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Perception is a first-person narrative horror adventure featuring a young, blind woman who depends on her razor-sharp hearing to solve an ancient mystery and survive the forces that pursue her.
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Yesterday I saw a very faint shadow of the lampshade on the wall in the study. It was cast by diffuse sunlight coming through the north facing window. Paradoxical thoughts about perception and representation haunted my mind for the rest of the day.
What was I looking at? A lampshade ... a shadow ... the wall with all its scratches and smudge marks ... the join in the paper ... or a representation of a lampshade?
Representation
In order to 're-present' something there has to be an intention, in a human mind, to make a representation. For example, a painter would decide to take a brush, oils and a canvas to make the physical, palpable representation that would be referred to as 'the painting'. However, what I saw on the wall was not created through any human intention ... it just occurred by chance. There was no palpable, tangible object on the wall that I could detect with the sense of touch. So no intention had made it and I couldn't touch it ... so what I saw on the wall can't then be a representation.
Palpability test
But there was something there ... I could see it ... I photographed it. I had an intention to make a representation of what I saw so that I could share with you my dilemma of paradoxes. I used a device called a digital camera ... it reduced what I had seen to an invisible string of codes stored electronically inside the device. I used another device called a computer to tweak those codes so that what I had originally seen would be somewhat exaggerated and more likely to appeal to the aesthetic sensibilities of other humans living in this generation. As I looked at my digital representation on the computer screen I was underwhelmed ... it had none of the presence of the thing I saw. It was a representation of the thing I saw and displayed remotely on a computer it lacked palpability ... it was 'in my face' but it wasn't really 'there'. So I made a print on exhibition paper and it started to come to life and had some presence. I even put on it pencil marks to represent the label, ‘Graham’, that my late parents had given me all those years ago.
Print becomes code
Having made the print and stroked my hands on it and held it I considered its impact under different intensities and qualities of daylight. But now I have diminished its impact again by using a scanner to re-present that palpable thing as a digital image to be shared on Flickr and Facebook.
Why do I do this?
I'm still none the wiser about whether to define it as "a lampshade ... a shadow ... the wall with all its scratches and smudge marks ... the join in the paper ... or a representation of a lampshade" but I do now think I know why I went through that rigmarole. One of the intrinsic rewards I get from my photography is the satisfaction of curiosity and the enjoyment of playing of an intellectualised aesthetic game. I also realise now that I'm quite a show-off and so one of the extrinsic rewards for me would be the approbation of others.
An alternative hypothesis emerges
Which leaves me thinking what would others be seeing, my representations or "the thing itself"?
Is "the thing itself" a lampshade / shadow, a digital image of a lampshade / shadow or a print of a digital image of a lampshade / shadow?
Or is "the thing itself" not the thing photographed nor its representation but actually the spectator sport of someone playing an intellectualised aesthetic game?
Graham Barnes - 23 May 2017
“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.”
~Ansel Adams
For my Flickr groups…
Leather Overbust Corset and Neck Corset. 7 sizes: Standard sizes XXS-L, plus special sizes M+ and Bx. Copy/Mod
maps.secondlife.com/secondlife/Mint Tulip/24/203/22
Tactile perception(collection)
A moment fragile as a furtive image between two cultures, for French, one squeezes(tightens) idiot, it is two things, is it is a moron, or other things....
un instant fragile comme une image furtive entre deux cultures , pour les français , un serre con , c'est deux choses ,soit c'est un abruti ,soit d'autres choses...
Sketchnote of a talk by Chris Atherton (@finiteattention) at GOTO Zurich in April 2013. Chris covered a whole range of cognitive science theories and gave a load of great examples to illustrate the talk.
