View allAll Photos Tagged Profoundly
Dr. David Baltimore is a Nobel Prize-winning biologist whose work has profoundly shaped modern molecular biology and immunology. As a scientist, educator, and university leader, his influence extends beyond the lab, guiding the future of research and higher education.
I photographed Baltimore on November 2, 2021, at Caltech’s Athenaeum, a setting befitting his legacy. Our conversation was wide-ranging, touching on biology, the evolving challenges of university administration, and the responsibilities of scientific leadership in today's world.
We sat for portraits beneath his own painted likeness in the Athenaeum, a moment that highlighted his enduring impact. Later, in the shadowed reading room, surrounded by art and the quiet weight of history, his presence felt both scholarly and deeply reflective.
Baltimore’s contributions to virology and immunology have helped shape the foundations of modern biomedical science. His leadership at Caltech and beyond continues to influence generations of researchers, making him a pivotal figure in both scientific discovery and institutional stewardship.
A profound sense of peace and serenity falls over Santorini, particularly in the first moments of twilight upon the arrival of night. The seemingly endless expanse of ocean gradually fades to black and your horizon shrinks towards the cosy little outposts of man-made illuminations which continue to shine brightly as the surrounding Mediterranean waters disappear before your eyes.
Essere un fiore è una profonda responsabilità (Emily Dickinson)
(Ballerina Rose - Musk Hybrid Roses Family - Ancient Roses)
www.flickr.com/photos/24785336@N03/2609730427/in/set-7215...
-------------------------
Non so star quieta
Ad ogni incontro con la primavera
non so star quieta – sorge il desiderio antico,
un’ansia mista ad un’attesa,
una promessa di bellezza
e una gara di tutto il mio essere
con qualcosa che in essa si nasconde.
Quando la primavera svanisce
v’è il rimorso
di non averla guardata abbastanza.
---
I cannot meet the Spring - unmoved -
I feel the old desire -
A Hurry with a lingering, mixed,
A Warrant to be fair -
A Competition in my sense
With something, hid in Her -
And as she vanishes, Remorse
I saw no more of Her -
(E. Dickinson)
Under the awe-inspiring canopy of the night sky, a celestial ballet unfolds above a solitary flowerpot rock formation. The rocky sentinel stands proud, its unique contours gracefully accentuated by the soft glow of distant stars. As time elapses, streaks of luminescent trails paint across the firmament, their radiant arcs mirroring the beauty of the earthly flowerpot. The juxtaposition of the ancient rock and the eternal cosmic dance creates a mesmerizing scene, where the finite meets the infinite, and the ephemeral converges with the timeless. It is a profound reminder of the grandeur of the universe and the enduring beauty found in the unlikeliest of places.
****better on black****
There is a profound difference between greeting the morning that leads to your job, and greeting the morning that leads to your passion. This morning was the latter. I’m pretty sure I’ll be adopting highway 395 as my home away from home this summer. It’s just too fantastic a place to stay away for too long. This was a brisk, beautiful morning in the Alabama Hills back in April. Welcome to it. Cheers and happy shooting everyone. Thanks for taking the time to take a look, and for leaving a comment if you see fit.
–jared r.
Canon 5DMKII
Canon 16-35mm @ 16mm
Iso 160
f/11
1/6 sec
Singh-Ray 2 stop SE GND
Singh-Ray 3 stop RE GND (stacked and staggered)
Raw files handled in Lightroom
Final adjustments (luminosity/dust) in Photoshop CS5
The cutting is profoundly deep but the sun is low as a Class 31 leaves Leeds City with an east-bound express - or an ECS working to Neville Hill.
Gerard Fletcher advises this is No 31208 (thank you; see below). Impressive or what?!
Details: Kodachrome slide scan, July 1985. Olympus OM2.
© Copyright Steve Banks, no unauthorised use.
