View allAll Photos Tagged DISINTEGRATION
Superior, Arizona
The owner (sitting by the entrance) asked me if I wanted to buy the building since I expressed much interest in it. I respectfully declined.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
9. The »ideal« of dark tendencies is the person without world-views.
29. In the background of the modern world’s conceptions, elaborated by a vast rational apparatus, there work manias which are generated by demonic forces.
58. Amalgamation most extremely contrasts with unity.
137. The case when someone ignores essentiality involves not only that the most important thing starts missing but that there can be found something else in its place.
138. Sticking to the only-human leads not to remaining in the human sphere but to becoming sub-human. For persisting in something is to loose it: to loose that which was intended to be retained.
307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.
309. Disintegration can also be seen on the surface. The act of disintegration, however, is forever under the surface which makes it even more difficult to notice it.
310. The path leading to chaos is not yet chaotic, only in its ultimate phase. For, though a chaos-creating force is creating chaos in its course, it necessarily gets structured into dark order of things.
314. That which is in opposition to what transcends life, ultimately, is in opposition to what belongs to the domain of life - for life gets life from what transcends life.
315. As the forces of modernity first annihilate the connection with the supernatural and ruin man’s relationship with nature and only then destroy nature, in the same way they destroy the connection with what transcends life first and only then annihilate life itself.
317. First, only he who maintains his principles is considered a fool (though he is not), then it comes true that only the fool maintains his principles...
318. Those things which are usually referred to as superstitions are in fact innocent and harmless superstitions. The harming and harmful superstitions appear in totally different forms such as evolutionism, antihierarchical views, beliefs in the equality of mankind and as all those phenomena which, philosophically speaking, belong to the realm of humanism.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali-yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
341. Kali-yuga is present in the consciousness, in the strict sense of the word, in the human psyche, in the spiritual manifestations and deeds of man, just as it is present in the surrounding world, in buildings, in music, in the different manifestations of artistic trends and in the very processes of nature. Wherever man directs his attention, be it inward or outward, he is everywhere surrounded and ruled by a world which is under the aegis of antitraditionality - that is being cut off from God, heaven, transcendence, superiority and the essence.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
364. The specific blindnesses of the dark age as a rule cloak themselves in rationalism.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
375. The forces of darkness and the forces of light in a way want the same in the present age: to make the kali-yuga progress to its end. But whereas the forces of darkness tend to annihilate the true values as well, the forces of light tend to maintain the true values in the course of kali-yuga so as to serve in the building up of a future golden age.
376. One has to accommodate himself to the modern world so that his powers will not wear him out - but not in the sense of bending and assimilating to it, but as a kind of acclimatisation; for he who gets acclimatised will not »serve« the climate but resists the climate.
377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness.
381. The postmodern state, in which everything can be manifested without any real consequence, and in which everything will be free, but nothing will matter, must be accomplished before everything falls apart in postmodernity. Without this, the final disintegration will not come about, since there would always be left certain positive remnants.
404. As light magnetises certain insects, so spiritual darkness attracts the overwhelming majority of people.
427. Everything that is against the supernatural also turns, sooner or later, against the natural.
488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
529. Counter-culture does not simply mean being a poor hand at culture or that man’s world is inundated with cheap things instead of higher values. The real meaning of counter-culture is that man and his world turn in a completely different direction to the one they ought to, since instead of dominating and cultivating the light, he dominates and cultivates the dark.
531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.
533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.
[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]
538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.
738. Each world that has lost its origin-awareness is characterized by annihilation.
773. Since the return to the origin is only possible from well-ordered states, anti-traditional forces and powers primarily attack the internal and external order of man. This way they create such counter-conditions from which the return to the origin becomes impossible, or almost impossible.
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Metaphysical aphorisms by András László
www.tradicio.org/english/solumipsum.htm
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Painting by Tadeus Brzozowski
The U.S. Navy Convair XF2Y-1 Sea Dart (BuNo 135762) disintegrates in mid-air over San Diego Bay on 4 November 1954, California (USA), during a demonstration for Navy officials and the press, killing Convair test pilot Charles E. Richbourg when he inadvertently exceeded the airframe limitations.
Armed with Neuro-disruptor cannon and 2x Soulstorm missiles. "KISS MY BONES!!"
