View allAll Photos Tagged Perception
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Being alone
It can be quite romantic
Like Jacques Cousteau
Underneath the Atlantic
A fantastic voyage
To parts unknown
Going to depths where the sun's never shown
And I fascinate myself
When I'm alone
So I go a little overboard
But hang on to the hull
While I'm airbrushing fantasy art on my life
That's really kinda dull
Oh, I'm in a lull
...
lull
andrew bird
Shilpa Kancharla
Graduate Student
Computer Science
Depth Perception
Acrylic, Gouache
8 by 10, 11 by 14, 16 by 20, 18 by 24
$15, $30, $75, $100 (in order of size)
This artist is open to commissions: skancha@ncsu.edu
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Christa :)
Haven't done anything too artistic in a while, thought I would have some fun with it :) The photo layered on top is mine also.
Blue-winged Warblers are perplexing to me because it's often June before I hear or see one. That's much later than other warblers that typically arrive in early to mid-May. But, I think my perception on their timing might be incorrect. What I actually think is that this particular species just rarely shows up in urban areas, even during migration. In the 17 years I've been birding, I've only encountered one near home. Every other Blue-winged I've encountered has been at least 20 miles from home, on the outskirts of the Twin Cities metro area. Often, I see them in larger, regional parks. I'm typically not visiting these particular area until later in the season, so I think I'm just not crossing paths with them when they first arrive.
Regardless, I LOVE seeing this particular warbler, and their "wet buzzy" call is another that I associate with good habitat. I can't explain why, but to me, their call is reminiscent of Daffy Duck from Disney. There's a "wet" aspect to it that makes it distinct from other warbler calls. They are also quite beautiful, as you can see.
But capturing good photos of them has been a constant challenge for me. I see them with regularity now every spring/summer, but man, I have struggled to capture them well in photos. Even though I've approached them closely, they just never seem to be fully in good lighting. Usually a third or a half of the bird is in bright light, while the remainder is in dark shade. I guess that tells you a bit about where you'll see them -always tucked away in a tree or shrub.
I had the rare opportunity TWICE, on both this Saturday, and the previous Saturday, to watch a Blue-winged Warbler foraging on the very outer edges of a tree. In both cases, it was dangling upside down, holding onto the last few inches of a thin branch, while poking around at the last 3 or 4 leaves at the tip. In both cases, I captured the bird finding larva to eat. The lighting in both observations wasn't great, so the pics are dark. But, I may try to save them because it's pretty interesting behavior.
Pine Point Regional Park, Washington County, MN 06/20/26
woo hoo! The month is over!
This piece of art was installed at the front window of the Monte Clark Gallery in Granville Street. It's a collage of Strathcona's "favourite" little orange pinto. Flickr is partly responsible for making a mini-celebrity of this little orange pinto and it is almost serendipitous that it should be made into a work of art by local artist cameraman.
Originally for the guesswherevancouver group.
For the Scavenger Hunt Pool 101 # 37 A Work of Art
Made Explore #79! Thank you very much for your support of this photo!
No right answer or winning move, Nueve is designed solely to artfully amuse and entertain. Unlike a traditional puzzle or game with only one solution or outcome, Nueve offers countless beginnings and endings. Nueve’s set of handcrafted wooden cubes can be assembled in any combination to create billions of different patterns (68,719,476,736 possible combinations). There is no right answer or winning move. Nueve is designed solely to liberate your perception, challenge your creativity and delight your soul.
Nueve is made of hardwood and silk-screened in red, the nine cubes are held in a black MDF tray. Each cube is 1 3/8” square, comfortable for both kids and adults. Handsomely presented in a gift box (6 x 6”), Nueve will be appreciated by the curious and creatively spirited. Introduced to the USA by Noted, Nueve is designed by newartifacts, a group of artists, designers and entrepreneurs from Uruguay, South America, who envision integrating art into daily life and transforming life into art.
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
Body Self Perception
Tilt your head forward and take a look at your body. How do you know that this body belongs to you? How do you actually come to perceive this body as part of yourself? This question has been discussed by philosophers and psychologists for centuries but remained outside the scope of experimental investigation. Henrik Ehrsson and colleagues have been addressing this question from a cognitive neuroscience perspective.
