View allAll Photos Tagged Creativity
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Creare è far nascere qualcosa di nascosto dentro, quello che prima non era visibile,dare una forma attraverso un'immagine o dall'immaginazione usando il digitale.....Esiste anche la musica elettronica suoni creati al computer :
Useful put-to-together for a wrist ______. Basically, I've used it for trying multiple things, but I like having the bayonet as some sort of "laser."
The U-Clip gives it a way to click on to the minifigure's hand, the spike gives it some cool "round/middle" piece, and the part that you use on top is up to you! Be creative. :)
Courageous Creativity - Flying Chicadee
PRETTY EXCITING!! I was just published as the featured photographer in this ezine.
issuu.com/flyingchickadee/docs/march_2015_print Every full-page photograph is one of mine, including the front and back covers.
This is exactly what I was hoping for (apart from the coffee stains from the previous page!) I bought and used my first set of watercolour pencils...
Elliot: “The world would be a much happier place, like a real Heaven on Earth. But people just harness the bit of creativity that suits their needs at a given time and let all the ‘impractical’ creativity go to waste.”
Free to use, but please give credit & link back to this page.
I'd also love to see the result of your creativity, so I'd appreciate it if you would leave a small version of your work in the comments section.
Do not claim as your own, nor include in an imagepack or resell 'as is'.
Thanks for all your views etc. ;-) !! Still very much appreciated!
Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what’s inside you, to make your soul grow. -Kurt Vonnegut
Blogged inspiration en masse here
Thanks everyone who still uploads great photos to flickr and share your creativity with the world. Flickr mosaic created by iHanna from my Flickr favorites.
1. beautiful light, 2. urban intervention, 3. Burbujas!!!, 4. Buntstifte CSI, 5. Heartly ❤,
6. sky, 7. Have I said that this isthe best spot EVER, 8. Brought home a couple of succulent babies with me from Stockholm yesterday, 9. Så här skulle fika på jobbet intas. #kohsamui #thailand, 10. March Art Journal Pages,
11. Untitled, 12. Gnosopedienne #11, 13. Linda Glisson, 14. 20160228迎春納福, 15. Mailart2016-9,
16. Watercoliur florals :), 17. birds, 18. Arne and Carlos Easter Bunny, 19. Seal pup, 20. nice Skeletor ATC 2,
21. mars 048, 22. Casualties, 23. studio reorganization time, 24. Going Somewhere with This..., 25. Saw-whet coming together
Created with fd's Flickr Toys
Foto y postproduccion: Santiago Álvarez
Modelo: Patricia Gómez
Estilismo: Revue Vintage y Monelle
Maquillaje y Peluqueria: Ana Claver
Asistente de fotografía: Iria Rodriguez
It is happiness enough to know one is superior to the fork people.
Chopsticks make me feel classy.
I went to Noodles & Co. with Jenn today. :) We stole about 10 chopsticks, and 3 take out container, in the name of creativity! :D
message from eva ;)
fun is what you make out of it!
music:
www.youtube.com/watch?v=mCRIiSdwK3c
for art uni comp.:
www.flickr.com/groups/art_uni_international/discuss/72157...
background:
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Parrhesia of the day:
Allégorie de Camera▲Obscura
Deux sombres petites princesses, illuminées d’incertitude, deux creuses petites caboches, encombrées d’inquiétude, attendent impatientes que la lumière les pénètre pour faire naître en leur âme l'empreinte d'une image vraie de la Réalité vraie.
Camera en quête d'Absolu veut tout ressentir sans chercher à comprendre. Tout percevoir, absolument Tout ! Le moment venu, elle décide de se laisser submerger par la plus violente énergie possible, toute sa sensibilité offerte à la jouissance de tout engloutir intensément, sans aucun jugement, sans penser une seconde avec ces mots qui obscurcissent l'esprit plus qu'ils ne l'éclairent. Elle installe un film hypersensible qu'elle poussera au développement malgré son gros grain. Elle ouvre son diaphragme au maximum, longtemps, et s'abandonne à l'ivresse extatique d'absorber sans retenue tout le flot entropique de la Réalité Vraie qui s'engouffre en elle.
Obscura en quête d'Universel veut tout comprendre sans se laisser émouvoir. Tout concevoir ! Absolument tout ! Le moment venu, elle décide d'analyser avec la plus grande profondeur de champ possible, toute son intelligence concentrée à tout discerner avec finesse, sans la moindre distorsion, sans céder à la tentation de croire à ces apparences qui éblouissent plus qu'elles n'éclairent. Elle installe un film à grain hyper-fin qu'elle développera rudement pour compenser sa faible sensibilité. Elle ouvre dans son diaphragme un interstice minuscule, un infime instant, et concentre toute sa minutieuse lucidité à détecter le sens du moindre photon de Réalité Vraie qui parvient à s'infiltrer en elle.