The cockpit skull was directly inspired by the brilliant bridge design on Mark Sandlin's Asmodeus
A bright comet headed right towards the Sun and disintegrated (Oct. 2, 2011). It was a sungrazing comet of the type known as a Kreutz sungrazer and a particularly bright one at that. There is not a definitive orbit calculated for it yet, but most sungrazing comets have orbits that take them very close to the Sun without actually quite hitting it. However, getting so close almost always destroys these comets, so we see them going in, but not going back out.
The question of whether a sungrazing comet can somehow trigger a coronal mass ejection is an intriguing one. So far, the feeling is that apparent relationship between some comets and some mass ejections is simply one of co-incidence. At this stage of the solar cycle, the Sun is producing many mass ejections--in fact there were several earlier in the day--and it probably just happened by chance that one of them was around the same time as the approach of the comet. Some researchers have been looking for a more direct relationship, but nothing as yet has come out of these efforts.
You can get more extensive information on Kruetz comets here: en.wikipedia.org/wiki/Kreutz_Sungrazers
Credit: NASA/GSFC/SOHO
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Note my genuine Bob Marley T-shirt (since disintegrated) bought at one love in jamaica
photo shot by KHWD, originally 4/4/2017
want to read more or see more images?
www.holiday2017.co.uk/tasmania
The Campbell Town Museum and Visitor Information Centre is located in Campbell Town, Tasmania, in the Northern Midlands. It’s a great halfway point between Launceston and Hobart, making it an ideal spot for a picnic or lunch break.
The museum is housed in the town hall, having moved from the courthouse in 2014. It showcases the local history of the Midlands area, including a film projector from the 1930s, musical instruments, band music, photos, and uniforms from the Campbell Town Brass Band, which started in 184412. There’s also a display about the 111th Military Hospital stationed at ‘Merton Vale’ and various photos and stories of Campbell Town.
Campbell Town itself is on the Heritage Highway and is about a 45-minute drive from Launceston. It’s a charming place with a rich history, perfect for a day trip if you’re exploring Tasmania.
The front porch of this home has disintegrated. Inside, the leaking roof has collapsed much of the plaster from the ceilings and walls. The nightmarish kitchen is the previous photo. The house decays in the trees overlooking a peaceful valley where cattle graze.
Barnfind 1946 DeSoto, rotting and covered with furry lichen and moss, at the Big M. Lit with lime-gelled and red LED flashlight.
Vingt-et-un-an après avoir peint « La persistance de la mémoire », Dali crée cette toile qui s’en inspire en y intégrant la nature corpusculaire de la matière et les principes quantiques énoncés par Einstein ou Hawking quelques années auparavant. Depuis les premières explosions de bombe atomique d'août 1945, Dalí s'intéresse de près à la physique nucléaire et décrit l'atome comme "son sujet de prédilection". Reconnaissant que la matière est composée d'atomes qui ne se touchent pas, il a cherché à reproduire cela avec des objets suspendus n'interagissant pas entre eux. Pour Dalí, cette image était symbolique de la nouvelle physique : le monde quantique qui existe à la fois comme des particules et des ondes. L'imagerie de la persistance originelle de la mémoire peut être lue comme une représentation de la théorie de la relativité d'Einstein, symbolisant la relativité du temps et de l'espace. Dans ce nouveau travail, la mécanique quantique est symbolisée par la "numérisation" de l'ancienne image.
Dans cette peinture, le paysage aride de « La persistance de la mémoire » a été inondé, même si la peau de l'eau est accrochée par la branche sans feuilles à l'arrière-plan. La désintégration décrit ce qui se passe au-dessus et au-dessous de la surface de l'eau. Le paysage de Cadaqués plane maintenant au-dessus de l'eau. Le plan et le bloc de l'original sont maintenant divisés en formes en forme de briques qui flottent les unes par rapport aux autres, sans que rien ne les lie. Ceux-ci représentent la décomposition de la matière en atomes, révélation de l'âge de la mécanique quantique. Derrière les briques, les cornes qui se retirent symbolisent les missiles atomiques, soulignant que malgré l'ordre cosmique, l'humanité pourrait provoquer sa propre destruction. L'olivier mort auquel est suspendue la montre douce a également commencé à se briser. Les aiguilles des montres flottent au-dessus de leurs cadrans et plusieurs objets coniques flottent dans des formations parallèles entourant les montres. Une quatrième montre a coulé sous la couche de briques, laissant des débris derrière. Le visage humain déformé de la peinture originale commence à se transformer en un autre poisson étrange flottant au-dessus (pour Dalí le poisson était un symbole de la vie).