About the author: Henrik Ehrsson is a group leader in the Department of Neuroscience at the Karolinska Institute, Stockholm, Sweden. He was an HFSP Long-Term Fellow from 2004-2007 in the laboratory of Richard Passingham at the Wellcome Trust Centre for Neuroimaging at University College London. In 2007 he moved to Stockholm with an HFSP Career Development Award. He has been successful in obtaining competitive grants such as the Starting Grant from the European Research Council.
The first indication that the self-perception of the body is something that is actually produced by brain comes from the clinical literature. Patients who have suffered from stroke affecting frontal and parietal regions can develop conditions with disturbed perception of their own body. Some of these patients develop a deficit that can take the form of denying or disowning parts of the body. Although these cases indicate that the frontal and parietal association cortices are related to body self-perception they do not pinpoint the specific brain mechanisms involved because typically the lesions are large and affect multiple areas including the underlying white matter tissue.
We have used a classical approach in psychology to investigate body self perception: we studied illusions to learn more about the basic processes that underlie normal perception and combined this with state-of-the-art brain imaging techniques to identify the underlying brain mechanisms in healthy individuals. One particularly informative illusion is the ‘rubber hand illusion’ where people experience that a prosthetic hand is in fact their own hand. When synchronous touches are applied to a rubber hand, in full view, and the real hand, which is hidden behind a screen, most individuals will sense the touches on the rubber hand and experience that the artificial limb is their own. Even more dramatic is the ‘out-of-body’ illusion. In this setup the participants wear a set of head mounted displays in front of their eyes which are connected to two CCTV cameras placed one and a half meters behind them. The two cameras provide a stereoscopic image and the participants, who can thus see themselves from the point of view of the cameras, i.e. from the back. The experimenter then jabs a rod towards a location just below the cameras while simultaneously touching the participant’s chest, which is out-of-view. The visual impressions of a hand approaching a point below the cameras and the felt touches on the chest lead the participants to experience the illusion of being located one and a half meters behind their real body, with loss of self-identification with that body. Subsequent experiments demonstrated that people can perceive an entire artificial body, or another person’s body, as their own. In these experiments the two cameras were attached to a helmet worn by a life-size mannequin (or another individual) and positioned so that they were looking down on the mannequin’s body when it was touched synchronously with the real body (see Figure below).
By clarifying the precise combination of factors that are necessary and sufficient to elicit these changes in body self-perception we can develop models of body self-perception. It turns out that the critical factors are that the information from the eyes, skin and muscles matches both in time and space, that there is an ego-centric visual perspective of the body, and that the object to be owned has a sufficient human-like appearance. We then use these principles to develop testable hypotheses about the neuronal mechanisms of body self-perception.
To this end we used functional magnetic resonance imaging to show that neuronal substrates of body self perception involve areas in the frontal and parietal lobes that receive convergent visual, tactile, and proprioceptive afferent input, so called multisensory areas. Of particular interest were neuronal populations in the ventral premotor cortex and areas in the intraparietal that integrate visual, tactile and muscle sense information in body-part-centered reference frames in the space near the body. These neurons most probably mediate the perception of a limb as one’s own because our fMRI experiments have found significantly increased activation in these areas when people experience the rubber hand illusion and full-body illusion (see Figure above), and that the activity in this area closely matches the perceptual principles determining these illusions so that the stronger the activity the stronger the illusory self perception.
Taken together these studies represent a major advance in our understanding of the brain mechanisms mediating body self-perception. By applying these principles we can develop new clinical and industrial technologies where the self-perception of the body is deliberately manipulated. For example, one can use the rubber hand illusion to enhance the feeling of ownership of artificial limbs used by amputees, and the projection of ownership onto simulated bodies represents a new direction in virtual reality research which could enhance user control, realism, and the feeling of ‘presence’ in industrial, educational and entertainment applications.
By clarifying the precise combination of factors that are necessary and sufficient to elicit these changes in body self-perception we can develop models of body self-perception. It turns out that the critical factors are that the information from the eyes, skin and muscles matches both in time and space, that there is an ego-centric visual perspective of the body, and that the object to be owned has a sufficient human-like appearance. We then use these principles to develop testable hypotheses about the neuronal mechanisms of body self-perception.