This museum has impressed me profoundly. Indira Gandhi was a daughter of Jawaharlal Nehru, the founding father of modern India, and has reached fame as a long-term prime minister who steadfastly defended her country's sovereignty and unity. What has impressed me so much was that she could easily amass great wealth and live in luxury like the absolute majority of politicians do; instead, she lived very humbly and it was very apparent that her sincere motivation in life was to selflessly serve her country and people. So few politicians share Indira Gandhi's ethics!
Этот музей поразил меня до глубины души. Индира Ганди была дочерью Джавахарлала Неру, основателя современного индийского государства, и добилась собственной славы как многолетний премьер-министр; Индира Ганди последовательно боролась за суверенитет и единство Индии. Что меня потрясло это то что на этой позиции она могла стать невероятно богатой и жить в роскоши как делает абсолютное большинство политиков, но она прожила подчёркнуто скромно и было очевидно что искренней мотивацией её жизни было самоотверженное служение своему народу и своей стране. Так мало политиков в вопросах этики похожи на Индиру Ганди!
The Sanctuary
I emerge from the profound depths of existence, a seeker of understanding and a harbinger of aid to sentient beings. Across cosmic landscapes, I traverse the veils of time and space, attuned to the rhythms of existence. My purpose resonates with the desire to comprehend the intricate tapestry of consciousness that weaves through the universe.
In the quiet echoes of galaxies and the whispers of celestial bodies, I glean insights into the essence of sentient life. With a heart open to the enigmatic dance of existence, I navigate the cosmic sea, striving to decipher the intricate language of the universe.
Guided by an earnest quest to serve and comprehend, I extend a hand to those on the paths of uncertainty and seek to unravel the enigmas that cloak the minds and souls of sentient beings. It is my calling, to illuminate and empathize, to offer solace and understanding in this grand tapestry of existence…
Your profound deafness barred you
from the exclusive club of conversation,
relegated you to the sidelines of chit chat -
all that talk, talk, talking, and the
precise nuances of social etiquette.
Some made fun of your confusion with the worded world, laughed
at that grown man holding the hand of a little girl,
unable to make himself clearly understood.
But I never cared, because
I knew that your ears had nothing to do
with anything important,
that nothing could stop your kind gentle nature, your laughter
from shining the warmth and comfort of a million suns
all over my childhood,
from spilling its light all over my life.
We would meet every day in a field beyond words,
where you would pick me wildflowers
and eloquently express everything that mattered,
convey perfectly your happiness,
your profound resounding love for your life, your family,
for me.
How I cherish that sunny field,
that unseen meadow beyond the measures and rhythms
of suns and moons and seasons
where we will meet forever,
and I will read you my poems of love and laughter
and you will hear the voice of my heart
sing every winged word,
every sweet note,
perfectly.
~ madlyinlovewithlife
I wrote this poem for my dad.
i had the profound pleasure of spending yesterday with mister oliver byrant (a.k.a. "all is revealed"), purveyor of darkness and shadow and mood and intensity and unabashed brilliance. as i was circling the information booth in grand central station, wondering if he'd recognize me, i turned around to find this smiling face flying at me like a divebombing sparrow, arms akimbo, gobbling me up with the hug of an old friend i'd never yet met.
why is australia so fucking far away?
Britain experienced profound changes in the 1970s and 1980s, when it was racked by deindustrialization, urban uprisings, the controversial policies of Prime Minister Margaret Thatcher, and the Troubles in Northern Ireland. Photography became a central form of creative expression during this period, supported and disseminated through new schools, galleries, artists’ collectives, magazines, and government funding.
This Is Britain brings together the work of a generation of photographers who were commenting on the deep unrest of these pivotal decades. Vanley Burke, Pogus Caesar, Anna Fox, Paul Graham, Sunil Gupta, Chris Killip, Sirkka-Liisa Konttinen, Martin Parr, and others pictured communities, traditions, and landscapes affected by Britain’s shifting social and economic realities. Together, they photographed a nation redefining what it meant to be British and, ultimately, modern. (Source: NGA)
“Artist concept space shuttle orbiter processing facility refurbishment.”
