View allAll Photos Tagged Perception
PERCEPTION - the name of our exhibition. We had to design each of us a publicity image that will go in postcards, leaflets and posters. So this is something i made in Illustrator.
Details of the exhibition:
PERCEPTION -
A Photography Exhibition, created by The Second Year Photographic Students from The Manchester College. Each student has completed their Self Directed Final Photographic Project, to display in an Open Exhibition that will be held at 52 Princess Street, Manchester. On the 8th June 2010.
Work from over 20 students will be hung at 52 Princess Street. A diverse range of Photographic styles, that embraces Portraiture, Landscapes, Documentary and Fashion.
There will be Free Drinks on entry.
Series emulating the photographic style of Francesca Woodman to show how women are often perceived in society.
This painting represents a magical perception of this spot. Each time I go there I get in a peaceful mood. I used the pictures of the branches to paint the tree.
The way Van Gogh paints his drawings also inspired me to paint the fields.
A4 - Gouache and watercolour
Photo adventure with art model, Rosie Neuharth in 29 Palms, Calif. October 22, 2011.
I can never decide between black and white (my favorite) or color. Feedback please?
Is it in the perception of the soul, or perception in the mind that creates the battling reality of the shot. Or is there nothing, just the constant continuing on of the reality the perspective is in? There is something that grabs me with this one, though. I believe a calm should be set about through mankind and when the reality sets in of this shot, I don't feel calm. I feel enraged, regardless of circumstances.
original idea of using butterfly brushes on the eye : stella's www.flickr.com/photos/stella_umbrella/440950331/
photoshop brushes : www.brushes.obsidiandawn.com/sets/wings.htm
Distant Perception
Walking Pathway in Door County
Baileys Harbor, WI
May 2009
1st Place 2009 Iowa State Fair Black & White Places Class
Picked for Publication in DSM Magazine for February 2010
“The material basis of media technologies – and books are only one example – is changing, for which historical perspectives might give not only comforting back-up (‘nothing is as permanent as change’) but also ideas to push the change forward.” (Jussi Parikka, 2012)
We can certainly talk about change; our present landscape is a space where the digital and physical have become synonymous, which many believe to be signaling the coming of an ontology-less future, through the accelerated disruption of cultural value. In this light old standards show their age and obsolescence in the face of the new, and with each new wave of informational overload we are further alienated by the system, that revolves around an economy of monetary circulation. All these factors come together to push a re-evaluation of identity and the human value. This brings to mind the genealogy of currency, articulated by Joseph Beuys during the discussion entitled What is money? : “Of course ‘Geld’ [‘money’] comes from ‘Gold’, same etymology. But it comes equally from ‘Geltung’ [‘validity’], meaning the value people fix based on their perception of a natural right. The word ‘Geltung’ is rooted in representations of a natural right, while the word ‘Gold’ is rooted in the economy of barter!” (Joseph Beuys, 2012).
In this light, Geltung [validity]: perception of a natural right brings together four artistic investigations that re-evaluate established methods of financial exchange bestowing new material values and identities to their subjects. In a landscape where monetary currency is pinnacle, the artists interrogate notions of personal and individual history, locality and its impact in identity and the framework that contains our cultural objects.
Diogo da Cruz’s work, WORDCOIN (2016 – Current), proposes the implementation of a new currency, that will give a literal value to each one’s speech. By creating The Bank for Argumentation, the costumer-museum-goer will have the opportunity to trust his or hers arguments to an institution that can save and trade them, giving the deserved and objective exposure to their ideas. Max Dovey presents Breath (BRH) (2017), a digital currency that is mined through human respiration. The installation combines breathing and micro-computers to mine, store and trade human breath as a virtual currency on the crypto-market(s). The market value of BRH is determined by the inflation created by respiratory miners who participate in the physical installation. Felicity Hammond’s artworks draws upon images from her own archive, using documents of the landscape and found images online; those of both existing and imagined future spaces. Hammond utilises particular motifs and structures that respond specifically to the digital representations found online of Dundee’s vast regeneration programme. For I keep forgetting I’ve been to Tokyo: GAIDEN (2017), Petra Szemán follows the virtual self through parallel and intersecting realities, along the departure-initiation-return structure of a hero’s journey. Drawing upon personal and/or constructed experiences, the work explores the idea of a non-localised identity that’s an archive of accumulated personal mythologies acquired from a multitude of realities.
