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The view from our living room window is of a flowering tree. It's nice, but unremarkable. In fact, the small yellow flowers fall and gather on the ground and make a mess.
Nikon D90, AF-S Nikkor 55-200 VR. Several Topaz programs achieved the effect here, with lots of tweaking. Happy Sliders Sunday!
Not terrible in mobile suit mode, the mobile armor though is a bit rough. Scaled for Mobile Frame Zero: Rapid Attack.
The original docks area of Tampa had fallen into steady dereliction but is now being transformed by wholesale redevelopment. A new yachting marina and boatyard also features the waterside Hula Bay bar and restaurant that is already a popular lunchtime venue.
This is an industrial worksite after hours, transformed by soft moonlight and intense work lighting throughout the night. I was amazed at the quality of the unintentional light painting, and worked quickly to try and capture a number of wonderfully lit scenes.
In this scene, I was fascinated by shifting beams of light streaming through the gaps in the pallets, and occasional plumes of white steam, as heavy machinery roared and rumbled in the background. It was hard to capture those fleeting moments, but it was a beautiful night.
I wandered in around sunset, not realizing that it might be tricky to leave once the front gates were locked. oops.
Fortunately, someone was around to open the gate for me.
The moment you have in your heart this extraordinary thing called love and feel the depth, the delight, the ecstasy of it, you will discover that for you the world is transformed.
~ Jiddu Krishnamurti
S, Mansur by Mansoor Saleem
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations not in math but in language that nature uses. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist. For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension which is one of the aspect, useful for scientific community to explore.
For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Sciences, Meta-science or Spirituality, I do not know yet, so I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. In dada and sur-realism we do read about dreams and drug infused random thoughts, but not flashes, so far no word about flashes I find even in Freud or Jungian psychology, they talk about dream importance. And in Christian art history so far I have only observed mixing of dream and inspiration from Bible. No body so far I have read in Dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. After seeing the difference between two (1) Pure Flashes and (2) some of my work based on mixing of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian art also so far, no artist has ever claimed flashes mixed or un-mixed. For future science world, un-mixed flashes will be more important. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
Physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore.
Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. (From Rudolf Arnheim's essay: “Complementarity from the outside” in book: Rescue of art).
May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my Flash-works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984).
Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan.
"Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avant Garde" also shows his wit." (—page 123, Ejazul Husan)
"The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan)
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque, also absorbed elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc) which not much is my concerned.
During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, Berlin, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma and VASL works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me.
I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc.
All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the Flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market forces but I have to make (for science) what I receive in form of Flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
Solarize filter creates a "Transform.." from a fishing vessel on the Southside of the harhour at St. John's Newfoundland.
That's the thought that came into my mind when I first looked at the photo., this was taken in evening light
Canon G12
Once just a fence, now transformed into a memorial to the 51 people who died and the many who were injured in the Christchurch massacre. this is just a very very small part of the flowers and messages left by the people of Christchurch in support of the Muslim community of Christchurch. And appalling tragedy.
One of the great things about the rain is how it transforms simple leaves and gravel into things of wonder
This year's first visit to Thorpe Park was today (May 5th 2016) and what a glorious day it was! However with only 3 visiting coaches, I also sought permission to visit the First School Bus depot adjacent to the theme park.
Here, First Beeline BMC Falcon 1100FE B60F rests away from the Bluebirds.
Transformative Space
Enter a cathartic pursuit. The passage entrance was small and did not indicate what we were to experience—assessing the unknowns in space, shifting dramatically from concept to academic self-questioning to a deconstructed disorientation. I followed our seers upstairs, through multiple room scapes, and down corridors, to when and where I finally realised. I had to select which self-delusion was best for me. In hindsight, I have re-entered these rooms my entire life, and my disconnection between acting and actioning required resolution. To begin a transformation and build a manifestation of social-spatial exclusiveness. To play as one within this curated experience, as a spectator and participant. A paradox in finding meaning and fulfilment.
Graphic Novel - Contemporary Art by JJFBbennett.
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Lego Sideswipe - Masterpiece Brickformer (MB-03).
Fully transformable without removing pieces.
I started work on this before Soundwave and Nemesis but his transformation was so difficult that it took the longest to build. wrapping his arms (doors) around the front wheels was the biggest challenge. But I am most proud of the feet - as they turn into the seats when in vehicle mode.
Linda's scary smart. She's great with numbers. One of the many reasons I hired her to be my fight manager. Before we followed the drugs and weapons shipment to the slaughterhouse, she did some number crunching. She estimated on her own from various statistics that out of the $312 billion dollars worth of cargo that went through Gotham's ports last year, 1/6 of that amount is contraband. That's a shitload of illegal freight going through just one city. With numbers like that you can bet there's scumfucks hanging around the port watching and managing their forbidden fruits at all times. It's why Linda and I followed the first shipment back to the Slaughterhouse and not cut it short at the port. The guys sending it would still be there long after we'd be done at the slaughterhouse anyway. When I snuck back into Port Addams I was proven right. Next to some wooden crates and a large shipping container there were two morons wearing the colors (or lack of, I guess) of Bane's crew looking out into the ocean. Both carrying AUGs as well just like the guys back at the Slaughterhouse. I had my scumbags. They were talking to eachother, though. I came here to get info, maybe they'll spill it without me having rip it out of them like I originally intended.