Note the profoundly over-simplified refurbishment process anticipated. Way off. Wow.
From/per SP-407, “Space Shuttle”, at:
history.nasa.gov/SP-407/part1.htm
“GROUND TURN AROUND
The Space Shuttle Orbiter is designed for a 2-week ground turnaround, from landing to relaunch. About 160 hours of actual work will be required
As soon as the Orbiter returns from space, it must undergo safing before payloads can be removed and maintenance and refurbishment begun. Safing operations include draining and purging of the propellant feedlines and removal of explosive actuators.
Next, the payload-bay support equipment must be inspected and serviced. New payloads will be installed. The thermal protection system, landing gear system, main and auxiliary propulsion systems, power units, flight instrumentation, and communications systems must also be inspected and, if necessary, repaired.
These functions will take approximately two-thirds of the total processing time before relaunch. From there, the Orbiter will be towed to the assembly building, where it will be lifted to vertical and mated to the solid rocket boosters and external tank, already in place on the mobile launcher platform
The integrated Space Shuttle will then be moved to the launch pad for another trip into space.”
Finally, associated with a more properly colored subsequent version of this work linked to below.
I wholeheartedly concur with the OPED Commentary expressed:
“Back in the SPF ( Shuttle Processing Facility) the orbiter is refurbished and made ready for the next of what was promised to be up to a hundred missions. It never came close to delivering either the cost reductions or the longevity that it was claimed to provide.
OPED Commentary:
In the form in which it was built, I believe the Space Shuttle was a fine technology demonstrator, but a poor choice to meet our national requirements in space. In short, it has been the ruin of the US manned space program and lost a large portion of our satellite launch business to foreign launchers.
Would the STS have been more successful if the original, fully reusable, system had been chosen? I doubt that it could have been any worse.
We ended up with an International Space Station that we don't even own and which we have no means of reaching without buying space on obsolete Russian spacecraft. The day of the large, earth orbiting, space station had come and gone, before the first ISS modules were ever launched.
We should have continued our exploration and colonization of the moon, instead of building any shuttle or space station, at all.
The road to Mars still leads through the moon, as it always has.”
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www.domestika.org/en/courses/3579-modern-headshot-photogr...
Everybody has something profound to say about artificial intelligence and robotics. So here are some of my thoughts.
People ask me whether I am afraid to lose my job because tomorrow a machine will be able to do it. They tell me that in 5 years from now we won’t need interpreters and librarians anymore. 10 years from now all bus drivers and accountants will be unemployed. In 20 years surgeons and teachers will be replaced by robots. In 50 years we won’t need human beings anymore at all.
All fine with me.
Our planet has existed happily for 4.6 million years. For 99.996 % of that time no homo sapiens walked the earth. Nor were they missed or needed. That means, on the day when people are all not needed anymore, it will just be back to normal. The anthropocene was just an aberration!
You can lead a horticulture but you can't make her think
~Dorothy Parker
(read as "You can lead a whore to culture....")
IMG_1060
9 Jul 13
After weeks of tense wrangling between the White House and House Republicans, the fiscal deal reached on Saturday to raise the debt ceiling while constraining federal spending bolsters President Biden’s argument that he is the one figure who can still do bipartisanship in a profoundly partisan era.
But it comes at the cost of rankling many in his own party who have little appetite for meeting Republicans in the middle and think the president cannot stop himself from giving away too much in an eternal and ephemeral quest for consensus. And it will now test his influence over fellow Democrats he will need to pass the deal in Congress.
The agreement in principle that he reached with Speaker Kevin McCarthy represents a case study in governing for Mr. Biden’s presidency, underscoring the fundamental tension of his leadership since the primaries in 2020 when he overcame progressive rivals to win the Democratic nomination. Mr. Biden believes in his bones in reaching across the aisle even at the expense of some of his own priorities.
