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They were in love deeply devoted each other. In those old time it was difficult to life as "black ship". Older one was artist painter, young teacher.
They both loved riding horses. Great excuse to be together.
explore: Highest position: 157 on Tuesday, February 10, 2009
Realidad Ficticia-Fictitious Reality-17th Exhibition open!
I often like to think about our place in the universe... and scale... and relativity. For all we know, this big honking Earth of ours... teeming with what we know as lifeforms... is merely a molecule in some other, much larger structure.
Could be. After all, the microscopic view reveals entire worlds and civlizations invisible to our unaided eyes. And even a macro lens gives us a whole different perspective on size and scale.
And since I'm too tired to write today, I'll just repeat some doggerel I created as a kid, which basically says the same kind of thing (and suggests that I have changed very little in the past 30-plus years):
To a flea it's a four-lane highway
To an ant it's a mountain pass
To a cow it's plain delicious
To me it's a piece of grass.
(P.S. This is my first photo taken with my first-ever macro lens, which Husband Mike bestowed upon me for the big Four-Oh.)
Camera movement in the bluebell woods. I figured out that I get a much smoother movement if I keep the camera close to my face rather than holding it a little further away.
I took this shot at the Salford Quays watersports centre, these canoes were stacked up and looked interesting, and the name perception intrigued me too.
Neil DeGrasse Tyson's Unified Theory of Absurdity as imagined by Deep AI
Astrophysicist Neil Degrasse Tyson has proposed a unified theory of absurdity in which he suggests that absurdity does not exist in the universe, but it is a product of human perception. Tyson argues that we, as humans, have a hard time accepting the nature of the universe and, therefore, we create absurdity to fill the void of our understanding.
According to Tyson, humans have a natural tendency to apply the human perspective to everything, ignoring the fact that the universe is vastly different from anything we can imagine. He notes that we often think in binary terms, such as good and evil, black and white, and life and death. However, the universe operates on a scale that we cannot comprehend, with phenomena that defy our simplistic understanding of the world.
Tyson asserts that human beings find it difficult to comprehend the nature of the universe, and we often struggle to accept its vast complexity. In our quest to understand the world around us, we create absurdity to fill the gaps in our understanding. For example, we often assign meaning to random events, such as seeing patterns in clouds or finding significance in coincidences — to try and make sense of our world. But this can lead to a misinterpretation of the reality before us.
Tyson explains that we often create absurdity as a coping mechanism for things that we cannot understand. Tyson suggests that we do this to feel in control of the universe, even when we are not. Additionally, Tyson argues that absurdity arises when humans try to impose their will on the universe. He notes that we often create absurdity by assuming that we know what is best for the universe, even though we cannot possibly know what the universe needs.
Tyson believes that the universe's inherent absurdity to us is a result of our limited perspective. We try to translate the universe into something that fits into our preconceived notions of how things should be. However, the universe operates on a scale so vast that it leaves us both intrigued and utterly confused, but also endlessly entertained.
Finally, Tyson posits that the universe is inherently absurd to us because it exists beyond our comprehension. He suggests that, instead of creating absurdity to fill the void of our understanding, we should be open to the mysteries of the universe and embrace the unknown.
An Alternative take on the seemingly Boundless Absurdity of the Universe
By contrast, other prominently deranged and deluded theoretical physicists believe that quantum entanglement, the phenomenon where two particles become connected and behave as one, is the cornerstone of a competing unified theory of absurdity. According to their model, they argue that the universe is full of absurd, entangled particles, each part of a cosmic joke that we humans are not meant to understand.
This alternate theory goes on to suggest that the unpredictability of quantum entanglement is what gives rise to the absurdity of everyday life. From the inexplicable behaviour of our pets to the bizarre behavior of our politicians - everything can be traced back to the strange and unpredictable behavior of these tiny particles.
This outlandish and preposterously controversial school of theoretical physics goes on to posit that the universe may, in fact, be one giant, tangled web of absurdity. They suggest that everything in the universe might be entangled and that it's only our limited perception that prevents us from seeing the interconnectedness of all things.
To take this alternative theory to its ‘logical’ conclusion, we could say that the universe is one giant cosmic joke, and that we are all just characters in a farcical play that is constantly unfolding. From the smallest subatomic particles to the most distant galaxies, everything is part of this grand absurdity, and nothing is quite what it seems.
As to the more widely accepted view, Tyson's unified theory of absurdity concludes that absurdity is nothing but a product of human perception. Overall, Tyson's theory of absurdity is a refreshing perspective on how we, as humans, interact with the universe. It encourages us to approach the universe with an open mind instead of trying to impose our will upon it. By acknowledging the complexity of the universe and our limitations in experiencing it, we can experience beauty in life's most absurd moments.
