Metaphor and Analogy - **In Title or Description**
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signalling a new direction
For some time now I've struggled to keep up with flickr...
I try to think of ways to be generous and reciprocal
and also meet my own needs to be more playful...
to have more time and energy for making images
and also for making lucid comments ;-)
For now I'm going to try being more flexible...
embrace a little more imperfection :-)
I'll still respond to comments
(this connection brings me happiness )
and I'll enjoy visiting those who leave them :-)
But I'll be more free about timing...
and not respond to every fave.
Tho I'll try to recognise loyal and wordless fave givers
I am, after all, often one myself.
Not an easy change to make.
But something has to give.
So here's to generosity and freedom.
Meet you
at the intersection ;-)
Forth Road Bridge 13 Dec 2015
The FRB is shrouded in all kinds of things - fog, political smokescreens, uncertainty, to name but a few.
Hopefully the bridge really will open again on 04 January 2016. I feel most sorry for the cancer patients having to travel miles extra for daily treatment in Edinburgh.
Please see my other photos of Edinburgh & the Lothians at www.jamespdeans.co.uk/p399603778
No one remembered to put in their original teeth
at the plant nursing home
so they can’t tell the nurses and aides
to turn off Fox news
and they wither like they’ve been
left for an eternity to suffer
for all their long lost sins.
**All poems and photos are copyrighted**
~ The sky is often used as a metaphor
And I suppose that's because it's so big and expansive
When a long strand of cloud sits just above the horizon
Leaving a strip of clear blue beneath it
It becomes the panorama
It'll turn your head three hundred and sixty degrees,
And the same line follows you round if the land is sufficiently flat
Really, nothing can be compared to it
I am not an acrobat…
I cannot perform these tricks for you
Losing all my balance…
Falling from a wire meant for you ~
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© Copyright by Floriana Thor 2013-2015
We can express our feelings regarding the world around us either by poetic or by descriptive means. I prefer to express myself metaphorically. Let me stress: metaphorically, not symbolically. A symbol contains within itself a definite meaning, certain intellectual formula, while metaphor is an image. An image possessing the same distinguishing features as the world it represents. An image — as opposed to a symbol — is indefinite in meaning. One cannot speak of the infinite world by applying tools that are definite and finite. We can analyse the formula that constitutes a symbol, while metaphor is a being-within-itself, it's a monomial. It falls apart at any attempt of touching it.
― Andrei Tarkovsky
A child’s toy and an old bench....childhood and old age.... A visual metaphor? Or maybe just a little boy who got called to lunch and left his trike on the sidewalk!
photography helps me to embrace winter. i was lying down on ice-covered pavement, where i found this fallen leaf. from that angle, i noticed that the tattered leaf seemed to cradle the sun. to me, that’s magic. it’s also a metaphor for being human: we’re small, imperfect, and frayed, yet we have big reach—our actions radiate in ways we can’t imagine.
Unless there is the iPhone icon, all photos were taken with a Nikon or more recently, with a Sony Mirrorless. I ioften import the images to a 12.9 inch iPad for editing.
Another Friday means another fence to climb. I like fences because they are such a metaphor.
Happy Fence Friday
I make a point of spending the final sunset of daylight time outdoors. Just another aspect of my compulsive disorder. This one falls somewhere between superstition and pagan ritual. Nightfall this time of year truly is dramatic in its swiftness. The rapid onset of darkness underscores the sense of anxiety that many people feel about transiting into the dark part of the year and the uncertainty of impending winter. Standing outdoors in this desolate farm field heightens the senses. Light and shadow play heavily into my awareness, both as a photographer and as a thinker. It seems only natural to be here, standing on the edge of darkness. The cornstalks rustle in the wind. It's eerie and unsettling, but I know I where I belong.
Au bord d'une route, Iles de Lofoten, Norvège.
Along a road, Lofoten Islands, Norway.
A voir en grand, better in large, click L !
“I'm tired, boss. Tired of bein' on the road, lonely as a sparrow in the rain. Tired of not ever having me a buddy to be with, or tell me where we's coming from or going to, or why. Mostly I'm tired of people being ugly to each other. I'm tired of all the pain I feel and hear in the world every day. There's too much of it. It's like pieces of glass in my head all the time. Can you understand?”
