturali, fatti crescere e curati per voto); ci sono i chierichetti e le giovinette velate e vestite di bianco; a ciascuna di esse è affidato un oggetto che trova preciso riferimento ai simboli della passione (una palma, il calice, la croce, il martello e i chiodi, la spugna, la scala, la lancia, il lenzuolo della Sindone, ed altri oggetti); ecco san Michele Arcangelo, tradizionalmente è un bambino di sette-otto anni, vestito secondo la classica iconografia, procede lentamente insieme ad una bimba-angelo che reca il “calice della Passione”, con un cadenzato passo scandito dal ritmo di un tamburo, tale da far loro mimare una sorta di movimento che richiama quello dei pupi Siciliani.
Vengono rappresentati il Cristo legato e trascinato dalla violenza dei soldati romani, ed il Cristo, curvo che porta la croce aiutato dal piccolo cireneo.
Le due figure del Cristo sono membri di due famiglie che si tramandano il voto e la devozione da padre in figlio e portano la faccia coperta ed i piedi nudi, in segno di penitenza.
Tutte le statue, tranne quella del Cristo Morto, sono adornate con fiori e con le primizie della terra (fave e piselli soprattutto, in segno d’offerta a Dio delle primizie di questo pe¬rio¬do sono portate a spalla da centi¬naia di devoti: i rituali della Pasqua giudaico cri¬stia¬na, richiamano una ritualità simbolica precri¬stiana dove la pa-rola pasqua, dall'ebraico pesah = passaggio, è sintesi di rinno¬va¬mento, di transito da una fase di morte della natu-ra (l'inver¬no) ad una fase di vita e di risveglio (la primavera), si ha così la sovrap¬po¬sizione dei rituali reli-giosi con le cele¬brazioni arcaiche legate al risveglio della na¬tura. Si innesca una disarmonia este¬tica sulle vare fra la ricca infiorata ed poveri baccelli di fave, le quali finiscono col possedere uno o più significati sim¬bolici,
come essere portatrici di un omaggio alla divinità con fine propiziatorio che discende da motivazioni antiche, legate alla vita dei pastori che nel Brontese hanno avuto ed ancor hanno larga importanza, dalla pianura proprio nel periodo pasquale, essi ritorna¬va¬no ai pascoli montani dopo aver concluso la transu¬manza e, nella occasione, portavano alle divinità il dono di una primi¬zia costituita proprio dalle faviane. A margine di questa usanza religiosa vi è un'altra ap¬pen¬dice devozionale:a lla fine della processione i por¬ta-tori del¬le vare manifestano l'antichissima credenza ma¬gico religiosa della legge del contatto secondo la quale ciò che è stato vicino al divino diventa elemento di pro¬tezione contro ogni avversità e apportatore di be¬nes¬sere spirituale e materiale, essi allora cercano di impossessarsi dei baccelli che sono stati ap¬pe¬si alle vare.
Queso è un report breve e lungo sulla processione del Venerdi Santo di Bronte di quest’anno, 2017.
The complexity of anxiety and depression and the way they influence different parts of the body are represented in the layered body maps that make up this installation at Vivid Sydney.
The festival may now be finished but you can read more about this installation at tinyurl.com/y7e29hnn