To this end we used functional magnetic resonance imaging to show that neuronal substrates of body self perception involve areas in the frontal and parietal lobes that receive convergent visual, tactile, and proprioceptive afferent input, so called multisensory areas. Of particular interest were neuronal populations in the ventral premotor cortex and areas in the intraparietal that integrate visual, tactile and muscle sense information in body-part-centered reference frames in the space near the body. These neurons most probably mediate the perception of a limb as one’s own because our fMRI experiments have found significantly increased activation in these areas when people experience the rubber hand illusion and full-body illusion (see Figure above), and that the activity in this area closely matches the perceptual principles determining these illusions so that the stronger the activity the stronger the illusory self perception.
Taken together these studies represent a major advance in our understanding of the brain mechanisms mediating body self-perception. By applying these principles we can develop new clinical and industrial technologies where the self-perception of the body is deliberately manipulated. For example, one can use the rubber hand illusion to enhance the feeling of ownership of artificial limbs used by amputees, and the projection of ownership onto simulated bodies represents a new direction in virtual reality research which could enhance user control, realism, and the feeling of ‘presence’ in industrial, educational and entertainment applications.
By clarifying the precise combination of factors that are necessary and sufficient to elicit these changes in body self-perception we can develop models of body self-perception. It turns out that the critical factors are that the information from the eyes, skin and muscles matches both in time and space, that there is an ego-centric visual perspective of the body, and that the object to be owned has a sufficient human-like appearance. We then use these principles to develop testable hypotheses about the neuronal mechanisms of body self-perception.
To this end we used functional magnetic resonance imaging to show that neuronal substrates of body self perception involve areas in the frontal and parietal lobes that receive convergent visual, tactile, and proprioceptive afferent input, so called multisensory areas. Of particular interest were neuronal populations in the ventral premotor cortex and areas in the intraparietal that integrate visual, tactile and muscle sense information in body-part-centered reference frames in the space near the body. These neurons most probably mediate the perception of a limb as one’s own because our fMRI experiments have found significantly increased activation in these areas when people experience the rubber hand illusion and full-body illusion (see Figure above), and that the activity in this area closely matches the perceptual principles determining these illusions so that the stronger the activity the stronger the illusory self perception.
Taken together these studies represent a major advance in our understanding of the brain mechanisms mediating body self-perception. By applying these principles we can develop new clinical and industrial technologies where the self-perception of the body is deliberately manipulated. For example, one can use the rubber hand illusion to enhance the feeling of ownership of artificial limbs used by amputees, and the projection of ownership onto simulated bodies represents a new direction in virtual reality research which could enhance user control, realism, and the feeling of ‘presence’ in industrial, educational and entertainment applications.
Key references
Ehrsson HH, Spence C and Passingham RE. 'That's my hand!' Activity in the premotor cortex reflects feeling of ownership of a limb. Science, (2004) 305:875-877.
Ehrsson HH. The experimental induction of out-of-body experiences. Science (2007), 317:1048
Ehrsson HH, Weich K, Weiskopf N, Dolan RJ and Passingham RE. Threatening a rubber hand that you feel is yours elicits a cortical anxiety response. Proc. Natl. Acad. Sci. USA (2007), 104:9828-9833.
Ehrsson HH, Rosén B, Stockselius A, Ragnö C, Köhler P, Lundborg G. Upper limb amputees can be induced to experience a rubber hand as their own. Brain (2008) 131, 3443-3452.
Petkova VI & Ehrsson HH. If I were you: perceptual illusion of body swapping. PLoS One (2008), 3(12):e3832,
Slater M, Perez-Marcos D, Ehrsson HH and Sanchez-Vives MV. Inducing illusory ownership of a virutal body. Frontiers in Neuroscience (2009), 3:214-220
So, this is what I see when I sit on my front porch - or is it? Bet your first thought was -
wow, she lives in a forest, right? When actually, right beyond the trees is the Atlantic
Intercoastal Waterway and the Bridge to Downtown Beaufort! Amazing views!!!!!
This pic is for my dear Flickr friend John (jssteak) who inspires, encourages and
best of all makes me laugh! His work is beyond incredible - takes the most fantastic tree pics
(and others) so, take a look here: www.flickr.com/photos/jssteak/
new painting-- 6x8", india ink, acrylic, linoleum block printing on wood.
available in my etsy shop- see profile for address.
some wake to discover
their species on the take
her problems, your problem
(just like mother used to make)
personal fiction is a cultural tradition
when we talk to ourselves for decades
and still never learn to listen
what stops the stranger self
from pushing to the surface?
we're all gods in our own minds most days
making differing opinions
out as blasphemy and curses
in the silent acceptance
of sheer perception
all we ever wanted
was life without direction
where all the things we do
like dreams, just kinda happen
tapping into artificial
emotional intelligence
asking: "why not live
the way most likely?"
the probable conclusion
the dice roll decision
the vision of what
predictably comes next
mechanical
assistance
in living
(at last)
~ ~ ~
March 7, 2026
Allains Creek, Nova Scotia
Year 19, Day 6691 of my daily journal.