(Compiled from three separate fictitious summaries generated by DeepAI with some minor editing)
The image above was based off of three separate AI images created in Dream by Wombo, then stitched together with extensive manually cloning work in PS. A minimal oil paint filter was also applied in PS. Finally, the low-res pixelated image was smoothened and then re-sharpened in Topaz DeNoise.
"pareidolia" :- the perception of apparently significant patterns or recognisable images, especially faces, in random or accidental arrangements of shapes and lines:
Can you recognise the demon in the picture.....?
I always imagined if I had a real large format camera and I could capture the complete details of this beautiful city of San Francisco. Well to get this idea a reality in digital world, where large electronic sensors of Cameras are cost prohibitive, I decided to create a 200+ Megapixels of panorama by combining several smaller pictures where a panoramic picture has enough details for printing up to 4 ft by 14 ft without losing any details. Read on my blog on how this was created.
This is my by far my favorite style of photography, long twilight exposures.
Im on a run of lackluster sunsets, but today i was determined to go home with a shot. After seeing the result I need to get out more when its rubbish.
wind was blowing a gale, I could literally see the camera wobbling.
Somehow managed a sharp image. to do with the law of averages I assume.
just switched to lightroom 4 and cant find where they hide the photo info menu, anyway.
approx 8 min, lights turned on for last 3min (lucky touch)
3 stop hard Hitech
lee bigstopper
f 4.5
iso 100
minimal PP
- couple of different contrast masks
Check out my Travel & photogaphy Blog | Website
In this photo, does the railing of the staircase appear perfectly straight, or does it deform into an undulation, like a wave, as soon as you look at it? Is what we perceive, as individuals, objective reality, or just a subjective interpretation of it? Between different people, do we share the same vision of the world around us, or are our perceptions shaped by our unique experiences? In short, aren't there as many realities as there are individuals? Couldn't we say that the world is, in the final analysis, only what we choose to see in it?
Sur cette photo, le garde-corps de l’escalier semble-t-il parfaitement droit, ou se déforme-t-il en une ondulation, comme une vague, dès que votre regard se pose dessus ? Ce que nous percevons, en tant qu'individus, est-il la réalité objective, ou n’est-ce qu’une interprétation subjective de celle-ci ? Entre différentes personnes, partageons-nous la même vision du monde qui nous entoure, ou nos perceptions sont-elles façonnées par nos expériences uniques ? En somme, n’existe-t-il pas autant de réalités qu’il y a d’individus ? Ne pourrait-on pas affirmer que le monde n’est, en définitive, que ce que nous choisissons d’y voir ?
I always try to catch the light and the moment. It`s like dancing Tango Argentino: A passion!
Saturday I danced with the light and this shot is the fusion!
A moment and the light as well:
Assassin's Tango:
This time of the year is high season for drunk driving. People attending Christmas parties and driving (more or less) drunk home.
Luckily this is no longer an acceptable behaviour compared to 10 or 20 years ago where "just drive carefully" was the motto.
We seems to forget that alcohol influence on our perception, so we can not judge how to drive a car. And when not to try at all.
Punta Marina Terme, Jan.2019
Sony A6000 with Selp1650pz, minimum edit in Adobe Lightroom and Gimp
Album: "Dietro Punta, ricordi di Deserto Rosso". Take a look at www.flickr.com/photos/simonepelatti/sets/72157706418034334
#countryside #industrial #cold #sunset #dark #PuntaMarina #Ravenna #contrast
Holga 120N, neutral density soft surround filter, HP5+
D-76 1+2, 12½ min
This image is protected by copyright and may not be used in any way, for any purpose, without my written permission. Please contact me if you would like to use any of my photos.
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How we see things is our own truth.
Mt. Shuksan
Northern Cascade mountains
Washington state
Taken from Artist's Point
Back at it again after a short break, visiting some local woods with my brother for some lightpainting.
Photography, over other art forms, has a powerful ability to offer the viewer an anchor in the authentic. There is a commonly held perception that because the ‘photographic’ image mechanically represents the genuine place, (that anyone can visit the location and see it for themselves), it offers the image a perception of trustworthiness, accessibility beyond the surface engagement. Now that said, there is also a flip side to this, a mistrust born out of new technology, that is corroding the once universal acceptance and ironically stimulating the respectability of film, as a non digital medium, (but that’s another story). I’ve previously explored this ‘reality’ in some depth and don’t wish to cover similar ground here. But what does stimulate my intrigue, is the psychological edges of this trust perception, (as for many reasons, we each have differing leaves of skepticism), and the way in which this can stimulate creativity, which is the area that continues to fascinate me. It offers us as photographers a way of maintaining the perceived ‘reality’, but the ability to twist and distort the imagination, developing further complexities and in turn more powerful visual and conceptually meaningful pieces of art.