An offline/online exhibition curated by Alejandro Ball and Inês Costa
Opening night: 27 October 2017, 7pm – 9pm
Performance part of NEoN Festival: 9 November 2017, 7pm – 8pm
Supported by Creative Scotland, University of Dundee and Leisure and Culture Dundee
Advertising Agency: age. comunicações, São Paulo, Brazil
Creative Director: Carlos Domingos
Art Director: Henrique Mattos
Copywriter: Daguito Rodrigues
Published: June 2009
3:366-1 2011
January 3, 2011
My 60th Year
I woke up this morning thinking about observation and perception and the similarity and difference between my internal perceptions of myself and what I outwardly observe about myself. Of course this all has to do with my obsession this year with aging. I realize that it’s a cliché to say that I don’t feel I’m any different today than I was twenty or thirty or forty years ago. But when I look in the mirror I don’t see the person I see in my head and I wonder what happened to that tight faced young woman and I think I want to be her again. But really I wouldn’t. I would not want to have twenty or thirty or forty years of experiences have had no impact on the way I think. Or the way I love. Or the way I dream. The twenty year old me wasn’t yet a mother or a grandmother and did not, could not, know how to give true unconditional love; the thirty year old me thought that career success was what I needed to be accepted and the forty and fifty year old me, well suffice it to say a whole lot happened in those two decades. So here I am on the cusp of sixty and I may mourn that I see a saggy face and thinner hair when I look in the mirror but the reality of it is that I like myself more now. Oh, there are still things I would like to change: sometimes I’m too selfish; sometimes I snap and growl and stomp; sometimes I’m too opinionated. But most of the time I’m just OK and that’s OK with me.
If the doors of perception were cleansed, everything would appear as it is, infinite.
William Blake,
La Vision du noir et blanc
Le photographe qui utilise des films en couleurs se concentre sur la lumière mais aussi sur l'arrangement des tons ou couleurs de la photographie.
En photographie noir et blanc, les couleurs étant retranscrites en niveau de gris, la lumière joue un rôle plus important, la vision est par conséquent différente. Les scènes aux luminosités singulières seront plus mises en valeurs que les scènes très colorées.
Voici quelques exemples illustratifs :
des troncs à contre-jour un matin brumeux d'hiver seront plus mis en valeur en noir et blanc qu'en couleur. Il en est de même si les rayons sont perpendiculaires à l'angle de champ du photographe et qu'ils traversent la photographie dans un brouillard épais
un parterre de feuilles d'automne aux multiples couleurs sera en revanche mieux mis en valeur en couleur. L'utilisation d'un film noir et blanc ne rendrait que des tons voisins de gris au tirage.
Toutefois cela n'empêche pas le photographe de prêter attention aux 2 éléments, lumière et couleur, qu'il fasse des photographies en noir et blanc ou couleur. Au contraire, il est important de comprendre comment ces éléments sont respectivement retranscrits selon le type de photographie choisi.
Maîtres du noir et blanc
Robert Doisneau
Henri Cartier-Bresson
Robert Capa
Helmut Newton
Félix Nadar
Lewis Hine
Willy Ronis
Ansel Adams
Robert Frank
Walker Evans
Paul Strand
Richard Avedon
Michael Kenna
Le papillon butine sur les meilleures fleurs, tout comme inakis sélectionne les acteurs de la filière des produits & services écologiques, équitables et éthiques, correspondant à sa charte. inakis vient du nom latin d’un papillon de nos contrées (inachis io, le "paon du jour"). Il symbolise la nature et sa fragilité, et « l’effet papillon » : « les petites causes produisent les grands effets »...
Murals created for Comstock NE Middle School, Kalamazoo, Michigan. Many thanks to the Greater Kalamazoo Arts Council for their generous support.
Photo's courtesy Nicholas Zastrow.
Series emulating the photographic style of Francesca Woodman to show how women are often perceived in society.
SO I was really quickly trying to get a test shot for an upcoming shoot and getting angry because OF COURSE it wasn't working when I accidentally came out with this. Wasn't intentionally meant to share but I really like the drama and how this could be perceived in so many different ways. #selfportrait