" Ce qui s’imprime dans notre regard n’est pas l’œuvre, ce n’est pas l’art. L’art n’est pas visible, il se perçoit. " ~ Lee UFAN
"The reality of life is that your perceptions -- right or wrong -- influence everything else you do. When you get a proper perspective of your perceptions, you may be surprised how many other things fall into place." -Roger Birkman
Wallpaper Version Available: solefield.deviantart.com/art/Ten-439472743
Bloody white coutil corset features a late Victorian design with historically spaced straight front busk, two-layer construction with sandwiched, hand-flossed boning channels, and detailed back lacing including a floating modesty panel and silver grommets and aglets. And plenty of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
I enjoyed taking Friday off. The best part was paddling Grave Creek in the shady afternoon. There is something about that sweet golden light, filtered through the tree top leaves. It calms me to my core.
WHITE CUBE IN THE MUSEUM OF ADMONT MONASTERY . Collection “BEYOND SEEING – Art unites the blind and the sighted”
This special collection is an independent collection module within the contemporary art collection. It currently comprises 27 contemporary art works that are equally accessible to the blind and the sighted. Since 2002, select artists have been commissioned for that purpose. They have developed different approaches to this special topic that addresses blindness and vision impairment. In dialogue with those affected, they challenge themselves to study their perception of the world and, in turn, to reflect on their own perceptions, physical navigation systems and their own respective artistic production.
This process engendered artworks that can be directly explored and experienced on a multi-sensory level. The spectrum extends from simple structural and highly complex multimedia works right up to works that evolved in dialogues between the blind and the sighted.
The collection is conceived as a proactive invitation to the blind to participate in a discourse on contemporary art, in order to inaugurate a process that will expand the boundaries of ART SHARING and SPACE SHARING. The collection offers the chance to encounter different worlds, to engage in an exchange between them as well as for mutual enrichment. A common space that evolves in a cooperative process. Sighted people can find hands-on, innovative, approaches to art as well as different styles and worlds of perceptions and interpretations. The collection also thematises the quality of experience of the senses as a different art category, as embodying a different artistic value. This art project, which is unique to all of Europe, offers a new approach to contemporary art.
“BEYOND SEEING – Art unites the blind and the sighted” was first presented to the public in 2012 at the Museum of Admont Abbey – to commemorate its 10th anniversary.
In 2013/14, the collection was reviewed at the Centre of Contemporary Art Winzavod in Moscow. It generated consistently positive reactions and made lasting impact right there.
The collection was developed and presented with the help of scientific researchers and is accompanied by multimedia documentation. A film project is envisaged that will document the process of reception over many years. The interactions between the blind and the sighted have generated a comprehensive know-how and facilitated the development of new approaches for mediation and reception.
Future exhibition sites for the coming years are currently under discussion.
Michael Braunsteiner, Curator
Barbara Eisner-B., Coach | Research Assistant | Documentation | Film Project
Featuring works of:
Thomas Baumann, Wolfgang Becksteiner, Adi Brunner, Hannelore Demel-Lerchster, Johannes Deutsch, Manfred Erjautz, Heribert Friedl, Matthias Gommel, Michael Gumhold, Stefan Gyurko, Maria Hahnenkamp, Julie Hayward, Tomas Hoke, Anna Jermolaewa, Karl Karner, Michael Kienzer, Karl Leitgeb, Michael Maier, David Moises, Werner Reiterer, Constanze Ruhm, Emil Siemeister, Gustav Troger, Norbert Trummer, Martin Walde, Hans Winkler, Fabio Zolly
altared perceptions
it was just a table
its only claim to fame - it had been around awhile
seen a few things
been a few places
watched in a wistful wooden way
as
generations ate played and maybe loved a little
cottage pie
monopoly
adultery
and all the jigsaw stations in between
life waxing lyrical
on waxed pine boards
strait-laced victorians
wartime letter writers
joss sticks and swinging sixties
all tolerated celebrated and remembered
then
the day came
as such days must
when it was no longer required
legs a little shaky
complexion not what it was
small ads had no takers
so
on a sunny sunday afternoon
with saw and sledgehammer
it held its last service
a communion of noise and shadows
When Brent resided his shop, he only did the two sides facing the highway. Even out here, perception is everything.
I've been sitting on this image for a while. Doing some different studio-situated work and exploring something more personal than before.
This is one of the latest nonsensical catch-phrases being taught by repeatedly invoking it as fact in the new "woke" world being forced on Society.
