Archetypes
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In behavioral terms, the old woman pushing an empty stroller
is not mourning but repeating —
a learned rhythm of movement,
once rewarded by presence,
However,
the truth is that it is most likely rheumatism.
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carl zeiss contax-100mm-
kentmxre100-
“According to Jungian analytical psychology, stepping on dog poop in a dream is interpreted as an aegis of incoming wealth.
In reality, however, stepping on dog poop just makes you curse: ‘Oh, shit!’
Yet in 21st-century cities, the chance of stepping on a bull’s dung is almost zero.”
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Kentmere 100 Film
Held at City North Campus by the Division of Psychology on 02/03/11
For more on Psychology at BCU www.bcu.ac.uk/elss/school-of-social-sciences/psychology
There exists a feeling of when strong emotions get buried and forgotten in the psychological laundry of everyday life.
Movie track: youtu.be/4ESSujovbsI?si=4mg-DahcUimDPaOs&t=62
By blending creativity, symbolism, and thought-provoking elements, a picture like this could resonate with audiences on many levels. The context and intent behind the image play a significant role in how it is perceived.
Thanks for your comments and faves !
Falls Psychologie interessiert:
Thema: Symbolismus – Die Welt über Symbole interpretieren
Symbole – Sprache der Philosophie und der Religionen
Gott ist ein Bauer. Ich hörte diesen Satz von einem polnischen Landarbeiter, der als Erntehelfer tätig war. Das liegt über zwanzig Jahre zurück und doch muss ich an ihn denken, sobald ich jemanden landwirtschaftliche Tätigkeiten ausüben sehe.
Den Mann mit dem Strohballen habe ich kürzlich fotografiert und wieder fiel mir der Satz ein. Ich fragte mich, auf welche Weise ich ein Bild kreieren könnte, um meine Dankbarkeit den Bauern gegenüber auszudrücken, ihre Arbeit zu würdigen und gleichzeitig den überpersönlichen Aspekt in einem symbolischen Bild darstellen könnte. „Gott ist ein Bauer.“
Symbolik kann in allen Bildern ausgedrückt werden, doch ab einer bestimmten Zusammenstellung der Objekte verlässt das Bild seinen realistischen Rahmen und verweist auf die symbolische Ebene. Ich ziehe in diesem Zusammenhang auch gern die surreale Kunst heran.
Bei der Deutung etwa von geflügelten Wesen – Vögel hier einmal ausgenommen – geht es nicht mehr um reale Erscheinungen, sondern um mythologische, traum- und märchenhafte Gestalten. Ob Drachen oder Engel, beide fordern eine Deutungsebene, die etwas anderes als die Alltagswirklichkeit anspricht.
Abbildungen von Engeln stellen unsichtbare Kräfte dar. Die Kräfte, Emotionen, Ahnungen, Inspirationen, die von ihnen ausgehen sind durchaus real, denn sie zeigen ihre Wirkungen, ob in Form von Verliebtheit oder Aggression. Doch ihre Abbildungen nehmen unterschiedlichste Formen an, die von einem Kulturkreis zum anderen sogar entgegen gesetzte Bedeutung haben können.
In Asien werden Drachen häufig mit Glück assoziiert, während in der westlichen Kultur der Drache in zahlreichen Legenden von einem Helden bekämpft und getötet wird.
Tiere, Menschen, Gegenstände können variieren, doch der Vorgang sie einer Analyse zu unterziehen, bildet ein Bewusstsein aus, welches die „Sprache der Götter“ versteht.
Götter übermitteln ihre Weisheiten in Bildern. Götter oder die Muse inspirieren Künstler. Die Umschreibung: Kuss der Muse, ist ein Wortbild, das von vielen verstanden wird, doch nur von jemandem, der meiner Muttersprache mächtig ist.
Ein symbolisches Bild dagegen spricht für sich und ich bin sicher, dass der polnische Landarbeiter das Wohlwollen erkennt, welches das oben dargestellte Bild ausdrücken soll. Freundlichkeit, Geborgenheit, Gottvertrauen, Hingabe und vor allem das göttliche Getragenwerden wollte ich zeigen. Innere Führung, in jedem Augenblick des Lebens, auch bei der Landarbeit.
Es ist meine Dankbarkeit dafür, dass meine leiblichen Eltern mich ebenso getragen haben. Mein Vater war Unternehmer und Bauer. Er war mit seinem Besitz im positiven wie im negativen Sinn verwurzelt. Er packte an und bewegte Dinge. Er zerstörte und er schöpfte. Er war ein Macher und Pragmatiker. Intellektuelle Spekulationen waren nicht seine Sache.