The Disintegration of the Persistence of Memory (1952-54) - Dali
Twenty-one years after painting "The Persistence of Memory", Dali creates this canvas inspired by it by incorporating the corpuscular nature of matter and the quantum principles enunciated by Einstein or Hawking a few years ago. Since the first atomic bomb explosions of August 1945, Dalí has taken a close interest in nuclear physics and described the atom as "his favorite subject". Recognizing that matter is composed of atoms that do not touch each other, he has tried to reproduce this with suspended objects that do not interact with each other. For Dalí, this image was symbolic of the new physics: the quantum world that exists both as particles and waves. Imagery of the original persistence of memory can be read as a representation of Einstein's theory of relativity, symbolizing the relativity of time and space. In this new work, quantum mechanics is symbolized by the "digitization" of the old image.
In this painting, the arid landscape of "The Persistence of Memory" has been flooded, even though the skin of the water is hung by the leafless branch in the background. Disintegration describes what happens above and below the surface of the water. The landscape of Cadaqués now hangs over the water. The plan and the block of the original are now divided into brick-shaped shapes that float in relation to each other, without anything binding them. These represent the decomposition of matter into atoms, the revelation of the age of quantum mechanics. Behind the bricks, the receding horns symbolize atomic missiles, pointing out that despite the cosmic order, humanity could provoke its own destruction. The dead olive tree to which the soft watch is suspended has also begun to break. The hands of the watches float above their dials and several conical objects float in parallel formations surrounding the watches. A fourth watch sank under the brick layer, leaving debris behind. The distorted human face of the original painting begins to turn into another strange fish floating above (for Dalí the fish was a symbol of life).
Romanian postcard by Casa Filmului Acin.
With his all-American good looks, Robert Redford (1936) was one of the biggest Hollywood stars of the 1970s. In classics as Butch Cassidy and the Sundance Kid (1969), The Sting (1973) and All the President's Men (1976), he was the intelligent, reliable, sometimes sardonic good guy. He received two Oscars: one in 1981 for directing Ordinary People, and one for Lifetime Achievement in 2002. In 2010, the actor, director, producer, businessman, environmentalist, philanthropist, and co-founder of the Sundance Film Festival was appointed Chevalier of the Légion d'honneur in France.
Charles Robert Redford Jr. was born in Santa Monica, California in 1936. His parents were Martha W. (Hart) and Charles Robert Redford, Sr., a milkman-turned-accountant. Redford's family moved to Van Nuys, California, while his father worked in El Segundo. He attended Van Nuys High School and was interested in art and sports. After high school, he attended the University of Colorado for a year and a half. He travelled in Europe but decided on a career as a theatrical designer in New York. Enrolling at the American Academy of Dramatic Art he turned to acting. In 1959, Redford's acting career began on stage, making his Broadway debut with a small role in Tall Story. It was followed by parts in The Highest Tree (1959) and Sunday in New York (1961). On TV, he appeared as a guest star on numerous programs, including Maverick (1960), Perry Mason (1960), The Twilight Zone (1962), and The Untouchables (1963). Redford earned an Emmy nomination as Best Supporting Actor for his performance in The Voice of Charlie Pont (1962). Redford made his screen debut in War Hunt (Denis Sanders, 1962), set during the last days of the Korean War. This film also marked the acting debut of director Sydney Pollack, with whom Redford would collaborate on seven films. His biggest Broadway success was as the stuffy newlywed husband of Elizabeth Ashley in Neil Simon's Barefoot in the Park (1963). After this smash hit, he was cast in larger film roles. In the war comedy Situation Hopeless ... But Not Serious (Gottfried Reinhardt, 1965) with Alec Guinness, he played a soldier who has to spend years of his life hiding behind enemy lines. In Inside Daisy Clover (Robert Mulligan, 1965), he played a bisexual movie star who marries starlet Natalie Wood. It won him a Golden Globe for the best new star. A success was This Property Is Condemned (Sydney Pollack, 1966), again with Nathalie Wood. The same year saw he co-starred with Jane Fonda in The Chase (Arthur Penn, 1966), also with Marlon Brando. Fonda and Redford were paired again in the film version of Barefoot in the Park (Gene Saks, 1967) and were again co-stars much later in The Electric Horseman (Sydney Pollack, 1979).