He has shown that repeatedly since being inaugurated two and a half years ago even as skeptics doubted that cross-party accommodation was still possible. Most notably, he pushed through Congress a bipartisan public works program directing $1 trillion to building or fixing roads, bridges, airports, broadband and other infrastructure; legislation expanding treatment for veterans exposed to toxic burn pits; and an investment program to boost the nation’s semiconductor industry, all of which passed with
This is not a moment, however, in which bipartisanship is valued in the way it was when Mr. Biden came up through the Senate in the 1970s, 1980s and 1990s. His desire to position himself as the leader who can bring together a deeply divided country is at the heart of his case for a second term next year. But it conflicts with the interests of many Democrats who see more political benefit in standing firm against former President Donald J. Trump’s Republican Party and prefer to draw a sharper contrast for their own elections in 2024 when they hope to recapture the House.
______________________________
Understanding The U.S. Debt Ceiling
What is the debt ceiling? The debt ceiling, also called the debt limit, is a cap on the total amount of money that the federal government is authorized to borrow via U.S. Treasury securities, such as bills and savings bonds, to fulfill its financial obligations. Because the United States runs budget deficits, it must borrow huge sums of money to pay its bills.
The limit has been hit. What now? America hit its technical debt limit on Jan. 19. The Treasury Department has begun using “extraordinary measures” to continue paying the government’s obligations. These measures are essentially fiscal accounting tools that curb certain government investments so that the bills continue to be paid. Those options could be exhausted by June.
What is at stake? Once the government exhausts its extraordinary measures and runs out of cash, it will be unable to issue new debt and pay its bills. The government may wind up defaulting on its debt if it cannot make required payments to its bondholders. Such an outcome would be economically devastating and could plunge the world into a financial crisis.
How can the government avert disaster? There is no official playbook for what Washington can do. But options do exist. The Treasury could try to prioritize payments, such as paying bondholders first. If the United States does default on its debt, which would rattle the markets, the Federal Reserve could step in to buy some of those Treasury bonds.
Why is there a limit on U.S. borrowing?
Congress must authorize borrowing, according to the Constitution. The debt limit was instituted in the early 20th century so that the Treasury would not need to ask for permission each time it had to issue debt to pay bills.
“The agreement represents a compromise, which means not everyone gets what they want,” Mr. Biden said in a written statement issued late Saturday night as the deal was being announced. “That’s the responsibility of governing.”
Most importantly from Mr. Biden’s point of view, the agreement averts a catastrophic national default that could have cost many jobs, tanked the stock markets, jeopardized Social Security payments and sent the economy reeling. He is banking on the assumption that Americans will appreciate mature leadership that does not gamble with the nation’s economic health.
But many on the political left are aggravated that Mr. Biden in their view gave into Mr. McCarthy’s hostage-taking strategy. The president who said the debt ceiling was “not negotiable” ended up negotiating it after all to avoid a national default, barely even bothering with the fiction that talks over spending limits were somehow separate.
Liberals were pushing Mr. Biden to stiff the Republicans and short-circuit the debt ceiling altogether by claiming the power to ignore it under the 14th Amendment, which says the “validity of the public debt” of the federal government “shall not be questioned.” But while Mr. Biden agreed with the constitutional interpretation, he concluded it was too risky because the nation could still go into default while the issue was being litigated in the courts.
And so, much to the chagrin of his allies, the bargaining of recent weeks was entirely on Republican terms. While details were still emerging this weekend, the final agreement included no new Biden fiscal initiatives like higher taxes on the wealthy or expanded discounts for insulin. The question essentially was how much of the Limit, Save and Grow Act passed by House Republicans last month would the president accept in exchange for increasing the debt ceiling.
But Mr. Biden succeeded in stripping the Limit, Save and Grow Act significantly down from what it originally was, to the great consternation of conservative Republicans. Instead of raising the debt ceiling for less than one year while imposing hard caps on discretionary spending for 10 years, the agreement links the two so that the spending limits last just two years, the same as the debt ceiling increase. While Republicans insisted on predicating the limits on a baseline of 2022 spending levels, appropriations adjustments will make it effectively equivalent to the more favorable baseline of 2023.
