View allAll Photos Tagged Perceptions
This Photo of wilfred Owen Is on the hoarding around The new bodlean library, I have cleaned the bolt heads and the joint of the hoarding out of the photo, I hope I`ve done a reasonable job of it. The previous photo I put in the gallery shows both bolt heads and joint.
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Wilfred Owen
Wilfred Edward Salter Owen MC (18 March 1893 – 4 November 1918) was an English poet and soldier, one of the leading poets of the First World War. His shocking, realistic war poetry on the horrors of trenches and gas warfare was heavily influenced by his friend and mentor Siegfried Sassoon, and stood in stark contrast both to the public perception of war at the time and to the confidently patriotic verse written by earlier war poets such as Rupert Brooke. Among his best-known works – most of which were published posthumously – are "Dulce et Decorum Est", "Insensibility", "Anthem for Doomed Youth", "Futility" and "Strange Meeting".
Wilfred Owen was born at Plas Wilmot, a house in Weston Lane, near Oswestry in Shropshire, on 18 March 1893, of mixed English and Welsh ancestry. He was the eldest of four children, his siblings being Harold, Colin, and Mary Millard Owen. At that time, his parents, Thomas and Harriet Susan (née Shaw) Owen, lived in a comfortable house owned by his grandfather, Edward Shaw but, after the latter's death in January 1897, and the house's sale in March,[1] the family lodged in back streets of Birkenhead while Thomas temporarily worked in the town with the railway company employing him. In April the latter transferred to Shrewsbury, where the family lived with Thomas' parents in Canon Street.[2]
In 1898, Thomas transferred to Birkenhead again when he became stationmaster at Woodside station[2] and the family lived with him, at three successive homes in the Tranmere district,[3] before moving back to Shrewsbury in 1907.[4] Wilfred was educated at the Birkenhead Institute [5] and at Shrewsbury Technical School (later known as the Wakeman School).
He discovered his poetic vocation in 1903 or 1904 during a holiday spent in Cheshire. Owen was raised as an Anglican of the evangelical school, and in his youth was a devout believer, in part due to his strong relationship with his mother, which was to last throughout his life. His early influences included the Bible and the "big six" of romantic poetry, particularly John Keats.
Owen's last two years of formal education saw him as a pupil-teacher at the Wyle Cop school in Shrewsbury.[6] In 1911, he passed the matriculation exam for the University of London, but not with the first-class honours needed for a scholarship, which in his family's circumstances was the only way he could have afforded to attend.
In return for free lodging, and some tuition for the entrance exam (this has been questioned) Owen worked as lay assistant to the Vicar of Dunsden near Reading. During this time he attended classes at University College, Reading (now the University of Reading), in botany and later, at the urging of the head of the English Department, took free lessons in Old English. His time spent at Dunsden parish led him to disillusionment with the Church, both in its ceremony and its failure to provide aid for those in need.
From 1913, he worked as a private tutor teaching English and French at the Berlitz School of Languages in Bordeaux, France, and later with a family. There he met the older French poet Laurent Tailhade, with whom he later corresponded in French.[7] When war broke out, he did not rush to enlist - and even considered the French army - but eventually returned to England.
War service
On 21 October 1915, he enlisted in the Artists' Rifles Officers' Training Corps. For the next seven months, he trained at Hare Hall Camp in Essex. On 4 June 1916 he was commissioned as a second lieutenant (on probation) in the Manchester Regiment.[8] Initially, he held his troops in contempt for their loutish behaviour, and in a letter to his mother described his company as "expressionless lumps".[9] However, his imaginative existence was to be changed dramatically by a number of traumatic experiences. He fell into a shell hole and suffered concussion; he was blown high into the air by a trench mortar, and spent several days lying out on an embankment in Savy Wood amongst (or so he thought) the remains of a fellow officer. Soon afterwards, Owen was diagnosed as suffering from neurasthenia or shell shock and sent to Craiglockhart War Hospital in Edinburgh for treatment. It was while recuperating at Craiglockhart that he met fellow poet Siegfried Sassoon, an encounter that was to transform Owen's life.