John Coffey, “The Green Mile” by Stephen King
#5959 File con nome del file mancante
I thank all the visitors and those who enjoyed this photo ^_^
In una città buia e non invasa dai turisti, spiccano le luci accecanti che filtrano prepotenti dalle grate dell'entrata. I colori dei metalli, della pietra bianca, quella ingrigita dalla corrosione, e le tonalità rosse laterizio traspaiono dai vetri veneziani, quasi a citare J. Ruskin nel suo celebre testo "le pietre di Venezia".
L'intervento di restauro postbellico è stato progettato da Carlo Scarpa nel Palazzo Querini Stampalia.
Ad ottobre 2021 quest'area progettata da Carlo Scarpa, dal ponte all'ingresso non era visitabile, in attesa delle autorizzazioni per l'inizio del cantiere di restauro e del risanamento a causa dei danni subiti dall'acqua alta (marea) del 2019.
Un anno fa questo scatto rifletteva il bisogno di chiudersi, di proteggersi dall'ignoto, all'uscita da Mestre per Venezia campeggiava una gigantesca scritta: "Venezia, obbiettivo Covid Free" ora come un anno fa è una metafora dei giorni correnti, ma con ben altri temi.
Fondazione Querini Stampalia - Carlo Scarpa
play - Britten - Death in Venice - English Chamber Orchestra
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In a dark city not overrun by tourists, the blinding lights that filter overwhelmingly through the entrance grates stand out. The colors of the metals, of the white stone, the one grayed by corrosion, and the brick red tones shine through the Venetian glass, as if to quote J. Ruskin in his famous text "the stones of Venice".
The post-war restoration was designed by Carlo Scarpa in the Querini Stampalia Palace.
In October 2021 this area designed by Carlo Scarpa, from the bridge to the entrance, was not open to visitors, pending the authorizations for the start of the restoration and rehabilitation site due to the damage suffered by high water (tide) in 2019.
A year ago this shot reflected the need to close oneself, to protect oneself from the unknown, at the exit from Mestre to Venice there was a giant sign: "Venice, Covid Free objective" now as a year ago it is a metaphor of current days, but with quite other themes.
A clump of wild timothy sways languidly along a rural road in the moments before an ominous thunderstorm storm strikes. I’m always in search of borders and boundaries when out with the camera. I love photographing them, and even more standing astride them. This is one of my many odd behavioral traits that defy rational explanation. As a result, attempts to discuss them often sound irrational (if not downright ridiculous). With that risk in mind, I’ll just say I think at some level, boundary lines represent unseen (yet highly palpable) energy fields. That includes boundaries both real and liminal. It relates to creating photos based upon a reaction to how scenes or situations make me feel.
Back in the moment on the old farm road, I’m already pretty charged up about the storm. It’s what brought me to this spot in the first place. And for my money, it’s one of the best visual and emotional boundaries imaginable, standing right along the leading edge of an intense storm. And on the edge of an expansive farm field which creates a visual effect of multiple boundaries within a single frame. In this case newly mown hay casting a wonderfully warm color contrast against the cool, dark sky. And as I walk along, I stumble upon the timothy grass. The stalks look delicate and tranquil as they gently sway in response to the breeze. Their presence made even more prominent by the raging storm looming in the background. It’s one of those scenes that exists only in this moment, and I could think of no better way to illustrate the fury of the storm than to focus on the calm in its path.
I can’t help it, I love to snap gate or stile. Surrounded with all this beauty and rough manmade wooden construction catches my eye every time. It’s got to be physiology, but what, the mind boggles. An invitation to pastures new, a transition, a way through a life barrier. Who knows, all I know, next time my travels encounters one, more often or not I’ll get the camera out. I wouldn’t care after slogging up to this one I didn’t pass through it, something told me to stay on this side of the wall, may be that’s the metaphor I should ponder.