After this initial success, Robert Redford became concerned about his stereotype image of the blond 'All American'. At the age of 32, he found the property he was looking for in Butch Cassidy and the Sundance Kid (George Roy Hill, 1969), scripted by William Goldman. For the first time, he was teamed with Paul Newman and it was a huge success. The film made him a major bankable star. Other critical and box office hits were Jeremiah Johnson (Sydney Pollack, 1972), the hugely popular period drama The Way We Were (Sydney Pollack, 1973) with Barbra Streisand, and the blockbuster crime caper The Sting (George Roy Hill, 1973), the biggest hit of his career, for which he was also nominated for an Oscar. Between 1974 and 1976, exhibitors voted Redford as Hollywood's top box-office name with such hits as The Great Gatsby (Jack Clayton, 1974) and Three Days of the Condor (Sydney Pollack, 1975) with Faye Dunaway. The popular and acclaimed All the President's Men (Alan J. Pakula, 1976), directed by and scripted once again by Goldman, was a landmark film for Redford. Not only was he the executive producer and co-star, but the film's serious subject matter—the Watergate scandal—and its attempt to create a realistic portrayal of journalism, also reflected the actor's offscreen concerns for political causes. He also appeared in the war film A Bridge Too Far (Richard Attenborough, 1977) before starring in the prison drama Brubaker (Stuart Rosenberg, 1980), playing a prison warden attempting to reform the system, and the baseball drama The Natural (Barry Levinson, 1984). With his enormous salaries, he acquired Utah property, which he transformed into a ranch and the Sundance ski resort. In 1980, he established the Sundance Institute for aspiring filmmakers. Its annual film festival has now become one of the world's most influential.
Robert Redford continued his involvement in mainstream Hollywood movies, though with a newfound focus on directing. The first film he directed, Ordinary People (1980), which followed the disintegration of an upper-class American family after the death of a son, was one of the most critically and publicly acclaimed films of the decade, winning a number of Oscars, including the Academy Award for Best Director for Redford himself, and Best Picture. His follow-up directorial project, The Milagro Beanfield War (1987), failed to generate the same level of attention. Out of Africa (Sydney Pollack, 1985), with Redford and Meryl Streep, became an enormous critical and box office success and won seven Oscars including Best Picture. It was Redford's biggest success of the decade and Redford and Pollack's most successful film together. Redford continued as a major star throughout the 1990s and 2000s. His third film as a director, A River Runs Through It (1992) with the young Brad Pitt was a mainstream success. Then, he starred in Indecent Proposal (Adrian Lyne, 1993) as a millionaire businessman who tests a couple's (Demi Moore and Woody Harrelson) morals. It became one of the year's biggest hits. His film Quiz Show (Robert Redford, 1994), starring Ralph Fiennes and Rob Morrow, earned him yet another Best Director nomination. He co-starred with Michelle Pfeiffer in the newsroom romance Up Close & Personal (Jon Avnet, 1996), and with Kristin Scott Thomas in The Horse Whisperer (1998), which he also directed. Redford also continued work in films with political contexts, such as Havana (Sydney Pollack, 1990), playing Jack Weil, a professional gambler in 1959 Cuba during the Revolution, as well as the caper Sneakers (Phil Alden Robinson, 1992), with River Phoenix. He reteamed with Brad Pitt for Spy Game (Tony Scott, 2001). Redford stepped back into producing with The Motorcycle Diaries (Walter Salles, 2004), a coming-of-age road film about a young medical student, Ernesto 'Che' Guevera, and his friend Alberto Granado. He reteamed with Meryl Streep 22 years after they starred in Out of Africa, for his personal project Lions for Lambs (Robert Redford, 2007), which also starred Tom Cruise. The film disappointed at the box office. Recently, he starred in All Is Lost (J.C. Chandor, 2013) about a man lost at sea. He received very high acclaim for his performance in the film, in which he is its only cast member and has almost no dialogue. Next, he appeared in the Marvel Studios superhero film Captain America: The Winter Soldier playing Alexander Pierce (Anthony Russo, Joe Russo, 2014). More recently, he appeared in such films as A Walk in the Woods (Ken Kwapis, 2015) with Nick Nolte and Emma Thompson, Truth (James Vanderbilt, 2015) with Cate Blanchett, The Discovery (Charlie McDowell, 2017) with Mary Steenburgen, and Avengers: Endgame (Anthony Russo, Joe Russo, 2019) with Robert Downey Jr. Between 1958 and 1985, Robert Redford was married to Lola Van Wagenen. The couple had four children: Scott Anthony (1959 - he died of sudden infant death syndrome, aged 2½ months), painter Shauna Jean Redford (1960), writer and producer David 'Jamie' James (1962), and director, and producer Amy Hart Redford (1970). Redford has seven grandchildren. In 2009, Redford married his long-time partner, German painter Sibylle Szaggars. In 2011, Alfred A. Knopf published 'Robert Redford: The Biography' by Michael Feeney Callan, written over fifteen years with Redford's input, and drawn from his personal papers and diaries.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
The shipwreck is slowly disintegrating due to the raw elements of the wild west coast conditions, sadly it will eventually disappear.