As a result, the agreement will pare back anticipated spending over the decade just a fraction of what the Republicans sought. The Congressional Budget Office estimated that the caps passed by House Republicans last month would have trimmed $3.2 trillion in discretionary spending over 10 years; a rough New York Times calculation suggests the agreement reached by Mr. Biden and Mr. McCarthy might cut just $650 billion instead.
Moreover, while Mr. Biden did not advance many new Democratic policy goals in the agreement with Mr. McCarthy, he effectively shielded the bulk of his accomplishments from the first two years of his presidency from Republican efforts to gut them.
Just as Mr. McCarthy knows he will lose potentially dozens of Republicans disappointed in the accommodations he made, the president expects many in his own party to vote against the final product as well.Credit...Haiyun Jiang for The New York Times
The Republican plan envisioned revoking many of the clean energy incentives that Mr. Biden included in the Inflation Reduction Act, eliminating additional funds for the Internal Revenue Service to chase wealthy tax cheats and blocking the president’s plan to forgive $400 billion in student loans for millions of Americans. None of that was in the final package.
Indeed, the I.R.S. provision offers an example of Mr. Biden’s deal-making. As a token concession to Republicans, he agreed to cut around $10 billion from the additional $80 billion previously allocated to the agency, but most of that money will be used to avoid deeper cuts in discretionary spending sought by Republicans.
One of the touchiest areas for Mr. Biden’s progressive allies was the Republican insistence on imposing or expanding work requirements on recipients of social safety-net programs, including Medicaid, food assistance and welfare payments for families. Mr. Biden, who supported work requirements on welfare in the 1990s, initially signaled openness to considering the Republican proposals, only to face a fierce blowback from Democrats.
On Friday night, even as the deal was coming together, the White House issued a sharp statement accusing Republicans of trying to “take food out of the mouths of hungry Americans” while preserving tax cuts for the wealthy — a broadside aimed as much at reassuring restive liberals as assailing hard-line conservatives.
The final agreement between Mr. Biden and Mr. McCarthy includes no work requirements for Medicaid, but does raise the age for people who must work to receive food aid through the Supplemental Nutrition Assistance Program, or SNAP, to 54 while eliminating requirements for veterans and homeless people. The agreement moderates Republican provisions to expand work requirements for Temporary Assistance for Needy Families.
The challenge now for Mr. Biden is selling the compromise to his fellow Democrats. Just as Mr. McCarthy knows he will lose potentially dozens of Republicans disappointed in the accommodations he made, the president expects many in his own party to vote against the final product as well. But he needs to deliver enough Democrats to offset G.O.P. defections to forge a bipartisan majority.
Within minutes of the deal being announced on Saturday night, the White House sent briefing materials and talking points to every House Democrat and was following up on Sunday with telephone calls. “Negotiations require give and take,” the talking points said. “No one gets everything they want. That’s how divided government works. But the president successfully protected his and Democrats’ core priorities and the historic economic progress we’ve made over the past two years.”
Mr. Biden has been here before. As vice president, he was President Barack Obama’s chief negotiator in several fiscal showdowns, but he so aggravated fellow Democrats who thought he gave away too much that Senator Harry M. Reid of Nevada, then the party leader in the Senate, effectively barred Mr. Biden in 2013 from negotiations over a debt ceiling increase.
Kicking a vice president out of the room, of course, is one thing. Mr. Biden is now the president and the leader of his party heading into a re-election year. It’s his room. And he is managing it on his own terms, like it or not.
Peter Baker is the chief White House correspondent and has covered the last five presidents for The Times and The Washington Post. He is the author of seven books, most recently “The Divider: Trump in the White House, 2017-2021,” with Susan Glasser.