Whilst at Craiglockhart, he made friends in Edinburgh's artistic and literary circles, and did some teaching at the Tynecastle High School, in a poor area of the city. In November he was discharged from Craiglockhart, judged fit for light regimental duties. He spent a contented and fruitful winter in Scarborough, and in March 1918 was posted to the Northern Command Depot at Ripon.[10] While in Ripon he composed or revised a number of poems, including "Futility" and "Strange Meeting". His 25th birthday was spent quietly at Ripon Cathedral, which is dedicated to his namesake, St. Wilfrid of Hexham.
At the very end of August 1918, Owen returned to the front line - perhaps imitating the example of his admired friend Sassoon. On 1 October 1918 Owen led units of the Second Manchesters to storm a number of enemy strong points near the village of Joncourt. However, only one week before the end of the war, whilst attempting to traverse the Sambre canal, he was shot and killed. The news of his death, on 4 November 1918, arrived at his parents' house in Shrewsbury on Armistice Day. For his courage and leadership in the Joncourt action, he was awarded the Military Cross, an award he had always sought in order to justify himself as a war poet, but the award was not gazetted until 15 February 1919.[11] The citation followed on 30 July 1919:
2nd Lt, Wilfred Edward Salter Owen, 5th Bn. Manch. R., T.F., attd. 2nd Bn.
For conspicuous gallantry and devotion to duty in the attack on the Fonsomme Line on October 1st/2nd, 1918. On the company commander becoming a casualty, he assumed command and showed fine leadership and resisted a heavy counter-attack. He personally manipulated a captured enemy machine gun from an isolated position and inflicted considerable losses on the enemy. Throughout he behaved most gallantly.[12]
Reality is just a manner of perception
Hey guys! I'm really sorry I haven't uploaded lately. I've been really busy with school and all the other stuff. Anyway, this is inspired by Fringe (the BRILLIANT tv serie). I continue to be in experimenting phase and I'm loving it!
I'm going down to my Grandpa's house today for Easter and I'm procrastinating like always.
Happy holidays guys <3
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Bustier-Dresses in color with silver contrast are now up in-world!.
7 sizes, the five standard sizes plus special sizes M+ for very curvy shapes and Bx for top-heavy shapes.
:$285 each or L$985 per fatpack of 5.
Copy/Mod, No Transfer.
www.arts.ufl.edu/art/Programs/ceramics.asp
Artist Statement and bio:
Artist Statement
Figurative sculptures set within tableaux reflect my search for serenity and the quiet moments when this inner state becomes apparent. Sculpting the human body and placing it within a context permits me to explore consciousness by mirroring it outwardly. It also reflects my perspective about the universal connectedness within our inner and outer worlds. As a sculptor my intent is to convey a sense of the psychology of the female attribute and intuitive nature. The temporal quality of human existence is an underlying theme implicit in the choice of clay as a sculptural material. Contemplative in nature the sculptures combine sepia toned photo decal imagery with the female figure to picture memory and to indicate a sense of its timelessness.
Biography
Nan Smith is a figurative sculptor and installation artist who is a professor of art at the University of Florida. Born and raised in Philadelphia she received her Bachelor of Fine Arts from the Tyler School of Art and her Master of Fine Arts from The Ohio State University. She holds degrees in Ikebana and Japanese Tea Ceremony having completed independent studies at the Japan House at the University of Illinois. Prior to joining the faculty at UF, Smith taught at the University of Illinois and The Ohio State University.
Nan Smith has exhibited her sculpture in over 100 exhibitions throughout the United States. Most recently her sculpture was included in the World Ceramics Exposition, Yeoju, Korea, "Taking Measure: American Ceramic Art at the New Millennium", 2001, “RAWSPACE “ and The Watershed Center for Ceramic Arts Special Exhibit; “Intuitive Balance”, SOFA Chicago 2004, “21st Century Ceramics in the United States and Canada”, Canzani Center Gallery, Columbus College of Art and Design, 2003, “Clay Body Rhetoric: Ceramic Figures of Speech”, Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, Kansas, “Figured Ceramics”, a national invitational of figurative ceramics presented by the Northern Iowa University, 2002, and the national installation exhibition "Beyond the Physical: Substance, Space and Light" (during NCECA Charlotte 2001). Her sculpture also appeared in the NCECA Invitational 2000, "A Glimpse of the Invisible", and in solo exhibitions at the Appleton Museum of Art and Hand Workshop, Virginia Center for Crafts.