Mit diesem Bild zeige ich die handwerkliche, bodenständige Seite meiner Ahnen, ihre Arbeit auf dem Lande und auch die Ansichten des Landvolkes: „Gott ist Bauer.“
Natürlich ist Gott auch Arzt, er ist Politiker und ebenso Soldat. Ob Pfarrer oder Philosoph, ich kenne keinen Menschen, der nicht Gott wäre, doch stelle ich fest, dass manche Menschen sich ihrer eigenen Göttlichkeit bewusster sind als andere.
Es gibt große Unterschiede in ihrer täglichen Handlungsweise. Manche sind stark von niederen Instinkten getrieben und bekämpfen aus Ignoranz ihre Brüder und Schwestern, andere wiederum sind sehr durchlässig für die Botschaften von geflügelten Wesen oder Außerirdischen.
Je nach Bildungs- und Bewusstseinsstand werden die Einflüsse der Wesenheiten anerkannt oder geleugnet, mit ihnen umgegangen oder ignoriert. Manche nennen Geister teuflisch, andere sehen sie als Verkünder himmlischer Botschaften und nennen sie Engel. Wie auch immer die Bewertungen ausfallen mögen, bildliche Symbole bringen die Auswirkungen der Energien dem Bewusstsein näher, da sie Unsichtbares verstehbar machen.
Symbolische Bildsprache überwindet Sprachbarrieren und hat das große Verdienst, das Unsichtbare begreifbar zu machen. Sie ist eine Sprache des „Subraumes“ denn die unsichtbaren Wesen leben in einer Welt, die hinter der unsrigen existiert.
Menschen fühlen sich von dort aus motiviert, von Ahnen verfolgt, von Musen inspiriert und von Göttern begeistert. Der Heilige Geist motiviert Propheten, und der Teufel reitet Verbrecher.
Die Sprache der Symbolik wählt übrigens für den Heiligen Geist eine Taube und ihre Schwingen, der Teufel wird meist mit den Flügel der Fledermaus dargestellt. Natürlich sind auch die Farben von Weiß und Schwarz von tiefer symbolischer Bedeutung.
Das Erlernen der Symbolsprache halte ich für eine gute Basis, um mystische Bilder zu komponieren und die Welt viel besser zu verstehen.
HKD
Mit dem obigen Bild und dem vorausgegangenen möchte ich den Unterschied zeigen zwischen der realistischen und der symbolischen Darstellung von bildlichen Inhalten.
HKD
Digital Art – own resources
HKD
Making up an interesting title for an image can be an important creative aspect of photography. After all, did famous photographers ever resort to generic or bland labels for their work, or no names at all?
Actually, they often did. Real ordinary titles like “East Coast Fisherman,” “White Radish,” “Nude, Campden Hill, London, 1949,” and simply “Self-portrait.”
So how come these really creative people failed to conjure up a captivating title for some of their most famous photographs? Well, probably because it wasn’t necessary. The image itself was meaningful, powerful, revealing, all on its own. Maybe all they felt they needed to do was indicate the simple facts of where, when, and who, in order to provide a basic context. Then the image did the rest of the talking.
There are some definite advantages to straightforward or no titles at all. It lets viewers explore the image on their own without forcing any particular interpretation. It tosses the image into their lap and encourages them to project themselves into it, creating their own meaning. No title at all can be especially effective. It’s mysterious. It teases, frustrates, challenges, lures the viewer in: “Go ahead. Figure this out.” It’s a presentation of the purely visual with no pretense of words.
On the other hand, titles of some kind are useful handles. Without one, how do you refer to an image? “It’s the shot of the bicycle, not the bicycle in the playground… the other one, you know, the bicycle on the grass, shot from below, through the spokes up at the sky.”
Wouldn’t “Spoked Sky” be easier? Especially in online photo sharing communities, where there are thousands and millions of images, titles will help you organize, identify, and discuss images, as well as make it easier for search engines to find them.
And like I said at the start, titles can be an important part of the creative process. You can use a title to steer the viewer towards ideas that you really want to convey. The title can add a layer of meaning that is not immediately obvious in the photo. A title can even be playful or provocative by contradicting the qualities of the image.