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We do not see nature with our eyes, but with our understandings and our hearts.~William Hazlett
My contribution to the 52nd week of the ImagoismThursday movement. HIT everyone!
'Evolving Perceptions' 2011
resin, nails, enamel, acrylic on wood 24"x24"
The world is full of magic things,
patiently waiting
for our senses to grow sharper.
~W.B. Yeats
in SENSORIA at art sites April 6th-May 5th 2013
Part 1 “ The Menagerie”
Star Trek- The Menagerie , “Return to Talos IV”
youtu.be/v5XBfgPy43A?t=2s The full feature.
The Menagerie Review: February 8, 2014 by neoethereal
As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.
Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”
This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.
It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.
While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there
The secret file on Talos IV, and the article of General Order 7
I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.
Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.
The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.
Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.
Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.
It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.
When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.
Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.
However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.
The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.
However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.
(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)
The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!
It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.
We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.
Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.
Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?
For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.
by Samuel Musungayi.
Captured with a Canon AE-1 [+ Canon FD 50mm f1.4 S.S.C.] and a roll of Kodak ColorPlus 200.
CanoScan 8800F.
In the exhibition The Human Insect: Antenna Architectures 1887-2017 architecture theorist Mark Wigley explores 130 years of antenna architecture, in which architects refused to yield and engaged with this thinnest, least visible part of a building that actually has the greatest effect on architecture – the disobedient architecture behind the architecture. The exhibition links insects, which have antennae with which they negotiate the world and each other, to modern humans, who since the invention of the radio antenna at the end of the nineteenth century have actually become insects themselves. We now have feelers that are an integral part of our body and brain – something that, according to Wigley, we have yet to fully come to terms with.
Antennas are in the smartphones in every pocket, they are in every room, building, street, vehicle, fish, bird, drone and product in the supermarket. We swim in a completely interconnected ecology of antennas, from the depths of our intestinal tracts to interstellar space. What has happened to architecture as a result? Antennas destabilize architecture. They redesign it. Figuratively speaking an antenna can dwarf any building to which it is attached, providing levels of communication and shelter far beyond the architect’s most ambitious imagination. On the other hand, an antenna can supercharge the most modest building. A humble shed can be launched into interplanetary exchanges with the addition of a thin wire connecting the building to an invisible world of signals.
Thursday, February 9th, 2017
A Distorted Perception
My monthly New Braunfels Photographic Society Club meeting is coming up on Monday and this month's theme is "Distorted." We could distort the image in camera using a variety of technical choices or distort in post-processing which is what I chose to do.
As most of you know, I've been working on overcoming my anxiety. I've been seeing my therapist and reading books. I've been using self-portraits as a way to be introspective and to push myself to grow. When I look in the mirror, I see a distorted perception, a reflection that isn't accurate. I pick apart faults... my nose is crooked, my upper lip is getting too thin, those wrinkles are more pronounced, look at all that gray hair, my face is too asymmetrical, just how many chins can one woman have?... it's shameful. I shame myself.
Shame is what keeps me in anxiety and misperception. I'm reading Dr. Brené Brown's I Thought It Was Just Me which is all about how shame keeps us from living an authentic life. I am changing this. I've been journaling. Someday I may will share my stories. I spent some time yesterday in front of my camera, alone, and made myself feel pretty. Some day I may will have the confidence to share some of those images. Until then, I will be kinder to myself.
If you live with anxiety, insecurity, perfectionism, or shame, read Dr. Brené Brown. You are worth it. Thanks for looking!
I wouldnt know what to do with another chance If you gave it to me
I couldnt take the embrace of a real romance.
But how can I fight, when we're on the same side?
How can I fight beside you?
(Fiona Apple)
shot with a YASHIKA TL
ORWO ASA 120 b&w film
the black corners are from the film...don't know how i obtained that :))