Nan Smith was the 2000 University of Florida Research Foundation Professor from the College of Fine Arts. Other awards include a National Endowment for the Arts regional award for sculpture sponsored by the Southern Arts Federation, three Florida Individual Artists' Fellowships, and Humanities and Fine Arts Faculty Scholarship Enhancement Fund Awards, 1998 – 2001, and 2003. In 2002 she received an award from the UF Academic Technology Faculty Development Program – Notebook Track. She has presented workshops on latex and airbrush for Ceramics throughout the U.S. Nan Smith was a conference Demonstrator at the 1999 NCECA Conference. She was a resident artist at the Watershed Center for Ceramic Arts, in 1999 and 2004. Selected collections include: The WOCEK International Ceramics Collection housed at the Ichon Ceramics Center, Korea, American Express/IDS Corporation, Minneapolis, MN; Lamar Dodd Art Center, La Grange College, La Grange, GA.
Selected Publications:
Books including publication of images: "Smashing Glazes", "The Craft and Art of Clay" and "Contemporary Ceramics", author Susan Peterson, "Clay and Glazes for the Potter", co‑authors Daniel Rhodes and Robin Hopper, "Ceramics: Mastering the Craft", author Richard Zakin, "Making Ceramic Sculpture", author Raul Acero, "Resist and Masking Techniques", an AC Black Publication authored by Peter Beard.
Periodicals: World Sculpture News; Volume 7 Number 2, Spring 2001. "Articulating Consciousness", by Glen R. Brown, Ceramics Technical; No. 11, 2000, "Color, Air, Illusion", by Nan Smith, The Studio Potter; v.28 No 1, December 1999, "Flexible Mold Making" by Nan Smith, The Studio Potter; v.26 No 2, June, 1998, Cover and feature page "Potters of Northern Florida", Ceramics: Art and Perception; Issue 25, 1996, "Feminist Visions in Clay" by Nancy Kapitanoff, Ceramics: Art and Perception; Issue 21, 1995, "Transforming Consciousness: Nan Smith's Spiritual Ceramics", by William Doty, Ceramics Monthly; "Controlled Drying and Firing", May 2000, by Nan Smith, Ceramics Monthly; February 1996, "Flexible Molds for Ceramics" by Nan Smith, Ceramics Monthly; March 1991, Cover and feature article "Blending Intuition and Logic" by Nan Smith, Sculpture; May ‑ June 1994, "Nan Smith" an essay by Donald Kuspit, American Craft; June ‑ July 1993, Portfolio page.
Photographer is Allen Cheuvront
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
so my boyfriend of five years leaves for Africa for five weeks on Feb 2nd... and my other roommate leaves for Ohio in a few weeks, so I'm going to be all allooonnneeee.... so you should see many many more pictures in the near future. it's always easier when there aren't people watching.
At a university fair I found a mirror box made by an art student. The idea was to promote creativity by attracting kids who'd like to have selfies "like no other" :)) But as someone interested in the working of the mind I found it to be one of the best things at the fair. I've just couldn't resist taking a selfie in the mirror box, to show that right angles can make space distortions ... it's all about perception.
Ones perception of time is all keyed to what is happening. Are you absorbed and engrossed in the moment or are you anticipating what is to come?
With dads Alzheimers progressing I find myself being less in the moment and more anticipating what is next. It seems now even his good days have moments which surprise me, and then I think about what is coming.
It sucks. It sucks for him I know and on a selfish level it sucks for me. I feel trapped. Trapped by my own desire to spend the time left with my dad before he descends further into the disease. Trapped by my desire to do things for myself. Trapped by my guilt when I miss time that I can never recover.
I know I should live in the moment. I will try and live in the moment.
English below..