Some titles might pop into your mind right away. You know what the image says for you. In other cases, however, you might have to really think about it. That process can be fascinating, and valuable. You know you like the photo, but may not be sure why. Searching your mind for a title might clarify that for you. It may help you uncover the subconscious feelings, memories, and fantasies that you associate with it. Coming up with a really good title might also help you alter and refine the photo. The title gives you a direction for post processing and image manipulation. It’s an excellent exercise in bringing composition in line with the idea you want to convey.
You’ll know when you have a really good title. It feels right. It “sticks.” Weeks, months, even years later, you’ll remember it. It’s a wedding of meaning and image.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
Anima Series 5
Sitting No. 50
Worongary, Qld 2014
Model: Julia McIvor
This is another big public thank you to the one and only Julia, who has collaborated with me since the age of seven. Julia's work speaks for itself, as I hope my attempts to capture her spirit do also.
Next October 1st 2019 we intend to travel together to Indiana USA to open an exhibition of art at the I Fell Gallery in Bloomington. For those of you in the US who have followed my work, I wish to give a warm invitation to come and meet us and make yourselves known.
More details of the exhibition will be posted closer to the time, otherwise visit the I Fell Gallery site at:
Also known as “multiplicity” shots, images involving clones can be comical, intriguing, and even disturbing. As highly self-aware creatures, we humans are fascinated by mirrors and reflections of ourselves, by the idea of having a twin, alter ego, doppleganger, and multiple personalities.
The multiplicity shot is a visual representation of the fact that the psyche is not a homogenously unified entity. The human personality is made up of various parts that sometimes cooperate with each other, and sometimes not. Clone images capture the various ways these different elements of the psyche might interact - what some psychologists call “intrapsychic dynamics.” For example:
- The hidden, unconscious, or dissociated parts of ourselves that operate behind the scenes or behind our backs, without our even being aware of their existence
- The unconscious self that suddenly and unexpected appears, much to our surprise, delight, or shock (see The Unconscious)
- The self that we wish or fear to be
- The contradictions, divisions, or opposites within our psyche
- The “evil” or aggressive qualities within, that we usually suppress
- The parts of ourselves that are in conflict with each other, that oppose, thwart or resist each other (see Inside the Psyche)
- The unknown part of our psyche that acts as a “trickster” who creates unpredictability in our lives (see Prankster)
- The inner wise self that wants to help us, perhaps even the “God within”
- Self acceptance, self love, or narcissism
- Inner confusion and chaos created by ambitions, feelings, and thoughts that are at odds with each other
- The inner parts of our psyche that cooperate with each other, work in unison or in parallel with each other, perhaps aware or unaware of each other’s presence (see Biography)
- The self that is simply aware of itself, of the process of observing itself, perhaps with judgment, or, in a mystical fashion, without any judgment or evaluation (see Infinite Progression)
Multiplicity images tend to be more convincing and intriguing when the clones visibly demonstrate this awareness of and interaction with each other. Otherwise the clones appear as unrelated, somewhat uninteresting duplications of each other. Body language and line of sight can suggest a bond among them, although direct eye-to-eye contact can be difficult to simulate. Humans are exquisitely sensitive to the eyes, so if the eye connection among clones is off, even just a little, the viewer will notice and feel that the simulation is false. The most convincing clones are those that overlap, touch, or engage each other physically, although this effect requires careful planning in the shooting of the photos and skillful editing of the composite image.
One strategy for creativity multiplicity images is rather straightforward. Set the camera on a steady surface, preferably a tripod, and shoot the same scene several times over, each time with the subject in a different pose within that scene and in the spot where you want that subject to appear within the final composite image. In a photo editing program, choose one of the shots as a background, then copy just the subjects from the other shots and paste them into their position in the background photo. The tricky part will be the editing of the edges around the clones so that they blend convincingly into the background photo. Also pay close attention to the shadows cast by the clones. Inconsistent or missing shadows will result in an unrealistic final image. Scenes with even or diffuse, steady light will usually result in fewer complications. Poor edge editing, changing light sources, and problematic shadows will produce anomalous clones that look like they were just pasted into the scene.
In the image at the top of this page, which clones appear least convincing as natives of that shot, and why? Can you guess which one wasn’t cut and pasted?
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
Yesterday was tee shirt weather. Today it’s cold enough outside that you can see your breath. Even so, the warm colors of spring tulips add a psychology of warmth that’s unmistakable!
Canon A-1, Canon 80-200mm ~100mm, Kodak Ultramax 400 ASA.