Sometimes the phrase is quoted as “Perception is their reality”, which is closer to the truth, but it still doesn’t make someone’s perception necessarily the truth.
This phrase “Perception is reality” was used most recently on Survivor where a group of young women decided they were ‘uncomfortable’ with one of the guys who was touching them ‘inappropriately’. It was used repeatedly in the discussion at Tribal Council, where one very “woke” man said regardless of how the touching was intended, no matter how incidental, if the woman perceived it as inappropriate, then it was inappropriate because “perception is reality” and “her perception is her truth”.
Then they voted her off the island.. Why? Was it because the truth is, no one could afford to take the chance that she might turn her "perception" against them next and ruin them in real life? Or maybe because *their* perception was that she might use her status as a helpless victim to make herself invincible in the game.
“HER perception is HER truth”. Which is another way of saying we can't contradict her. It's also a way of saying each of us gets to decide what is and isn’t real (to us..), what is and isn’t inappropriate, what is and isn’t fair. We get to decide what is and isn’t the color blue, who did and didn’t break the law, and what is and isn’t “Constitutional”.
Which would explain why Nancy Pelosi, Adam Schiff et al continually claim Donald Trump is a lawless tyrant, who must be brought down by any means necessary! It's their perception and must be respected as one version of the truth. After all, there is no absolute truth. There is only the truth that we perceive. And that, my friends, is the definition of chaos.
They are living in their own reality, where whatever they perceive to be the truth, IS the truth. Well.. THEIR truth, anyway..
We have a name for people who live in their own reality. And we don’t allow them to buy guns, work in nuclear power plants, or join the military, the police or fire departments. But they seem to do very well in the fields of journalism, teaching, and politics!
voilà, je sais toujours pas trop quoi penser de la retouche de cette photo... enfin je poste quand même, on verra bien !
It was bright sunlight. The light was falling on this compound. I got attracted by the beauty of light. The I took it. B&W got me thrilled.
War mentality cleaves the world into noble allies and despicable enemies; justifies any measures necessary to prevail, including violence to innocent bystanders; and disdains accommodation, compromise, or any questioning of authority until total victory is achieved.
In essence, war mentality suspends normal human compassion and intelligence.
~ Bruce Alexander, Peaceful Measures
Sunday Lighting Workshop
Model: Simon
Strobist Info:
1 580EX II in a Softbox - Camera Left
White Seamless Background
Mingle Media TV and Red Carpet Report host Stephanie Pressman were invited to cover the 35th College Television Awards at the Leonard H. Goldenson Center in Hollywood recognizing excellence in college student-produced video, digital and film work.
The 35th College Television Awards ceremony was hosted by Playing House’s Jessica St. Clair and Lennon Parham, with Matt Bomer, of USA’s White Collar, Fox’s The New Girl, Max Greenfield, Key & Peele’s Keegan-Michael Key and Jordan Peele, Scandal’s Darby Stanchfield, Revenge’s Nick Wechsler, Dexter’s Aimee Garcia, Perception’s Scott Wolf and House of Cards’ Benito Martinez. Additionally, television industry professionals from FX’s Justified writer Graham Yost, Modern Family director Gail Mancuso and voice actor Bob Bergen were also on hand to present awards and give anecdotes about the industry.
The annual event is managed by the Television Academy’s charitable arm The TV Academy Foundation which was established in 1959 to preserve and celebrate the history of television, and educate those who will shape its future.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
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About the College Television Awards
The College Television Awards is a national competition recognizing excellence in college student-produced video, digital and film work. Each year, hundreds of colleges and universities nationwide submit entries in a variety of categories. Winners are honored with a personalized trophy at the gala in Los Angeles, receive cash awards, industry recognition and the opportunity to network with top television executives. Entries are judged online by members of the Television Academy who are professionals working in each respective discipline. Viewing is restricted to competition judges and staff only. Finalists' work in each category proceeds to Blue Ribbon Panels for selection of winners in prior to the Awards Ceremony. For more info please visit www.emmysfoundation.org/college-television-awards
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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