Perception Triumph 13. Caiac "SOT" ("eistedd arno"), yn hytrach na'r math eistedd ynddo. Mae wedi'i ddylunio efo gwaelod a blaen ar gyfer rhwyfo'n bell ac yn syth. Serch hynny, ma'n troi yn ddigon rhwydd. Yn y pen blaen, mae lle "sych" er mwyn cadw pethau rhag gwlychu (dan y caead hirgrwn llwyd), ac yn y cefn, mae lle (pant agored) i roi pethau eraill ar gyfer siwrnai. Oherwydd amgylchiadau (diogi) rwy'n defnyddio'r cefn ar gyfer cario troli, sy'n ffitio caiacs SOT, a heb hwnnw, ni fyddwn yn gallu symud y caiac ar dir sych. Mae'n pwyso 27Kg, ac yn lletchwith i'w godi a'i gario. Tydi'r Triumph ddim yn dod efo sêt (o leia doedd o ddim gan y cwmni "Shore")- rhaid prynu hwnnw ar-wahân, ac yn y llun mae sêt "uchel" gan wneuthurwr gwahanol, sy'n well ar gyfer fy nghefn i. Mae lle ar ochr chwith y caiac i ddal y rhwyf yn sownd - sy'n hynod o ddefnyddiol. Ar ganol y caiac, rhwng coesau'r rhwyfwr, mae "lle sych" ychwanegol, sy'n bosib ei gyrraedd wrth rwyfo. Mae'n ddigonol i ddal ffôn, chwiban, goriadau ac ambell i beth bach, ond mae'n rhy fach i ddal camera.
Rwy'n newydd i'r busnes caiacio, ac ar hyn o bryd mae pob siwrnai yn dal yn antur ac yn wefr. Serch hynny rwyf wedi defnyddio gwahanol fathau o gaiacs, ac mae hwn yn rhwydd iawn i'w rwyfo mewn cymhariaeth a sawl un eistedd arno, er nad wyf yn hyderus o gwbl i geisio ei droi'n chwim wrth wyro drosodd - rwy'n argyhoeddidig y byddai'n troi drosodd pe bawn yn ceisio gwneud y fath beth - techneg a fyddai'n rhwydd ac yn ail-natur mewn caiac 'eistedd ynddo'.
Y diweddaraf - rwyf bellach wedi bod allan nifer o weithiau mewn gwahanol dywydd. Mae'r Triumph yn ymateb yn wych wrth rwyfo i mewn i donnau - y tro i fyny yn y pen blaen yn gwneud ei waith yn rhagorol. Er cael fy ngwthio i'r ochr sawl gwaith wrth fynd yn groes i'r llif a'r tonnau, mae'r cwch wedi profi'n sefydlog iawn - ond mae'r tonnau yn torri drosodd yn syndod o rhwydd. O'r profiadau hynny, fyddwn i ddim yn mentro allan efo "bungs" yn y tyllau draenio tra ar y môr. Ar lyn efallai, ond nid ar y môr.
Ceir adolygiad yn fan yma www.canoekayak.co.uk/Reviews/Perception-Triumph-13-Sit-on...
This is a UK made Perception Triumph 13 touring kayak. It's a "sit on top", rather than a "sit in", and is therefore a bit of a compromise. In front of the paddler, there's a dry bow void under the waterproof oval hatch which can be used for storing items not required while on the move, while behind the cockpit is an open "basin" for storing items that don't mind getting wet. Pictured is a SOT carrier axle which is a must for moving the boat on dry land. At around 27Kg the Triumph is much too heavy to lug around solo. The kayak didn't come with a seat, and the one pictured is a high back model from another manufacturer, which suits my back. Two handy touches are a groove along the left side for attaching the paddle (really handy when launching from a beach, or when taking a breather), and a small easy to access dry storage cylinder, which is useful for keys, phone, whistle and so forth, but too small for a camera.
I've only taken the kayak out five times, and apart from getting the beast on and off the car roof, the experience has been great. The boat goes well in a straight line, turns fairly easily, and cuts through swell. It's much less hassle than a "sit in", but doesn't manouvre half as easily. I just don't feel confident enough with it to try "edging" - the equivalent to "banking" on a motorbike, to help make tight turns.