La morale de cette histoire ? Tous les photographes vous la dirons !
Camera obtient l'image la plus lumineuse qui soit, c'est à dire l'image la plus floue à la fois, d'un blanc aussi immaculé qu'uniforme.
Obscura obtient l'image la plus nette qui soit, c'est à dire l'image la plus sombre à la fois, d'un noir aussi immaculé qu'uniforme.
Laquelle a tort ou raison ? Laissons cette dichotomie manichéenne à tous les donneurs de leçons stupides, à tous les castrateurs en théologie du mal et du bien, à tous les marchands de bonnets d'âne du saint marché des bons-points, à tous les coureurs de records à podiums et collectionneurs d'échecs à médailles.
Observons plutôt, comment la reliance de leurs expériences respectives leur apporte finalement la réponse dialogique à la question initiale : Quelle image peut-on discerner de la Réalité Vraie ? Quelle est l'épaisseur des apparences ?
Désormais, lorsqu'elles choisissent une ouverture et un temps de pause susceptibles de former des images moins aveuglées, Camera et Obscura sentent se former en elles quelques soupçons de Réalité Vraie, des images aussi pauvres de Sensibilité Absolue que démunies de Connaisssance Universelle, mais des images merveilleuses et magiques, aussi riches de signes ambivalents que de sèmes ambigus, illuminées de formes et de couleurs inattendues, d'innonbrables demiVérités.
Elles sont devenues sages lorsqu'elles cherchent, seulement parce qu'elles cherchent. Elles sont devenues sages lorsqu'elles s'interrogent sur ce que pensent et ressentent profondément, les autres petites chambres obscures. Lorsque de temps en temps, interconnectées sur le réseau des réseaux des camera obscura, elles se racontent leurs éblouissements respectifs et partagent leurs aveuglements réciproques.
Elles sont devenues sages, désespérément joyeuses d'être des mémoires qui résistent à l'Entropie ; désespérément joyeuses d'être sensibles à l'infime surface visible de l'inconnaissable ; désespérément joyeuses d'être à la fois transcendantes et illusoires, sur le fil du rasoir, sur le pli du Vide Médian.
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Took this the other night on the way home from work after it had snowed. Its a dead tree in a field in Healing Village near Grimsby. I have been wanting to capture this tree in some way for a while so I went to see what it looked like with snow on it. Used my kit lense 18 to 105. F10. ISO 200. 20sec exposure. Tripod mounted. Used a Lenser LRD Torch to paint the tree in light. The image staight out of the camera was a little dissapointing (dull with no depth) but I pressed Auot Correct in windows picture manager and the vivid orange came out. The tree isnt too far from the road so I am assuming the colour comes from light pollution off the stree lamps. Not 100% happy as I think it would be better if the tree was painted with the torch light a bit more on the outer branches to the top. I went with a friend of mine who took some shots but we where cold and already late home so I only got a couple of images. I may go back for another try if it snows again.
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
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•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
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•‘A designated riot area’ at the bottom of Nelson’s Column.
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•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
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His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?
LHR, 5th March 2015
British Airways
G-YMML
Boeing 777
According to BA the design, by Masha Ma, to promote the Great Festival of Creativity in Shanghai, depicts a bamboo and a rose in an east-meets-west fusion of symbols and artistic styles.
#2284 - 2014 Day 92: We had another artist exchange today with inspirational Meg Robinson. I have known Meg for some time now and have been moved by every aspect of her life story. One corner of her studio encapsulates it for me: the artist, the writer, the traveller through South America; a self fully expressed.
In addition to the pleasure of engaging with my own guests, I took a little time to critique a few images by Merxe, a young neighbour of Meg's who has taken to photography as a means for her own self-expression via her blog. What a joy to see photographs made unconstrained, unconditioned and unreserved. I was moved hugely by the experience. Thank you Meg, once again, and thank you Merxe.
RAW Tempel - Berlin
BERLINO_Vuoti a rendere // Laboratorio di Esplorazione Urbana e Fotoracconti
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i have been experiencing artist block..as i'm sure everyone does who takes on the challenge of a 365.. i started out on this expressive journey asking for guidance and to let the creativity flow through me...
and i sometimes think way to much-- get into my head.. which blocks that creative flow.
so today i just took some random shots- not much thinking.. and even when i started to put the layers on top of the image i selected, i remembered to leave that space, and ask for the guidance. this is the image that came into expression. :)
the roses are from my front porch..
i added the arm with the paintbrush & palette after looking at the image and deciding it needed something. it is my arm but from another shot. photoshop is amazing! (don't look too close!!!)
This took, like, 30 minutes to do. I wasn't holding on to Rebecca's hair or anything, I used self-timer to do this. All I did was crop and auto-fix this.
1/6 of my interpretation of the LEGO House zones, testing out my new indoor lighting rig (I still prefer sunlight but this was cool to try).