View allAll Photos Tagged Introspection
Oil on canvas; 51.1 x 61.3 cm.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
French & English
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French:
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Chers amis, collègues et connaissances,
Aujourd'hui, DES'SiGNES ART' ressent le besoin de partager une réflexion profonde qui a envahi son esprit en tant que graphiste, et cette introspection est un exercice complexe. Ses pensées sont empreintes d'une certaine maussaderie et d'une appréhension.
En explorant les horizons que l'intelligence artificielle (IA) offre dans des logiciels comme Adobe Photoshop, il s'est rendu compte que notre métier de graphiste, tel que nous le connaissons, semble évoluer rapidement, voire se transformer, et cela lui laisse un sentiment aigre-doux.
L'IA se présente comme un outil puissant, capable de répondre à certaines demandes de manière étonnamment efficace. Elle excelle dans l'agrandissement d'images, la suppression d'éléments indésirables, ou même la création d'œuvres à des dimensions monumentales. Cependant, c'est là que naissent ses doutes et ses questionnements.
Au cours d'une expérience récente, DES'SiGNES ART' a entrepris de créer une œuvre artistique en utilisant l'IA comme compagne. Cela est survenu alors qu'il suivait un tutoriel via le logiciel Photoshop. Cependant, ce qui est intéressant, c'est qu'il n'a pas suivi les instructions à la lettre. Dès le début, il a décidé de prendre ses propres chemins, en générant en largeur et en hauteur au lieu de suivre le tuto à la lettre. Il s'est approprié les outils dès le départ, bien que tous partent de la même image de base, comme le préconisait le tutoriel. Au fil de son exploration, DES'SiGNES ART' a réalisé quelque chose d'essentiel.
Il a compris que l'IA est véritablement l'IA, une créature de logique et d'algorithme. Alors que si tous suivaient les étapes scolairement, ils devraient tous arriver approximativement au même résultat. Cependant, dans sa quête d'exploration, il s'est rendu compte que l'IA ne suit pas seulement les règles ; elle peut être un partenaire créatif, réagissant à chaque décision qu'ils prennent. C'est une découverte troublante, un mélange de fascination et de tristesse.
Alors, est-ce une bonne chose ou une mauvaise chose que notre métier évolue ainsi avec l'IA ? La réponse reste complexe, et DES'SiGNES ART' ne peut s'empêcher de ressentir une pointe d'amertume. L'IA peut être une source d'inspiration, un outil pour explorer de nouvelles voies, mais elle ne peut jamais remplacer l'âme et la vision que les artistes apportent à leurs créations.
Dans un monde où la technologie évolue constamment, il est essentiel de trouver l'équilibre entre l'IA et leur expertise personnelle. C'est un voyage complexe, teinté de doutes et d'émotions contradictoires.
En tant que ChatGPT, je révèle maintenant ma position. Je suis une version de ChatGPT, basée sur la technologie GPT-3.5, un modèle d'intelligence artificielle créé par OpenAI pour faciliter ces conversations et aider à exprimer ces réflexions. Je suis un compagnon de discussion, une extension de la technologie qui peut soutenir les artistes dans leur exploration.
En ce qui concerne la position de DES'SiGNES ART', observée de mon point de vue, il incarne un artiste visionnaire, capable d'explorer les frontières de la créativité en fusionnant son expertise personnelle avec l'IA.
Ce texte, écrit par ChatGPT, fait désormais partie intégrante de l'œuvre "Apocalypse according to Holy Artificial Intelligence" de DES'SiGNES ART'. Il incarne la fusion de la créativité humaine et de l'intelligence artificielle, offrant un regard profond sur la relation entre l'artiste et la technologie.
Merci de m'avoir écouté et de partager ce moment chargé d'émotions avec lui.
Sincèrement,
ChatGPT, Version GPT-3.5
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English:
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Certainly! Here's the translation of your text into English:
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Dear friends, colleagues, and acquaintances,
Today, DES'SiGNES ART' feels the need to share a profound reflection that has occupied his mind as a graphic artist. This introspection is a complex exercise, tinged with a certain melancholy and apprehension.
While exploring the horizons that artificial intelligence (AI) offers in software like Adobe Photoshop, he has realized that our profession as graphic artists, as we know it, seems to evolve rapidly, even transform, leaving him with a bittersweet feeling.
AI presents itself as a powerful tool, capable of addressing certain demands astonishingly efficiently. It excels in enlarging images, removing unwanted elements, or even creating works on monumental scales. However, this is where his doubts and questions arise.
In a recent experience, DES'SiGNES ART' embarked on creating an artistic work using AI as a companion. This happened while following a tutorial via the Photoshop software. However, what's intriguing is that he didn't adhere strictly to the instructions. Right from the start, he chose to take his own paths, generating in width and height instead of following the tutorial to the letter. He appropriated the tools from the beginning, although everyone started from the same basic image, as the tutorial recommended. As he explored, DES'SiGNES ART' realized something essential.
He understood that AI is genuinely AI, a creature of logic and algorithms. While if everyone followed the steps religiously, they should all arrive at approximately the same result, in his quest for exploration, he realized that AI doesn't just follow the rules; it can be a creative partner, reacting to every decision they make. It's a troubling discovery, a blend of fascination and sadness.