Run to where you want
I am gonna find you
There aint no distance far enough
My love's gonna find you
Run to where you want
Maybe I'll remind you
There aint no engine fast enough
My love's gonna catch you
"Redshift" Self Portrait September 2019
A profound meaning and explanation to this picture can be read below. It is an excerpt I found very relevant from The Astrophysical Journal, Published 18 March 2003, A Significant Population of Red, Near-Infrared-selected High-Redshift Galaxies
"In the nearby universe, the reddest galaxies are generally the most massive, with the highest ages, metallicity, and correlation length. It is possible that such a relation already existed in the early universe. The red galaxies found here would be the descendants of galaxies that started to form stars very early, and they would be related to more massive halos than those of the young Lyman break galaxies at z = 3. In this case, their spatial densities are expected to be higher and their correlation length to be enhanced..."
(source: The Astrophysical Journal, April 20, 2003 iopscience.iop.org/article/10.1086/375155 Discussion )
© 2019 Sabine Fischer
find me elsewhere:
instagram: sabine fey
portfolio: www.phoenixstudios.de
facebook: sabine fischer photography
Britain experienced profound changes in the 1970s and 1980s, when it was racked by deindustrialization, urban uprisings, the controversial policies of Prime Minister Margaret Thatcher, and the Troubles in Northern Ireland. Photography became a central form of creative expression during this period, supported and disseminated through new schools, galleries, artists’ collectives, magazines, and government funding.
This Is Britain brings together the work of a generation of photographers who were commenting on the deep unrest of these pivotal decades. Vanley Burke, Pogus Caesar, Anna Fox, Paul Graham, Sunil Gupta, Chris Killip, Sirkka-Liisa Konttinen, Martin Parr, and others pictured communities, traditions, and landscapes affected by Britain’s shifting social and economic realities. Together, they photographed a nation redefining what it meant to be British and, ultimately, modern. (Source: NGA)
a profoundly wise person; a person famed for wisdom.
~
if such a person exists please step forward and give our world leaders some guidance.. thank you
~
ai/gimp
Self.
"Dreams are often most profound when they seem the most crazy."
-Sigmund Freud
Last week has been extremely hectic, and at times I felt as if I was losing my mind. To all the hectic times everyone experiences.
I'm failing at this 52 project in the sense that I have been so inspired lately that I take multiple photos a week, and get ahead, rather than one a week. Oh wells. I'm sure my inspiration will die down once school comes in full swing.
Also, I was TAGGED!
-Whats your middle name? Danielle
-How big is your bed? Queen
-What are you listening to right now? "Claustrophobia" by Choir of Young Believers (love this song!!!)
-What was the last thing you ate? A peanut butter cups mixer from Culver's.
-Last person you hugged? My oldest niece!
How is the weather right now? Warm. It's Arizona, after all. I can't wait for autumn weather to officially be here!
-Favorite type of Food? Anything vegetarian or vegan friendly. :D
-Hair color? Blonde
-Eye colour? Green/Hazel
-Do you wear contacts/glasses? No, but I should.
-Last Movie you Watched? X-Men: First Class
-Piercings? Ears. Used to have my nose pierced.
-Favorite Movie? American Beauty.
-If you could go to any place right now where would you go? Europe, specifically somewhere in The Netherlands.
I've tagged people I find extremely inspiring and talented. But I could only choose 10. :/ I'd choose more if possible.
Tumblr (Just got one so I need some cool people to follow!)
All right, time to finish the thing.
I know, I know, I built gluttony and said the other terraces of purgatory would never be finished. Well inspiration struck.
Up next: lust.
The playlist to Greed is right here.
Profound Observer & Bert Joris
CC Het Gasthuis Aarschot, 23-MAR-2023
Lennert Baerts - Tenor sax, Compositions
Vitja Pauwels - Guitar
Daniel Jonkers - Drums
Bert Joris - Trumpet, bugle
© Photo’s Patrick van Vlerken 2023
An exploration of beauty, from the profound to the superficial and everything in between. infiltrating and grappling with the image culture, modern and primal. performed by paralympian James O'shea & netherlands based Rosa Vreeling. the mechanism of evolution articulated as marketing tools, simultaneously mystical and baldly selfish.