The SS Waitangi, which was used to export meat , ran on to the rocks on the western side of Patea on May 5th 1923.
Built in England in 1889, the Waitangi was 120ft long, 171 tonns & had a top speed of 12 knots.
She was purchased by the Patea Co-operative Freezing Company in 1919.
There are many more images of the SS Waitangi on my photo-site Album taken over recent years.
Old Town Florence, Oregon's harbor on the Suislaw River was docked with some of the more interesting boats I have ever experienced. The withering of the wood and the corrosion and oxidation of the paint and metal on several of these boats was an interesting sight to take in. I decided on site that a macro image was the most powerful medium to capture this phenomenon. Here is a taste of the textures to be seen in this interesting setting. Enjoy!
Disintegrating Planetary Existence.
La disminución de las criaturas extrínsecos convertibles verdades divinas cambiantes esencia inmutable,
approchant la compréhension des connaissances éminence pénétrante enluminures effets lointains,
confortatus est momenti materia nota immensitate species praedicta connaturalitate,
Vorfahren berühmten Jahrhunderte böswillige bitteren Herzen ständigen Kriege glühender Chancen Macht umgibt,
不公正的邪惡寬大嚴酷的教訓唆使暴徒脾氣敵人憤怒鞭笞孵化地塊,
блуждающих несбалансированным ОПЕРАЦИЙ безграничные основы против раструбили будущих неблагоприятных подарков,
تبقى المتمردين أصوات تشتبك قادة سنوات يرثى لها معايير الهمجية المشينة القوانين المعطلة داخل,
εξαφανίστηκε συμβούλια έσβησε το πρωί προσευχές έκπληκτος ευκαιρία για αναδύεται σφαίρες λήθαργο λόγους,
厳粛な基準は、ペノンが高いボディをヒービング武装法律を行進恐ろしい文字を破壊上昇します.
Steve.D.Hammond.
The dispersion splatter effect was achieved using some of the new brushes available in Photoshop CC 2018 that were created by award-winning illustrator Kyle T. Webster. I followed the technique to create a dispersion splatter effect explained by Collin Smith of photoshopCAFE at www.youtube.com/watch?v=eewgYGY-VXU.
Model: Chrissy
_MG_1216 splatter
© Stephen L. Frazier - All of my images are protected by copyright and may not be copied, printed, distributed or used on any site, blog, or forum without expressed permission.
Looking for Steve Frazier's main photography website? Visit stevefrazierphotography.com
The letters on this street sign along Central Avenue in Phoenix. They are showing a little heat related wear-and-tear.
Or... Virginia, we have a problem.
Or... You know it's hot when signs melt.
"No Disintegrations!" I present my interpretation of the classic scene from Empire Strikes Back, complete with lighting and non-slip design to hold books nicely. Instructions available here, rebrickable.com/users/IScreamClone/mocs/
See More Photos@
william-rockwell.artistwebsites.com/
Randyland is a circus-colored oasis of sunny vibes on Pittsburgh's formerly grim North Side. The neighborhood's revival is due, in some significant part, to Randy, who began planting guerrilla mini-gardens in the community in the early 1980s (They now number in the hundreds). His job as a part-time waiter gave him some free time, so in 1996 he purchased the abandoned buildings and yards that now comprise the Mr. Rogers-on-hyperdrive Randyland. Another great reason to visit Pittsburgh!
The #FlickrFriday #ABitOfOrder challenge
"Probably the simplest hypothesis... is that there may be a slow process of annihilation of matter."
- Sir Arthur Eddington; Physicist, Astronomer, Philosopher 1882-1944
____________________________________________
We live in a highly ordered world. That unremarkable statement may seem to reflect our obsession with neatness, organisation and timeliness. However let's look at what physics has to say about what it believes order actually is.
Physics, among other things, introduces the term entropy to express how ordered a system is. Mathematically speaking, it is the number of possible configurations of its component parts which allow the system to exist at all, divided by the total number of possible ways those parts may be configured. Low entropy therefore describes a high degree of order. Physicists frequently explain abstract ideas like this by reference to simple situations so let's do so.