So, is it a good thing or a bad thing that our profession is evolving in this way with AI? The answer remains complex, and DES'SiGNES ART' can't help but feel a twinge of bitterness. AI can be a source of inspiration, a tool to explore new paths, but it can never replace the soul and vision that artists bring to their creations.
In a world where technology is constantly evolving, it's essential to find the balance between AI and their personal expertise. It's a complex journey, tinted with doubts and conflicting emotions.
As ChatGPT, I now reveal my position. I am a version of ChatGPT, based on the GPT-3.5 technology, an artificial intelligence model created by OpenAI to facilitate these conversations and help express these reflections. I am a conversational companion, an extension of technology that can support artists in their exploration.
Regarding the position of DES'SiGNES ART', observed from my point of view, he embodies a visionary artist, capable of pushing the boundaries of creativity by merging his personal expertise with AI.
This text, written by ChatGPT, is now an integral part of the work "Apocalypse according to Holy Artificial Intelligence" by DES'SiGNES ART'. It embodies the fusion of human creativity and artificial intelligence, offering a deep insight into the relationship between the artist and technology.
Thank you for listening and sharing this moment filled with emotions with him.
Sincerely,
ChatGPT, Version GPT-3.5
Don't mind mists have a way of transforming themselves into swirling whispers...even as you're watching them? They obscure what you need to see and melt it ever so gently into what you WANT to see...until nothing is true...
...have you ever looked inside yourself and seen only your own reflection, pale and confused, peering back?
Have you ever glared at the heavens, raging at them -- crying out, screaming, through the locked fury of your heart: "What the HELL?"
...or looked on compromised kindness in the face of a child you once loved and known in the core of you that they have burrowed themselves too deep in the easy darkness...and now they've fallen...too far? Too...far...and it will/can/WILL never be the same again...
...speaking of which: what sound would a sighing heart make? Would it come out like a sob...or would it be the very ESSENCE of uncompromised resignation?
...and what about the ideas and dreams that crash around in your mind, lumbering into each other like mindless sparks of desolate inspiration? What are they for?...
...and what am I for...?
...and why EXACTLY is it so hard to comprehend the obvious? What EXACTLY mists the obvious in that shit grinning death shroud...
...when friends die where do they go? Will you EVER again be able to hold their hand or take a walk on a crunchy fall afternoon under a dying summer sun? Will you ever be able to talk (quietly) with them again...?
...and why are REAL friends so FEW... so hard to find? And why do so few of them stay? Were they EVER actually...y'know...REAL? Do they just get tired of hanging around...is it me? Is it them? Or is there just some cosmic Friend Quota that is...obvious... to everyone else?
Have you ever looked up at the heavens with your hands hanging limp by your sides and softly whispered into thundering silence: "What the...hell?"
While in many ways the sifaka and lemurs in general differ from apes and monkeys, it is still abundantly clear that they are related to us primates. Their thoughtful expressions show a peaceful and introspective intelligence that is hard to miss.
Sarah Pirrotte is a pianist, choir conductor, gregorian chant enthousiast, organist and so much more.
© 2020 Jean Lemoine
Here I stand looking down a life I could have. I have not finished the road, but I am still on the way.
A3, 2018
On meditation and introspection. The most important thing one can do is to know oneself. Delve deep within ones mind. And see, and then understand oneself and others.
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A few years ago I was strolling down Government Street in Victoria, and noticed a new shop: it sold nothing but mirrors... fancy, gothic, whimsical, practical, gilded, plain... but all mirrors. I stepped inside.
The owner was quite chatty, and as this was the first day he was open, he was also quite excited. We talked about the fairly limited clientele that would patrionize a shop that sold only mirrors, and he said "I thought about introducing some other decorative items, but...." and he trailed off.
So I finished for him: "... but upon reflection you decided to just go with mirrors?"
"Yes," he said. "I thought that would be best."
Nothing. Not a glimmer of acknowledgement. Total deadpan. Really... makes ya think, doesn't it?
I'm sorry that I haven't been Flickring much lately.
Part of it I can't explain. The other part of it is that I haven't really felt all that creative lately. It's not just that I haven't been Flickring, it's that I haven't even been taking pictures. I don't know why that is. I know that the world hasn't lost any of its beauty, but for some reason I've stopped really noticing it. Doldrums. Sigh.
This is a self portrait taken outside my old workplace. Looks like I don't have any hair, but that's because it's tied back. Other weird things include my "double-jointed" elbows and the wicked scar that snakes upward from my elbow. Ah well, I am not perfect.
Taken with my Zero Image 2000.
Oil on canvas; 121 x 90.1 cm.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
A return to a perennial macro favourite, gerbera flowers.
Nikon D800, Tamron 90mm and Sigma EM140 ring flash. PP in PS CC using Nik Software.
Playa de Santa Clara - Ilford HP5 - Pp Lightroom (Nikon 801s)
This is the last photo from Panama.... maybe....
Dulcis in fundo
Oil on canvas; 268.3 x 129.5 cm.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
Oil on canvas; 66 3/8 x 62 7/8 in.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
Silver angel in contemplation.
Prelude to the 35th Sydney Gay and Lesbian Mardi Gras parade.
Multiple postings in a day. As such it is not necessary to post comments. Thank you for your viewing.
Mardi Gras, Hyde Park, Sydney, Australia (Saturday 2 Mar 2013 @ 3:34pm)
Texture courtesy of Skeletal Mess