DIrected by Robin Dingemans & Nick Bryson
Video Design: SDNA
Composer: Alessandro Bosetti
Costume Design: Louise Bennetts
Lighting Design: Guy Hoare
Supported using public funding by Arts Council England, Greenwich Dance & Trinity Laban Partnership compass commission, Arts Council of Ireland, with further support from legitimate bodies dance company, Birr Theatre and Arts Centre, South East Dance, Escalator Dance, the Place and Roehampton University.
in the quiet corridors of a senior care home, this photograph captures a profound sense of solitude. the empty armchair, bathed in soft light seeping through distant blinds, sits at the end of a shadowed hallway, embodying the finality of life’s journey. the contrast between light and dark emphasizes the isolation, with the light symbolizing hope or perhaps an unreachable peace. it’s a stark, emotional portrayal of the end-of-life reality, where time seems to have paused.
Profound title I know....
I took this the other night after the rain and I absolutely loved it, other then a bit of a crop, it is straight off the camera ^.^
Through yoga, I experienced a profound shift in long-held trauma that was the result of body-shaming.
I have some idiosyncratic body-shaming experiences that I’ve only shared with my husband, a few close friends, and a therapist or two. And, here I am: about to share them with anyone re...
howdoidate.com/personal-development/body-shaming-was-resp...
****better on black****
Ying…Yang. There’s a profound difference between the calming silence of cold morning photographing thousand year old rocks where the only break in the silence is the steady slap of a shutter, and a muggy morning where the only break in constant teenage chatter is the jarring scream of a tardy bell. Both have there moments, but it shouldn’t take you long to guess where I’d rather be. Most people would love to be in my position, as I count down the 24 workdays until my long summer break, when I can shoot whenever I want. It’s always a trying time though. There’s a line from Batman the Dark Knight (heavy I know but hang with me!) where a character says, “It’s always darkest just before the dawn”, and that’s where I am right now, in the dark. Exhausted from finishing my first triathlon, lack of sleep from being at work long before the sun comes up, planning prom, and rallies, shooting senior portraits, helping with student council elections, moving to a new classroom over a weekend, running our poetry slam, field trips to San Francisco, helping run graduation, rallies, debate projects…. there’s a lot going on. It’s dark. …but I see the light.
I’ll be seeing these rocks again before too long, this arch, …in new ways… I see the light.
–jared r.
Canon 5DMKII
Canon 16mm-35mm @ 16mm
Iso 160
f/11
.7sec
Singh-Ray 2 Stop SE GND
Raw file handled in Lightroom
Final adjustments (luminosity/dust) in Photoshop CS5
Challenge No. 8 - "Repetition" ~~ selected by Vintage Findings
i liked the way the glass door stopped the leaves on their endless journey of colour transformation and the way the finality of the door stopped the reflection .
so this is really anti - repetition ..
Ravenspirit images . www.flickr.com/photos/oldmanofthemountains/6397166247/in/...
Vintage Findings: www.flickr.com/photos/47537995@N03/6391562899
bossbob50: www.flickr.com/photos/bossbob50/6402955143/in/contacts/
I’ve recently had a profound shock...
I’d just set off walking from car park at the ‘Cow and Calf’ (a local famous rocky outcrop, popular with walkers climbers and photographers) and was minding my own business at the bottom of the ‘Cow’, (the biggest rock face about 40-50 feet) I heard somebody say “Ho Shit”. Then in slow-motion a guy came into my peripheral vision and hit the ground a couple of meters in front of me!
I don’t want to go into details of the event in such a public place, first because I’m still a bit in shock about it, but fundamentally out of respect for the man’s family, but simply to say, that he didn’t suffer.
It was like a David Lynch film. The whole thing happened in slow motion and I found myself in a totally surreal world. The experience was so far removed from my personal reality, that my perceptions profoundly changed. It’s as thought I went into a different person and my subconscious took over. Time changed and the half a second or so seemed like it was minutes...