A moment of brilliant sunlight in the aftermath of winter storm reveals an overwhelming complexity of shadows and texture. The midday sun is still fairly low in the sky, and the shadows it casts remain absurdly long. The human eye, dazzled by the reflection of sun on snow, sees scenes such as this as a monolith of brilliant white. Only the most prominent shadows are detectable as I walk through the village. Yet the camera is recording shadows cast by even minuscule bumps and contours in the snow. Such minute detail would be completely absorbed into the landscape absent snow cover. It's odd in a way, shooting blindly into bright sun, not really seeing what you've captured until post processing.
Another aspect of snowscapes is the bleaching of the color spectrum. In many cases, blue sky is the only discernible color. It's only natural to focus on the cold and snow for those that experience winter climates. But for me the extreme reduction in color is equally wearisome. I long for the return of color, even the washed out hues of a winter thaw. Until then, I have to content myself with this wintry shadowland.
Second in a series that uses text as a metaphor for the cacophany of non-stop, inner chatter in our heads.
There are very few moments in our Western lives where we're able to reach quiescence of mind. That incessant commentary of our babbling brains blocks or filters our direct apprehension of things as they are.
These thoughts filter, tint and taint what we're seeing to the degree that it's that interpretation, that 'colouring' that we take as "real". Once we're able to quiet the mind down enough, we see directly how NOT true that "picture" really is.
Three SOOC shots of maple blossoms and houses in the Spring, mirrored twice each, treated with light and colour effects and compiled/composed to fill the frame. Texts of varying sizes, fonts, colours and opacities layered over top. No Pano-Sabotage was used.
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Music Link: "Knee Play 3" - Philip Glass & Robert Wilson, from their opera "Einstein on the Beach".
I chose this music to somewhat represent what's going on in my visual piece, although the Glass/Wilson script is far more organized and orchestrated than the mayhem I'm suggesting.
www.youtube.com/watch?v=86Xuo7USnLI
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© Richard S Warner ( Visionheart ) - 2017. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
* - See my Galleries featuring some of the best of Flickr's purely Abstract Art at:
Looking about for opportunities, this one was actually at my feet. I just wasn't listening when it was crying, "look down here". How many times I have told myself the world is three dimensional. Stop looking straight ahead, look up, look down. Or, in this case, look no farther than your own two feet.
This image struck me as being so very simple and standing out as a metaphor for so many reasons. Alone from the rest, different from the rest, older than the rest. Take your pick, it stood out from the rest.
So my advise is to remember that the world is three dimensional and sometimes a good shot is found at your own two feet. A great and celebrated photographer named Freeman Patterson said, "If you do not see what is around you every day, what will you see when you go to Tangiers?"
The garden is a metaphor for life, and gardening is a symbol of the spiritual path. Larry Dossey
~happy fence friday~
These two halves / taken together / are at greater distance / from one another / than if left apart.
Assemblage, wood, metal, paper, paint, size (WxHxD) 50x48x11 cm (based upon objets trouvés) (2015)
A geranium basking in the morning Sun I cannot yet see, entangled in processing artifacts.
On this first day of Spring 2022, we—that is, I—interrupt our usual program with a reminder that we—that is, Sol, Gaia, Humanity—are all connected. We—that is, other people—just don’t always notice. In this 27-image handheld focus stack, I understand the processing artifacts, which only constrain the photographer, not the flower, and so could easily fix them. Maybe that will get posted, in due course.
Heard our revered guide Sir David Attenborough, in his excellent program “Breaking Boundaries”—highly recommended, worth the price of Netflix all by itself if, say, your budget leaves you enough surplus wealth for a camera—use the word “we” twice in the same sentence, leaving the viewer to work out the shifting implied reference. He said words to the effect of, “We—that is, scientists and the aware public—know that our actions are converting Nature from friend to foe, and so we—that is, corporations and a yet-to-be developed plenipotential global governance structure—can fix it.” True enough, as far as it goes. The program was mostly about explaining why people say “We have only a decade to avert the worst of climate change”, which in context seems a challenging schedule.
21 Mar 2022; 11:30 CDT; Provia ++
244;38;5
Excerpt from the plaque:
Challenger by Brandon Vickerd: Challenger consists of a replica of the escape hatch from the NASA space shuttle Challenger installed as if it has fallen from the sky and crashed into a Canada Post mailbox. The sculpture is a metaphor for the failed promise of a future of scientific advancement that was once heralded by modernism.