"Pinche Cristo....this cold makes me miss home even more. Is it always like this up here?"
"It's only winter. Have you never experienced winter?"
"No. I never asked to, either. Damn this city."
"You won't have to suffer long, brother. Bird will get what he's looking for quickly."
"Are you sure? I can't believe Bird of all people is leading us to war with....those psicópatas..."
"Do you doubt him? That's a mistake, brother."
"Bird, the same man who wastes hours tending to pigeons while we risk our lives to get some extra pesos for our families?
'That Bird is long gone, brother. Ever since Bane's death he's transformed in more ways than you can imagine."
"What do you mean? That armor he wears now?"
"It's more than just armor. It gives him strength like you couldn't possibly imagine. More than even Bane could imagine."
"Impossible. Nothing can outmatch Bane's strength."
"Have you seen what that armor is capable of?"
"No, but--"
"I have. Back in Peña Duro. He used it to punish a traitor. Bane's skin would crawl at the sight of what Bird did that day."
"Really? That bad?"
"The psicópatas would've been envious. And I know you've seen their work, brother."
'Regrettably...."
Interesting....The guy to the left seems to know alot, though. Better keep him breathing. The other guy....well, I haven't used an explosive blade in a bit....
For Layers of Color: All images except the black cat and long-necked bird are from antique books or magazines
Bordeaux-Euratlantique représente un des sous-projets du programme de modernisation de Bordeaux « Bordeaux 2030 ». Il cadre l'aménagement de 738 hectares, centrés sur la gare Saint-Jean, dont la fin estimée vise 2027. Les villes de Bègles et Floirac sont également concernées. Ce programme a été créé à la suite du lancement de la ligne LGV Bordeaux-Paris et à la volonté d'augmenter le poids de Bordeaux à l'échelle européenne.
My sexy transform roommates comics 47
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This flowers is becoming one of my favorites. I don't know what I like the most...
I do must of all nature photography, and from time to time city life. I enjoy trying new techniques, and transforming some of my photos into something different and ( I think) artistic.
EXPLORE:
Also, I’m very proud to say that twenty eight of my photos made it to Explore, many are still on, Also, I’m very proud to say that twenty eight of my photos made it to Explore, many are still on, three of them at 25, 14 and 52, still! If you’d like to see them, please go to my Explore set.
If you’d like to see them, please go to my Explore set.
TO MY FRIENDS:
Flickr has giving me opportunity to meet a group of wonderful people. Thanks for making me feel so proud of what I do and love. You know who you are…
ABOUT GROUPS:
I would gladly submit my photos to the groups that would allow me to see their pages and be part of them. Please, don’t invite me to groups that will show my work once, and by invitation. I rather be part of a group that will allow me to choose my own material, and decide what to put and when. Remember, we are artists, and very temperamental ;)
MY THANKS:
Thanks for coming and for viewing my photos. I appreciate all comments, so leave one, if you want to.
Have great day, and enjoy the ride!
Martha.
Then, pale as privet, took she heart to drink,
And therewithal most strange new thoughts did think,
And unknown feelings seized her, and there came
Sudden remembrance, vivid as a flame,
Of everything that she had done on earth,
Although it all seemed changed in weight and worth,
Small things becoming great, and great things small;
And godlike pity touched her therewithal
For her old self, for sons of men that die;
And that sweet new-born immortality
Now with full love her rested spirit fed.
Then in that concourse did she lift her head,
And stood at last a very goddess there,
And all cried out at seeing her grown so fair.
Happy Valentine’s Day
Alva Noto
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Gerd Müller
Mannschaft
1974
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The entire 525 m (1722 ft) of the tunnel was installed with Philips Color Kinetics ColorGraze MX4 Powercore fixtures, transforming the mostly unused railway tunnel into a visually stunning walkway connecting the north and south portals. Grazing fixtures were specifically chosen for the inside of the railway in order to showcase the unique architectural and geological components of the 155 year old tunnel, while ColorBlast Powercore gen4 fixtures were installed at both portals to invitingly illuminate the entrances. The lighting inside the tunnel runs a dynamic “Philips Light Show” 365 days a year, drawing in locals and tourists alike. Citizens can even request custom lightshows for events held on the waterfront.
The Brockville Railway Tunnel was reopened to the public on August 12, 2017 to coincide with the Canada 150 celebrations taking place across the Great White North this year. Already a hotbed of tourist activity in the summer months, the newly restored Brockville Railway Tunnel serves as a perfect gateway between the section of the city known as ‘The Gorge’ and the waterfront, drawing as much as 30,000 more visitors to the downtown area. 1193
hrough one of the alternate plain glass windows in the Round Church (1185) - Temple Church, London. Built by the Knights Templar, the soldier monks who protected pilgrims to the Holy Land during the crusades.
The cold, grey and windy day outside was transformed by the random ripples in the old glass.
Alva Noto
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Lars Müller
2007
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GMHA ...