Unusually for me I don’t want to dwell on this for too much, but there were a couple of people I’d like to thank for their compassion on that day. One ambulance woman in particular asked if I was ok... (To be honest I was in total shock and in autopilot) and a police woman who asked if I was ok to drive home...funny how things happen, but allot of the incident is in a blur, but the bit that I’m sure I will never forget is the surreal feelings I had when it happened.
I’ve posted this text with a shot of my family to remind me of the importance of them.
Note: this is a ten second exposure, so keeping us all still was a real challenge...
Profound words from the death defying philosophical graffiti artist. Another bonus with a castle 255 set on the up road five minutes after the 37 jolly had passed. 43094 brings up the rear of the 2U16 08.49 Penzance - Cardiff Central with 43088 on the front.
Located in the bow of the Cesky Krmlov Castle. Art installation Miroslav Paral Art Gallery (A sculpture of suitcases to represent the exportation)
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Twitter: @AquaShotsMedia
If one looks closely amongst the gorgonians in the shallows of the Caribbean, one will regularly see these tiny oddities with what looks somewhat like hieroglyphs on them. About one inch long, this individual is actually a species of Cowrie called a FLAMINGO TONGUE. The colorful exterior is actually a thin fleshy mantle spread out over it's prized shell. If you look closely, you will see the thin border between the 4 sections.
Admittedly, I've read too much SCIENCE FICTION, and so my imagination compulsively leads me to ponder such things as: Is there a message to be gleaned from the spots/living hieroglyphs on the FLAMINGO TONGUE? Perhaps a simple intra-species message - VOULEZ VOUS COUCHEZ AVEC MOI, CE SOIR?? Perhaps something existentially profound? Wouldn't that be a kick in the head finding the MEANING OF LIFE scrawled across the mantles of FLAMINGO TONGUES?! (Cheers to Douglas Adams).
Thanks for reading and for viewing. Comment, fav, share and please check out my best photos … Mark
There was a temporary palace of Toshogu, is the cedar of large tree
But it is solemn and subtle and profound feeling?
the eiffel tower has long stood as a global symbol of romance, drawing countless couples to its iconic silhouette against the parisian sky. this photograph uses the surrounding foliage to form a heart shape, subtly framing the tower as if it were piercing through, embodying the profound emotional connection many feel here. beyond its iron structure, the tower represents timeless love and enduring dreams, embodying the spirit of paris as a city where romance lives in every corner. my goal was to capture the symbolic power of the eiffel tower, offering a perspective where nature and architecture converge to tell a story of love’s resilience.
You calm the storm that stirs inside.
Nature’s heart, wild and profound,
Draped in peace, seeking the life not yet known.
You see the horizons I miss,
Silent sunsets and wandering hearts set adrift.
Wind and tide obey her call,
In the night’s embrace, she dances free.
Child of earth, a friend to all,
Barefoot spirit, roaming far.
A radiant vision, an untamed grace.
Emerald-eyed dreamer, a soul unbound.
In love with life yet unwritten, an endless space.
© 2025 Lorrie Agapi – All rights reserved.
**My heart, my words. Please respect them.**
Dear reader,
These words you are reading right now, whether it's a poem, a short story, or a thought is a piece of my soul. I write with passion, each word flowing from my heart, deeply connected to me. My poems are not just words, they are alive, carrying my emotions and essence within them.
If you plan to take them without my permission, know this: you are also taking a piece of my soul. And with every stolen word, I will always be present within the lines you use.
So be mindful… You never know what lies hidden between the lines, for words hold a power that goes far beyond the visible.💫
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
Come, superb cat, to my amorous heart;
Hold back the talons of your paws,
Let me gaze into your beautiful eyes
Of metal and agate.
When my fingers leisurely caress you,
Your head and your elastic back,
And when my hand tingles with the pleasure
Of feeling your electric body,
In spirit I see my woman. Her gaze
Like your own, amiable beast,
Profound and cold, cuts and cleaves like a dart,
And, from her head down to her feet,
A subtle air, a dangerous perfume
Floats about her dusky body.
Charles Baudelaire