I'd like to try the kayak with the optional rudder, to see if that would make it easier and less of a paddle-fest to counter the affect of strong sideways currents. But at £175 I doubt I'll bother..
Update
I've been out and about on the sea in slightly more challenging weather and I've noticed a couple of things. The boat really cuts into waves very well - the upturn of the bow doing an impressive job. A number of times have seen me pushed sideways by the waves/swell/tide, and I'm surprised at how easily waves enter the kayak "over the side" in these circumstances. Stability hasn't been a problem, but I'm pretty sure that running with bungs in place is would be a BAD IDEA on the sea. On a quiet lake - probably fine, but no way would I go out to sea with bungs in place.
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?
perception perfume notes. Formula 327A
summer, rain, crisp, cool, ice, skin, mint, fresh, pool, green, aqua, grass, breeze, air, beach, ice cream, salt, licorice
sold Artists Against Abuse auction 2012 to benefit The Retreat
collection Susan and Steve Jacobson
Facial Perception & Latino Identity Survey: Chance to win $20 gift card for participating in research.
another window reflection shot... from an earlier shoot this winter at Interlochen Center for the Arts.
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
The truth around "Parsely in the Morning" demonstrates the power of perception in photography and the danger of comparing yourself with bloggers and public figures. We're people, too - we just heavily edit!
First shoot of 2017
Model: Omar Fermin
MUA: Alexa Rivera // @alexariveramua
Collaboration with Alex González // @alexgdr
In June of 2014, myself and three others set out on a 5 day 4 night kayak camping trip on the Pecos River in southwest Texas. Unfortunately our trip was ill-fated and the area we were in received record setting rainfall on the fourth day causing the river to rise dramatically (31 feet in an hour and a half) at which point we had to abandon all of our equipment and egress the canyon. We were rescued via helicopter a few hours later, and while we survived with no serious injuries we lost EVERYTHING including over 6K of my personal camera equipment. Two months later I got a call that some fishermen had found my cameras (in a pelican case) in the lake that is fed by this river. They found my camera equipment 50 miles away from where we had to egress. These are the "lost" photos from the trip.
Folding History a Exhibition by ffmendoza
Press release
Federico Mendoza has spent a lifetime challenging the use and hidden meaning of visual image especially as manipulated by political and corporate powers. Now he invites his audience to journey with him through an installation both real and virtual under the title Folding History – distortions, everyday life and other exaggerated perspectives, at Casula Powerhouse Arts Centre & Liverpool Regional Museum, from October 28 to November 11.
Increasingly, Federico has involved his audience in interaction conceptually and physically with his work. In his first Media Soldiers exhibition in 2002, faces became television screens mediating and distorting perceptions and responses to images of historical and contemporary conflicts. Media Soldiers II carried the same concept into 15 three dimensional sculptures on a symbolic watch, provoking the audience to walk among them and study techniques and ponder meanings from different angles.
In Folding History - distortions, everyday life, and other exaggerated perspectives, Federico engages his audience deeply in the issues and techniques of his exploration. The artist will install a mini studio in the gallery where viewers can follow the creative process first hand or via a blog on the internet. In offering a pathway through the creation of collage, montage and assemblage, Federico exposes some of the direct and indirect influence of image when used in advertising, fashion and political campaigns and their contradictory relationship with images produced by artists.
Federico uses frivolity, repetition, alteration, manipulation among many multimedia techniques to question and criticise, unsettling perceptions, teasing emotions and encouraging reflection. Irony and poetics intermingle.
“My job is to express a metaphorical dream that is shared with the potential viewer and that tries to express a sense of the extraordinary in the most humble of things or objects,” Federico says.
Folding History – distortions, everyday life and other exaggerated perspectives
The Casula Powerhouse Arts Centre & Liverpool Regional Museum
Presents a multimedia installation by Federico F. Mendoza
Curator : Nicholas Tsoutas
From 28 October to 11 November - Opening Saturday 28 October at 5 p.m.
at Liverpool Regional Museum
Corner of the Hume Highway and Congressional Drive
Liverpool NSW 2170
For more information
Contact Federico Mendoza