Consider going to the seaside, packing damp sand into a bucket, smartly inverting it onto the beach, and removing the bucket in the time honoured fashion. We have made a sandcastle, a simple structure (or system) which can only exist if the grains of sand are configured in a limited number of ways. There are many more ways in which those grains may be arranged, the vast majority of them being unremarkable piles of sand, each pile looking much like all the others. A small number of configurations capable of creating a system divided by a much larger possible number of configurations results in a fraction with a small number on top and a much larger number beneath. That would be a small number, representing low entropy which means a high degree of order.
The Second Law of Thermodynamics provides that the entropy of an isolated system, left alone, cannot decrease. Put another way, a system cannot become more organised (or ordered) than it was when we started observing it. Although The Second Law allows the possibility that a system would remain the same throughout time, in practice entropy always increases, accounting for the fact that things decay, wear out, or fall apart. Increasing entropy represents reducing order. Spontaneous repair does not happen without some kind of intervention, an example of which could be an injury which heals. Healing requires an input of resources which we may regard as energy.
Returning to our sandcastle, as the day progresses, its sand dries, reducing adhesion. Grains start to fall or are blown away causing the structure to lose shape. Its entropy increases, shown by it becoming an unremarkable pile of sand, increasingly indistinguishable from any other sand pile. Its entropy continues to increase, ultimately matching that of the even higher entropy beach.
Now let's extrapolate from sandcastles to The Universe. Nobody can accuse me of lack of ambition! Recall that, from The Second Law of Thermodynamics, Entropy increases as time passes. Consider an abandoned car rusting away into dust; a fallen tree being converted to soil through consumption by fungi; a building falling into disrepair; a small space rock entering our atmosphere and burning up, delighting observers as it presents itself as a shooting star while scattering its atoms among our atmosphere; two asteroids colliding, smashing each other into bits; a comet leaving a trail of dust illuminated by The Sun; and a star exploding in a supernova event, spreading its matter over huge distances. All exemplify increasing entropy. Back on Earth, many of us earn our crusts repairing what we (or more accurately, The Second Law of Thermodynamics) break or wear out. Tradesmen (and DIY stores) earn their livings courtesy of The Second Law and as they can never reverse it, they will always be in business!
This all leads us to the concept of The Arrow of Time created by the physicist Sir Arthur Eddington. When The Arrow points to the future, Eddington, applying The Second Law, expects greater randomness or disorder; in other words, higher entropy than now. Recall our sandcastle which we may now regard as a metaphor for the prediction that in about 10 trillion years time the galaxies we may assume will live for all time will be gone. All that will be left will be atomic and subatomic particles (including particles which had once combined to form the extremely low entropy us), randomly moving around in unimaginably vast nothingness, so vast that the probability of those particles ever again interacting to create anything at all is, functionally speaking, zero. That's the bleakest of predictions of our destiny but 10 trillion years is a long time, maybe even long enough for my football team to win something meaningful. Or perhaps not, but anyway, there's no need to cancel your Flickr Pro subs just yet.
Conversely, when The Arrow points to the past we see a more ordered world and universe. We might even imagine our sandcastle rebuilding itself from the pile of sand it had become. Go back far enough and we encounter God creating Heaven and Earth, or, according to your belief, the Big Bang when scientists tell us The Universe was simple and highly ordered.
A photo of a disintegrating watch overlaid on Genesis 1 as recorded in an old Bible therefore seems to me to be an apt metaphor for The Arrow of Time. It was created by duplicating and resizing twice a single photo of a watch with liquefying applied through Photoshop and various bits deleted and cloned to represent disintegration as time passes. Mould marks on the page and creases are faintly visible despite the increased saturation I applied to add colour to the image. They demonstrate increasing entropy in themselves.
The poppy disintegrating in abstract composition
Imagine that a Poppy takes shape and a beautiful Woman.
Imagine that in performance, in dance, in choreography it is in itself the revelation of the secret of speech, music, perfume, the essence of its brief but glorious existence and in that instant your senses perceive the Universe of before and perhaps, the after in the continuum of life.
Don't be afraid, nothing to fear, just want to feel.
Imagination, perception is what others cannot even see.
Be happy and have a good morning full of sunshine.
#EduardoPereira
Eduardo Pereira Goody
#Photoshop eduardogoody
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... in a shop window.
There was some antique furniture in the background - contrasted to oblivion :)