Now personally speaking, I actively desire my perception, of what is ‘reality’, to be challenged. I want to be surprised; I want to be left puzzled and to be questioning how and why. For me this area of photography, offers to stimulate my visual and conceptual imagination. It flirts with science and art to illuminate the new. I have a desire to base my images in the ‘real’, but to seek out twist and extend that perception, is my creative goal. Think of it, like having the ability to see behind our known horizons, deep into space, beyond atoms and quarks. For in those yet undiscovered, grey areas of our consciousness, lies the greatest creative rewards. New connections are waiting to be discovered, new horizons sort out and examined.
Now I’m sure it sounds like I’ve lost the plot to a few of you, and I genuinely don’t mind you thinking that, but if what I’m writing makes you just wonder for a few seconds, look into that deep abyss, then I’m happy. Our world is not strait forward, it is not easy to understand, answers to questions only open up more questions without answers, but that is to me paradoxically humbling.
There seems to be a purposeful divide between what we know and what we are able to comprehend in any moment. Yes if we sit down and think about the black and white facts, (that we are on a rock crust, over a massive ball of molten rock, spinning at a 1000 miles an hour in an infinite universe), then we turn the facts into feelings through our imagination and things become really interesting. It’s an indescribable feeling of being connected to something more powerful, something that we are not in control of but are part of and struggle to even perceive. This is this feeling that I love, like the feeling one gets when stood at the foot of a mountain, gazing up and up and up, like the feeling at the edge of an ocean without the ability to conceive the vast enormity beyond our perception.
Ironically the ability to comprehend these ‘scientific facts’ seems to rely on allowing the mind space to imagine and drift into creativity. It is these feelings that get me excited when looking at the boundaries of our own perception. I cannot easily find the words to do this feeling justice; only insufficiently describe it as natural optimism. But it is this feeling that I’m trying to describe and make links to the unknown here. For me this feeling is wonderful catalyst to optimism, I feel very humbled by the knowledge that we as humans are so insignificant, that I just don’t matter in the scheme of things. Bizarre to make that statement because our world seems to excel in making the center of the universe individual. And for me this feeling is to be found at the edges of my perceived photographic reality, a gateway into my imagination but based on known facts.
Let me attempt to illustrate these words with an example, turning to this image in particular, for me it feels unusual. The composition was very important in the making of it and I paid close attention to the diagonals here in an attempt to highlight the semi-circular inlet. But what I didn’t fully expect to happen was the way in which the long exposure (three minutes) not only simplifies the wave motion but, offers us a glimpse underneath the surface. The graduating color tones then become a depth chart with a turquoise vibrancy fringed by white oxygenated turbulence.
It leaves me wanting to dive in and go deep into the ocean in an attempt to discover the as yet undiscovered. I know on one level that there is an underwater landscape here beneath the waves, and the long exposure hints to this by showing me some elements of depth, but from this perspective above the water, I can only imagine this as I’m relying on what I’ve been told, (having never dived). The water is then a physical barrier, but a portal to another perception. Am I making any sense? Do any of you feel the same? Are the men in white coats about to knock on my door?
Anyway this image was made on the south side of St Michael's Mount, I’d been to the area last year (well not so far around as this) and really wanted to try and make another image that championed the unusual geology and exploited the wonderful greens and blues in the sea. So as I took the tour around the House, I was eyeing up the location from the buttresses, but keeping the other eye firmly westward trying to second-guess the weather. It was very overcast and what you see here was a storm coming in, (a common feature of this ‘summer’), but I wasn’t disappointed as it offered me a different take on the location.
Time became precious due to the extended second guessing, (and a very nice Cornish cream tea), so on a tighter than comfortable schedule, I had to endure. You see I had to make it back around the other side of the island by 5.30pm, for the last ferry back to the shore, but managed to rattle off five or six three minutes exposures in this very inspiring location before the cats and dogs arrived. By the way I did just manage to make it back for the ferry! if not I'd have had to wait for the tide to go out enough to wade thy deep, camera firmly held high, along the winding cobbled road connecting the mount to the mainland. (Not even imagining how furious Cathy would have been!) Anyway it always amuses me that people are prepared to get wet wading through the incoming tide here. But it does make me chuckle watching them each year I visit the mount.