The shot is the entrance to the psychology building at the University of Tasmania. As I was walking past, this part of the word caught my eye.
Illustration for magazine Psychologies, BE// december 2011
Dossier: verleden loslaten// Lichaam bevrijden door o.a. EFT (= Emotional Freedom Techniques)
It's time for some more of The Shop's unusual vector assets : the geometrical psychology diagrams. These were originally created as an attempt to "mathematically model human consciousness through geometric forms" in the late 1880s.
There are two main groups of assets: the first one, with mainly two dimensional diagrams, and second one, of more than two dimensions, that resemble flowers and crystals. I also added some random nuggets from the rest of the collection. The diagrams have that beautiful execution of late Victorian era scientific illustration, while also presenting an undeniable organic touch. The "three dimensional" group of assets also feature shading, and color highlights.
There are forty-five (45) assets altogether, carefully digitized, organized, and share in a variety of formats, with care. I would recommend using them as background elements, color scheme inspirations, or of course as the centerpiece of the project you're working on.
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- Forty-five (45) diagrams
- Available in multiple vector and raster formats for wider compatibility range: Adobe Illustrator (CC, CS6, CS3), PDF, EPS, and PNG
- 641.60 MB archive size
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Like the textures you're seeing in the previews? They come from my Photocopy noise textures vol. 02. You must go check them out: https://crmrkt.com/13paPz
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Curious about the beautiful, aged serif typeface I used for the previews? It's Appareo, created by Kimmy Design. You can find it on Creative Market, and you ought to check it out as well: https://crmrkt.com/7QWK1X
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You should add your name to the Shop's mailing list at https://mailchi.mp/de8bed089b59/theshop. On the menu: new release sneak peeks, deals information, and other general updates from the factory floor. No spam, guaranteed.
Today's challenge in the Our Daily Challenge group is "Using your head". You might say I did that... at least it felt like it trying to come up with something. LOL!
When you tell someone that you love them.....Good things happen.....So what happens when that someone tells you that they love you too.....Well just like the photo....That is when magic happens
I got "tagged" a while back, so here 'tis:
1.I have never had a “career” ~ I’ve been director of a social service agency, law librarian, investigator, teacher, forklift operator, disc jockey, retail sales clerk, homeless shelter counselor, magician, nanny. I just couldn’t seem to find my “niche.”
2.I spent 5 years as an undergraduate student because there were so many things I was interested in learning. I have Minors in Anthropology, Psychology, Art History and Philosophy.
3.I’ve suffered from severe depression and panic attacks all my life (my parents confirmed this when I was older) and was once hospitalized for a month because I seriously contemplated suicide. In the hospital, I first met ‘others like me.’ I’ll never forget them; I owe them a lot.
4.I’m not a photographer, in the strictest sense. I don’t think much about it, never carry a camera, have no idea what an f-stop is. I just point and shoot what I like ~ mostly toys.
5. I prefer to wear clothing that somebody else once occupied; thus, most of my apparel comes from Salvation Army. My sweaters are all full of holes but they are comfy and familiar. However, it's time to sew on some more buttons...
6.I’m quite boring, really, because my dream life has always been a family, house with white picket fence, BBQ in backyard, children. The 1950’s syndrome.
7.I was married once. It lasted about 2-1/2 years. I was only happy during the first 5 months. I was 29 years old. I’m now closing in on 53.
8.I’ve only really been in love once in my life. I was 19 at the time.
9.Some of the pets I’ve had (besides cats and dogs): fish, budgies, tarantula, rat (the blessed Jack), Fluffy the hissing cockroach. As a child, my parents let my brothers and I keep horned toads, snakes, spiders ~ anything we brought into the house. We once even had a baby caiman.
10.It’s very difficult for me to listen to music, as it makes me cry.
11.I cry easily. Sometimes for no apparent reason.
12.I do not fear death. I’ve had a gun to my head and knives to my throat (I was in the wrong neighborhood in another city and mistaken for an FBI agent, of all things).
13.I held my mother’s hand as she passed away in the hospital.
14.When I dream, I realize I’m dreaming and am able to alter the course of the dream. I haven’t had a nightmare since I was 12 years old.
15.My preferred headwear is a Bowler. I also smile a lot. See?
16.I seem to have “lost interest,” for lack of a more accurate phrase, in flickr (but not my friends) and almost deleted my account. I don’t understand why nor I do know when I’ll be active again…